The biggest underlying shift in conceiving of the future of news as something more than than a stream of articles is in the implied distinction between ephemeral content and evergreen content. There has always been a mixture of the two types in news reporting: An article will contain a narrative about the event that is currently occurring but also will contain more evergreen information such as background context, key players, etc. Alexis Lloyd.
Design products are becoming increasingly dynamic, which makes it difficult to sustain a design process based on static prototypes. Design is how it works and sketching in code is the only natural way to prototype a dynamic system. Building even the simplest of data visualizations means hours of work in languages like R, Julia or Python. When your content is data, poking around in Photoshop simply makes no sense. In some way, it's the direct opposite of design: prettifying without context. One important aspect of modern design products is their increasing demand for temporal logic, where a linear narrative is replaced by a set of complex states. Many apps and games need to dynamically transition between hundreds of states, and static design tools fail completely in prototyping these kinds of products. Another example is the use of procedural elements in games, where it's simply impossible to design everything by hand. Visual thinking is increasingly done in code, and there isn't much to do if you can't program. As our design products become dynamic it makes less and less sense to separate the design and implementation. Rune Madsen.
Design leads to innovation and innovation demands design. Indra Nooyi.
… any … creative field, still primarily measures success through the award system: Young Guns, Promax, D&AD, and so on. Awards are not necessarily bad, but they’re just one way of looking at achievement and career fulfillment. Lilian Darmono.
We dreamed that we created a revolution. But we did not heed the great lesson of revolution. Today’s revolutionary is tomorrow’s little tyrant. The French Revolution started as a glorious paean to people power. And it climaxed in a tidal wave of terror and bloodshed. So, too, goes every revolution too arrogant to history — including the digital revolution. Cross the line, and the inquisitors will come your way. Better then, to stay silent, than to dare the fury of the revolution itself.
We dreamed, then, like all eager revolutionaries, that we would create a new order — one where people would be freer, truer, better. We dared to upend the grey order of the power-hungry telling the powerless what to think. But we just created a new order of power-hungry fighting to command people what not to. Like all eager revolutionaries, we didn’t fully understand what revolution is. An unleashing of animal energies that unravels the very freedom it seeks to create, should it not place possibility above power.
Can we create a better web? Sure. But I think we have to start with humility, gratitude, reality — not arrogance, privilege, blindness. Abuse isn’t a nuisance, a triviality, a minor annoyance that “those people” have to put up with for the great privilege of having our world-changing stuff in their grubby hands. It will chill, stop, and kill networks from growing, communities from blossoming, and lives from flourishing. If your purpose is social interaction, abuse is as central to it as bacterial infection is to selling meat. Get it wrong, and you might just end up like Twitter in 2015. Not a beautiful town square, but a raging mosh pit. Good luck selling tickets to that.
The future is already here—it’s just not evenly distributed. William Gibson.
When I try to create a sculpture, it looks like a book that you open and close. I would have been a poor architect, because my thinking is not three-dimensional. And I don’t have good colour sense. This is a dimension that I lack and one which does not attract me. Of course I like it when a beautiful form is printed in beautiful red instead of only in black. I discovered this early on and this was my good fortune. At 16 I already knew that my work would be in black and white.Adrian Frutiger.
The 26 letters of the alphabet kept me occupied all day long. But I always imagined that there is another script, as Hermann Hesse said in The Glass Bead Game. Thoughts can be recorded in ways other than in letters and words. In nature one can read a spider’s web, or leaves and trees etc. I do this symbolic to understand myself better, it’s a bit like a psychological analysis. As you see, the forms are still «letterforms» with insides and outsides, but only lines which do not cross and you can never see a beginning and an end of the line. Adrian Frutiger.
Why should we abandon two dimensions? Well, yes, in perspective of course. Until very recently we have worked in two dimensions on flat paper. Now we are drawn through the picture into a third dimension, into a virtual world. But three-dimensional fonts do not make sense. You can add shadows and provide depth, but there is no point. Reading means linear and black and white.
I have always lived in two dimensions. The third one belongs to the future. I enjoy the company of young people, particularly when questions crop up about the difference between fonts on the screen and material ones, as I have experienced them. Young people no longer see the type justification on the screen, and don’t know how close or how far letters should be placed from each other. And here I can set quite clear rules, I can share that with them as a tutor.
Adrian Frutiger.
… I believe there will always be difficulties in reading from the screen. I am amazed how people can stare at the screen day after day, hour after hour. I cannot do it. I have never sat down at the screen to design, only, for example to check a font’s digital outlines. Adrian Frutiger.