“Photographing oneself has become a singular pastime, an instantly rewarding yet indisputably time-sucking activity poised somewhere between narcotic and sport. Welcome to the new narcissism: look at me, like me, comment and retweet and hashtag me. Warhol’s “fifteen seconds of fame” has effectively devolved into a serially renewable data plan. This is selfie culture, writ large.”
To Thine Own Selfie Be True by Jessica Helfand
“The real story is that modern technology and social media make us a much more oral society than we once were. Naturally poetry will be delivered more through the ear than through the eye—just as it was for most of human history, and still is in most of the world’s 6,000 languages, only about a hundred of which are written in any real way.”

What Do We Want From Design Criticism?

“So what exactly is graphic design criticism?” asked Rick Poyner in 1995 in a conversation with Michael Rock, “Who practices it, or ought to practice it, and what are its aims? And can it, in the sense that we might talk about art or film criticism, be truly said to exist at this point?”

The call for graphic design criticism began a decade earlier when Massimo Vignelli penned the forward to the 1983 Graphis Annual, stating decisively, “Graphic design will not be a profession until we have criticism.” Vignelli called for a greater discourse surrounding design to not only frame our theories and processes, but also to look toward the future and set a course for the profession:

It is time that theoretical issues be expressed and debated to provide a forum of intellectual tension out of which meanings spring to life. Pretty pictures can no longer lead the way in which our visual environment should be shaped. It is time to debate, to probe the values, to examine the theories that are part of our heritage and to verify their validity to express our times. It is time for the word to be heard. It is time for Words and Vision.

Vignelli’s call was prescient as the years following proved to be a pivitol time for graphic design. Designers started to see their work as part of the cultural zeitgeist—artifacts interacting and living amid a general public. As designers struggled to find their place in this new global landscape, design criticism started to blossom in an attempt to canonize the field. In 1994, Michael Beirut, William Drenttel and Steven Heller published the first book in the Looking Closer series, an anthology of the best design writing of the past few years. Over the next decade, the series would grow to include four more volumes. Publications like Emigre (founded in 1985, but reformatted in 1995 to be a critical journal),Eye (founded in 1990 by Poyner), and Dot Dot Dot (founded in 2000) also sought to bring a higher level of discourse to the profession. Even mainstream magazines like Print and I.D., traditionally only publishing designer profiles soon started including op-ed and investigative reporting pieces within its pages. And in 1996, Ellen Lupton organized the second major graphic design exhibition with the show Mixed Messages at the Cooper Hewitt.

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Company culture as interaction design

"Artificial cultures are instant. They’re big bangs made of mission statements, declarations, and rules. They are obvious, ugly, and plastic. Artificial culture is paint.

Real cultures are built over time. They’re the result of action, reaction, and truth. They are nuanced, beautiful, and authentic. Real culture is patina.”
—Jason Fried, You don’t create a culture

I’ve been thinking about office culture a lot lately—how to develop it, how to foster it, and how to create it. I’ve long felt that a lot of company cultures feel fake—that if a culture is mandated or initiated from the top they are actually inauthentic within the company.

I’ve started to think about culture in the same way I think about interaction design. And like interaction design, culture is not static, it is ever-changing and always moving. Companies are built by teams which are built by departments which are people by people and each new employee adds a layer to the culture and they bring their own perspectives, insights, and backgrounds into the fold.

A principle I return to often in thinking about interaction design is the idea of frameworks and platforms. Designing frameworks means the designer has the first word, not the last. It means the designer gets to start the conversation but leaves room for improvisation and for others to add and contribute.

Real culture isn’t rigid and can’t be mandated. You can start the conversation, but each employee brings their own experiences to the table. Each new employee, each new voice will change your company culture in a small way and that’s okay. That’s good! Trying to enforce a particular company culture will be fake and leave employees disconnected from their work. All you can do is add your contribution and create space for the culture to move and grow and evolve and patina.

Further reading:
What Your Culture really says
When Culture Turns into Policy

“The teaching of art is the teaching of all things.”

I’ve been going back and listening to some old episodes of BBC’s wonder In Our Time podcast. I really enjoyed this one on the famous Victorian art critic John Ruskin and this quote from Ruskin’s writing stopped me dead in my tracks.

I took four art history courses in school (two general art, and two design-specific) and found that the best art history courses always teach you more than expected. I think learning about art also teaches you about cultures and people and religion and politics. I’ve found the more I learn about art, the more I want to learn about everything surrounding it.

One of my favorite professors in school was my first design history professor and the reason he was my favorite was because I found the most interesting things I was learning were not the things inside my design text book. He had an uncanny ability to make connections between cultures and images making for a more holistic history course that guided by design movements. Think James Burke or John Berger. Learning about art is learning about the world.

“I think I continue to be engaged with design because it’s so tied to the rest of my world. Design is informed by music, culture, politics, and everything else that’s happening around us. Being involved and aware of these other things only makes our work better. It’s a good excuse for me to go out and live an engaging life outside of design.”
“[U]ndergraduate art education seemed overly concerned with ‘how to make’ and ‘what to make’ sorts of questions. I believed that the more important questions were why make and how does making fit within a context larger than the history of art.”

This was a fascinating interview with Randall Szott. He talks a lot about the philosophy of art and making things as well as how art fits into culture and what it can contribute. I nearly fell off my chair when I read this part:

[L]et me draw a parallel with cooking. I am a professional cook and have worked in some highly regarded “fine dining” restaurants, but I would never assume that this makes my cooking inherently better than a home cook. Likewise, I’ve eaten at some of the most refined restaurants in the country as well as some of the most humble. There is no inherently superior cooking. Sure professional cooking of the fine dining variety tends to be more refined or subtle, but home cooking has its pleasures too. The real question is what sort of meal are you looking to have? Does it taste good? Does it satisfy your hunger? There are plenty of food snobs to be sure, but most of the chefs I know are infinitely more flexible in their tastes and open to a wide world of culinary experiences, from Michelin starred restaurants to street vendors. I find it sad commentary on the art world that the same cannot be said of them.

Holy cow. Spot on.

Top 10 of 2010


(Wow! What a year for music! It was very hard to narrow down this list.)

  1. Sigh No More - Mumford & Sons
  2. The Age of Adz - Sufjan Stevens
  3. Winter of Mixed Drinks - Frightened Rabbit
  4. Go - Jonsi
  5. Born Again - Newsboys
  6. The Suburbs - Arcade Fire
  7. Contra - Vampire Weekend
  8. All Day - Girl Talk
  9. Happiness - Hurts

Honorable Mentions: The Way Off - The Books, Disappearing World - Fair, Of Men and Angels - The Rocket Summer, Volume II - She & Him, LOVE - Angels and Airways, All Delighted People EP - Sufjan Stevens, Dark is the Way, Light is a Place - Anberlin, Write About Love - Belle & Sebastian, Brothers - The Black Keys, The Medicine - John Mark McMillan

  1. The Social Network
  2. Toy Story 3
  3. Inception
  4. Exit Through the Giftshop
  5. Crazy Heart
  6. Shutter Island
  7. Sherlock Holmes
  8. The Art of the Steal
  9. The Switch
  10. Robin Hood

Honorable Mentions: Alice in Wonderland, Date Night


(I don’t read enough new books each year, so these are my favorite books I read in 2010 as opposed to books that released in 2010.)

  1. Lust for Life - Irving Stone
  2. East of Eden - John Steinbeck
  3. Proust Was A Neuroscientist - Jonah Lehrer
  4. Conversations with Woody Allen - Eric Lax
  5. The Sabbath - Abraham Joshua Heshel
  6. Linchpin - Seth Godin
  7. The Anthologist - Nicholson Baker
  8. How (Not) To Speak of God - Peter Rollins
  9. Art & Physics - Leonard Shlain
  10. Studio Culture - Adrian Shaughnessy

Honorable Mentions: Look Both Ways - Debbie Millman, What The Dog Saw - Malcolm Gladwell, Slapstick - Kurt Vonnegut, The Meaning of Jesus - Marcus Borg & N.T. Wright

Information is Beautiful has a fascinating infographic on what colors mean in different cultures. Very well designed and a great resource.

Information is Beautiful has a fascinating infographic on what colors mean in different cultures. Very well designed and a great resource.