Dialog Box

Count me in, too. A major earthquake has just struck Mexico City, and, like prominent blogger Robert Scoble, I heard the news first through Twitter, the relatively new instant message/mini-blog service. Twitter was alive with reports moments after the quake — even before USGS and other authorities made their initial reports.

Even now, the conventional media is just picking up on this story. Checking moments ago, only the L.A. Times has mention of the reports — CNN, ABCNews, and others are still chewing on the Imus story.

I’ll follow up on this later with more on Twitter, but for now, take a look at Scobleizer’s blog for more info.

FontFont, the type library with the repetitive name has (ironically, given their name) released a font that takes the guesswork out of typing for the txt-msg world that’s emerging. The unique font, FF Mt, transforms your type into space-saving abbreviations that still stand up to spell-checking (and they’re hip, to boot).

Created by Erik Spiekermann, FF Mt plays on emerging research that reading does not require all of the letters in a word to be printed for readers to recognize and comprehend the word. FontFont claims that the font saves 50% on space through its automatic compression, which largely strips out vowels and reduces capital letters. It’s apparently based on the “seminal” FF Meta (1984), also by Spiekermann.

According to Typographica, the German government is already using FF Mt to save space on the country’s road signs, as illustrated in this before/after comparison. It’s available now for free, so you might as well download a copy and experiment! All you need to do is type — as you find “wrds” that don’t compute without their vowels, just use a capital letter (hold Shift), and you’ll get a letter to fill in.

And sometimes, things just have to be spelled to make sense, of course: “Lf is gd” is either a nice sentiment or a religious one, depending on the quantity of o‘s imagined. (Thanks, Typographica)

I was going to simply update the last …quick clicks… entry, but Roughly Drafted’s latest post (article, really), sparks a lot of further consideration and discussion.

In it, Daniel Eran, in his typically thorough, yet readable fashion, gives an excellent overview of the evolution of home video and the format war that occurred as that industry developed. In the corporate espionage, backstabbing, and hubris, analogies to today’s home entertainment market (especially music) are painfully clear.

Looking back on Sony and its decisions regarding the (clearly superior) Beta format is a fascinating bit of hindsight. Perhaps the kernel of the Eran’s argument is this:

…companies [were given] the opportunity to experience the alternative to standards-based development. Rather than a government-run organization establishing standards, individual manufacturers would all scramble to develop their own proprietary systems, optionally choosing to license their designs to other makers.

In hindsight, this worked out really poorly. While companies were already able to compete in delivering TVs that all worked according to the standard NTSC TV specifications, there were no standards guiding a record or tape delivery medium for video.

Because there were no standards, huge resources were wasted in competing efforts to invent new ones. This same principle was later relearned at considerable expense in the field of software development, in networking, and again in video standards. Open formats and open standards solve a lot of problems for the market.

The lack of an open standard did not actually kill home video, however, and I’m not sure that innovation was truly dealt a serious blow. Interestingly, the VHS juggernaut that eventually squashed Sony’s beloved Betamax was fueled by Sony’s own designs, as they eventually (haughtily) pointed out in ad campaigns – “We Invented The Competition.” JVC, the company that launched VHS shortly after Betamax, was using technology derived from both private demonstrations of the prototype Beta systems years earlier, as well as its experience as a partner in Sony’s earlier professional U-matic video tape systems.

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Steven Levy, author of The Perfect Thing, the biography of the iPod, has an interesting post this morning working through his music-buying habits and how they are or are not affected by iTunes, DRM, and the record companies’ dreams of financial domination.

Personally, I have switched to downloading (yes, legally) for the most part, because convenience is paramount for me. Yes, it is comforting to have a physical CD, and yes, the audio quality is better on a CD than even the new higher-bitrate AAC offered by iTunes, but do I really need to store all that plastic away, when I listen almost exclusively through iTunes and iPods?

I think that more and more, people are consuming music in a much more constant stream. It’s with us when we walk to the parking lot, in the car, at the gym, while we exercise. Truth is, it has always been in a lot of these places — on PA speakers, radios, elevators. But today, the iPod and other portable devices are offering us a personalized stream of music in our lives — in every environment. We make all of the choices. It’s a compelling experience that makes it well worth a small dip in audio quality (especially if you have a hard time discerning that dip).

So, why do I need the physical CD? The strongest argument is that today’s audio compression and reproduction technology is but a tinny speaker to what we will have as a standard in 10 or 20 years. But will it matter? In 10 or 20 years, will I really dust off all of those CDs and re-rip that music into the format of the day? Maybe… or maybe not.

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The Chronicle of Higher Education has a nice profile on Cory Doctorow, the noted author and Boing Boing blogger.

It’s especially interesting to take a look at Mr. Doctorow as an advocate for freedom within the confines of a particularly bureaucratic and image-conscious university. (As a sample, a university email to students, cited in the article: “as an academic institution, USC’s purpose is to promote and foster the creation and lawful use of intellectual property.”)

His thoughts on the notion of copyright, ownership, and the nature of freedom are just barely brushed, but it is a well-written study of an important figure in society’s efforts to reconcile property and freedom.

Link » | Photo: Cory Doctorow by Ed Schipul

The Interface is, quite literally, where people and technology meet.

I’ll be bringing it up for a while here on this blog, and so for the time being, I have gone ahead and given it a capital I. It’s that important.

Soon, I’ll start to waste some pixels on the Humane Interface, and the essentials of HID — Human Interface Design, but right now, let me point out that there is a second side to the Interface — the technology (the one that is coming into contact with the human…). Before we get too digital or electronic here… keep in mind that technology is not necessarily animated and battery powered. It’s any application of knowledge (science), and so the Interface is not always a blinking button or LCD screen.

Interfaces have been with us since the dawn of human memory, in one form or another. (Picture the caveman refining the smoother, tapered handle for his club.)

So, now, with that in mind, here’s the natural comedy that emerges when we consider users’ modern-day frustrations with Interface design through the lens of a slightly older generation and its struggles with the newfangled Interface of the day: Gutenberg offers In your home support – on Bore Me

(Thanks to the Zinks for the link!)

Update Apr 6 There’s another version of this clip posted here with a few extra seconds of footage and a little bit of a different translation (though it’s a little darker).

In case you haven’t heard, Apple and EMI have reached an agreement to start selling DRM-free tracks on iTunes in May. EMI apparently negotiated to make them more expensive ($1.29 vs. $.99 US), but Apple adds value by offering the DRM-less tracks at double the bitrate of current iTunes offerings.

This is, of course, great news all around, if for no other reason than to quash the chorus of “yeah right, he’s not really serious” that followed the release of Steve Jobs’ “Thoughts on Music.” (Though some of the loudest singers seem to have conveniently forgotten that they ever mocked Jobs’ good intentions.) (thanks, Daring Fireball)

The Q & A session is interesting to skim, despite the heavy PR spin on most answers(thanks, Apple Insider). It’s interesting to me that Steve Jobs is so candid about the ability of iTunes buyers to simply burn and re-rip DRM songs to remove the DRM. Of course, this has been possible since Day One, but Jobs has not to my knowledge been so open about it before. Indeed, his “Thoughts on Music” (and Apple’s dogged patrol of third party hacks) seemed to indicate that Apple’s deals with the record companies to keep FairPlay secure were so tight that he wouldn’t dare suggest a way to circumvent it.

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