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Lists, grids, tabs, bottom action bars, contextual menus on long press, and common actions on back buttons: these are common design patterns across all operating systems.

Commonplace means familiar –both for designers and developers. As people can move between operating systems and easily learn.

However, there is a dark side to this commonality. We are really early in the development of mobile and digital interfaces. Isn’t it too soon to have this level of standardization? These patterns are coming from the desktop. Are they truly the best patterns for mobile?

When you are designing an operating system, you are not focused on interaction innovation. Instead your innovation goes to creating a coherent framework, protecting users, and giving third party developers tools.

Disruption in mobile design will not come from the companies designing the OS. Disruption in mobile design must come from third party services. We need to tell operating system manufacturers what is required. That means spending a lot of time understanding what people actually need.

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Don’t build an app based on your website. Build the app that acts as if websites never existed in the first place.

Build the app for the person who has never used a desktop computer. Because they’re coming. Soon.

What matters is that in the next five years every person on this planet is going to be using a mobile device. And these devices are going to be used far more than any traditional computer ever has been and ever will be.

The PC is over. It will linger, but increasingly as a relic.

I now dread using my computer. I want to use a tablet most of the time. And increasingly, I can. I want to use a smartphone all the rest of the time. And I do.

The value in the desktop web is increasingly an illusion. Given the rate at which these mobile devices are improving, a plunge is rapidly approaching.

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Traits of a 10x hustler:

These people are very rare, but the impact they have is enormous. Typically the common traits are:

– immediately personally impressive. People have a sense they’re meeting someone special and go out of their way to help them, independent of context. The 10X hustler knows that often they only get 5 minutes and they make it count.

– a hacker mentality. always looking for a more scalable shortcut. Shaival Shah, another distribution maestro put this better than I can here in his post on how a great BD person canibalises their own function

– great at creating ecosystems around the things that excite them. Dave & Music Hack Days are a good example

– able to thrive in a wide variety of contexts and get on with exceptional people from all walks of life. No one would ever describe a 10X hustler as a ‘suit’, or a business guy. And probably not a hustler. They’d most likely describe them as awesome.

– on a path to running their own business. They’re fascinated by product, technology, growth hacking, fund-raising and any and all aspects of building an enduring company. If they’re not a co-founder then often a BD role at a start-up is a stepping stone to running their own company. 

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*What Happens When Failure Isn’t an Option*

To truly examine the impact a complete lack of punishments and failure states can have on video games, players need to look no further than the rise of Zynga and other social game makers. It’s not a coincidence that core gamers have such a deep and intense disdain for the entire category. It’s true that you hear complaints about how they make their money. You hear complaints about their spammy nature. But what underlies all of it is a low grumble that “they aren’t even actual games.”

This complaint is the perfect window into the mindset of a true gamer. It’s the perfect summation of why the potential to lose, and the punishment and inevitably follows, is absolutely essential to our enjoyment of games. Even though we don’t like losing. Without the possibility to failure, there can be no success.

*My crops may die, but I never will!*

Despite the naysayers, Zynga’s games are actually incredibly complex. They feature elaborate storylines, detailed artwork and offer up collaboration with friends and strangers on a grand scale. What’s more, they give players an almost unprecedented level of freedom for self-expression. Despite all this, many core gamers don’t consider FarmVille a game because it is literally impossible to lose, even if one were to work at it. Try as you might, the game will keep giving you more coins. Your game will never truly be over. The worst you can ever experience is a farm plot full of withered crops.

Yet these “little” flash games with their lack of failure states or player punishments have managed to eclipse anything the else games industry has ever accomplished. At its peak, Zynga’s CityVille had 100 million active players.

But the verdict is still out on whether this truly represents a sea change for the video game industry. Zynga is on rocky ground, with many professional pundits beginning to wonder if the entire social game category is materializing into a massive fad.

The meteoric rise of Zynga, born on the backs of games that appease the player at every turn and never allowed them to fail, sent traditional game companies scrambling. But it now looks more and more likely that the basic psychology of failure used by game designers for decades hasn’t actually been upended after all.

When I was little, I was once allowed to eat whatever I wanted for dinner. Eight-year-old me picked cookie dough, and I ended up with a terrible stomachache that lasted all night. It was too much of a good thing. It turns out I only tolerate cookies after a real, balanced meal.

Zynga’s recent fortunes might be proof writ large that game players don’t know what they want from a game’s difficulty. Just as eight-year-old me picked cookie dough for dinner (and would have picked an easier, friendlier Castlevania), Zynga’s casual game players have picked the company’s friendly fare over the more punishing titles the traditional game makers produce. It is very possible that the waning interest in social games is the latest proof of the maxim that players can’t be asked what they want – they sometimes need to be told what they want.

*Without presenting failure as a contrast to victory, the victory feels hollow.*

Gamers want to be challenged. We want a game to bring us directly to the peak of our abilities and push us into a flow state. But I believe that this alone isn’t enough. Without a fear of punishment, a victory over a game feels hollow. Everyone absolutely loathes losing rare gear to the aforementioned unexpected patches of lava in Minecraft, but without that fear of loss, there is no tension. Exploring the creepy, blocky cave wouldn’t be as fun. Even though we don’t like it, it makes Minecraft a better game.

Game makers have been pushing more “user-friendly” consequences and punishments onto players for as long as video games have existed. But this trend can’t continue indefinitely. If you follow that thread to its end, it terminates at the Zyngas of the world, with a library of “games” that aren’t games at all. They are colorful interactive distractions.

But if ‘80s gamers weaned on Castlevania and Mega Man were to skip ahead 30 years, would they view Gears of War or Uncharted any differently than gamers today view social titles? Both shooters feature the recharging health and checkpoint systems that gamers insist they don’t want to live without. But do we truly know what we want, or are we just eating too much cookie dough?

– Justin Davis, IGN.

//  Compare it to formula action tv shows. Or a superhero movie franchise. The protagonist is never in any real danger of ‘dying’ because you know the season still has 8 more episodes. It’s still fun to watch them do the dog & pony hoop jumping. But there are no true consequences. Which is OK for people who are watching to kill time and be entertained; Not to discover where the narrative takes you and how a character develops.
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Talent hits a target no one else can hit. Genius hits a target no one else can see. – Arthur Schopenhauer #practicepracticepractice

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Fritz Raddatz, on collecting and art.

GEORG DIEZ: You do not seem like a collector.

FRITZ RADDATZ: How do collectors seem?

They carry masses of luggage, for one, and you look like someone who likes to travel light. 

I am more of a sensual collector – not a rich heir or a screw manufacturer who buys art with his inheritance. “Collection” is almost too lofty a word for the things that I have carted together.

Max Beckmann, Miró … a watercolor by Henry Miller …

 

FR: Those are all things that have come out of my work and friendships with artists. They thrive from a dialectic, even fetishistic relationship. I have written about artists and worked with them; they have given me something back in return. It’s that exchange that makes their energy magnetic.

Does your collection relate to your experience of war and the division of East and West Germany, and how fleeting it can all be? 

No doubt. Retaining things is an attempt to outsmart death, in the same way that creating things is. The sculptor Alfred Hrdlicka, who I was friends with for a long time, once told me that every day spent in front of his marble was an attempt to defy death. Every artist wants to leave behind something of himself. Perhaps we deceive ourselves, but when acid eventually corrodes all the papers I have stored in the Marbach Literature Archive – my journals, manuscripts and so on – I should like a shadow of my life to remain.

And yet you always seem to be on the go – on the run, even.

I’ve had a very unsettled life, it’s true. But collecting is not a reaction to this. Collecting is an attempt to caress and to be caressed, to protect things and to be protected by things.

To have something watch over you.

Like my marvelous Lynn Chadwick sculpture of a wolf, which stood for years in the apartment of the writer Joseph Breitbach, with whom I was highly argumentative, but also quite friendly. It now stands over my fireplace.

What about that Porsche you used to drive – surely that was a thing you enjoyed purely as a thing?

I haven’t driven a Porsche in decades – that would be ridiculous at my age. I would sooner wear a pair of shorts. But whether it’s a Porsche, a Bentley or the Jaguar I currently drive – which is also a nice car – it is indeed just an object. Once I drove the Jaguar to see the sculptor Arnaldo Pomodoro and he said right off the bat, “Bella macchina!” He just understood the beauty of this object!

You are a true aesthete, then.

Do you know the quote from Oscar Wilde, “Appearances reveal our true insides”? Still with a pair of custom-made shoes, or an 18th century Venetian glass, or a Jaguar, I maintain that it is someone’s creation that someone has made. Gottfried Benn has a wonderful poem called “Reality” that expresses precisely this thought: “When he felt dread, a fetish he made/ when he suffered, the pietà he completed/the tea table he painted while he played/but by then the tea had been depleted”…

So it is a spiritual, totemic thing?

There is a creator behind every work of beauty – or as the artist Paul Wunderlich once told me, “That which stands or hangs here did not previously exist in the world.” This thought is somehow enormously exciting to me.

So there is creation on the one hand, and nothingness on the other – as Benn says, fetish is born of dread.

Well an artist is always vis- à- vis de rien, always naked in the face of nothingness, always at “zero.” You have an empty page or a lump of clay and then someone comes – be they genius orfaiseur, as the French say – and transforms it into something that didn’t exist before. The desire to create something beautiful on top of that is all the more fascinating.

Is art the beauty of saying “me”?

Art is the courage to say “me.” The beauty is a side-effect.

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new-aesthetic:

Copter – a duet between a remote controlled helicopter and a dancer, choreographed and performed by Nina Kov. (Via Alice, video by hunkies)

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reretlet:

18 by Akira ASKR on Flickr.

Really missing all my night-time-dirty-neighborhood-camera-walkabouts. Admiring the Zeiss + Hassie combo. Imagining focusing the new M via the LCD finder to compensate for astigmatism, and wondering how that will impact my framing. #LuxuriousDaydreamingBeforeTheDayStarts

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Early 2013 launch. 24MP full-frame CMOS sensor. Live View Focus Peaking (for my gradually worsening astigmatism, 10 years post laser surgery). Can use R lenses w/ an adapter!! New rubber seals!