Showing posts with label the ten. Show all posts
Showing posts with label the ten. Show all posts

Tuesday, 26 June 2007

Buzzword du Jour: Haptic


Haptic, from the Greek αφή (Haphe), means pertaining to the sense of touch (or possibly from the Greek word haptesthai meaning “contact” or “touch”). Haptic controllers allow the user to feel weight, shape, texture, and other tactile qualities of objects in a digital image. It's what the iPhone's interface promises, the Nintendo Wii uses and what Samsung's only-available-in-China-so-far competitor to the iPhone is. It's the new way of interacting with tech and it's coming to a mobile near you soon: tech experts predict 40% of new mobiles will have touch (haptic) screens by 2012.

Time says of our newly tactile tech:

"It's the realization of the core metaphor of modern consumer computing, dating back to the Macintosh or arguably to the first computer mouse, introduced in 1968. The idea was that we would all pretend that abstract digital information is physically real, that we could see it and manipulate it according to physical laws. The iPhone takes the graphical-user interface--the GUI, in the parlance, pronounced "gooey"--a step further and makes it a tactile user interface. You're viewing a little world where data are objects, and instead of just pressing your nose up against the glass, you can reach in and pinch and touch those bits and bytes with your hands. The word is made flesh. Any realer and it would be Tron."

Pictured is MIT's I/O brush from giladlotan's Flickr stream. I/O Brush looks like a regular physical paintbrush but has a small video camera with lights and touch sensors embedded inside. Outside of the drawing canvas, the brush can pick up color, texture, and movement of a brushed surface. On the canvas, artists can draw with the special "ink" they just picked up from their immediate environment.

How Apple Innovates


The Economist has a great article about how Apple gets the jump on most of its rivals ... key bits:

"The first [lesson] is that innovation can come from without as well as within. Apple is widely assumed to be an innovator in the tradition of Thomas Edison or Bell Laboratories, locking its engineers away to cook up new ideas and basing products on their moments of inspiration. In fact, its real skill lies in stitching together its own ideas with technologies from outside and then wrapping the results in elegant software and stylish design. The idea for the iPod, for example, was originally dreamt up by a consultant whom Apple hired to run the project. It was assembled by combining off-the-shelf parts with in-house ingredients such as its distinctive, easily used system of controls. And it was designed to work closely with Apple's iTunes jukebox software, which was also bought in and then overhauled and improved. Apple is, in short, an orchestrator and integrator of technologies, unafraid to bring in ideas from outside but always adding its own twists.

This approach, known as 'network innovation', is not limited to electronics. It has also been embraced by companies such as Procter & Gamble, BT and several drugs giants, all of which have realised the power of admitting that not all good ideas start at home. Making network innovation work involves cultivating contacts with start-ups and academic researchers, constantly scouting for new ideas and ensuring that engineers do not fall prey to 'not invented here' syndrome, which always values in-house ideas over those from outside."

Second, Apple illustrates the importance of designing new products around the needs of the user, not the demands of the technology. Too many technology firms think that clever innards are enough to sell their products, resulting in gizmos designed by engineers for engineers. Apple has consistently combined clever technology with simplicity and ease of use. The iPod was not the first digital-music player, but it was the first to make transferring and organising music, and buying it online, easy enough for almost anyone to have a go. Similarly, the iPhone is not the first mobile phone to incorporate a music-player, web browser or e-mail software. But most existing “smartphones” require you to be pretty smart to use them.

Apple is not alone in its pursuit of simplicity. Philips, a Dutch electronics giant, is trying a similar approach. Niklas Zennström and Janus Friis, perhaps the most Jobsian of Europe's geeks, took an existing but fiddly technology, internet telephony, to a mass audience by making it simple, with Skype; they hope to do the same for internet television. But too few technology firms see “ease of use” as an end in itself.

Stay hungry, stay foolish

Listening to customers is generally a good idea, but it is not the whole story. For all the talk of “user-centric innovation” and allowing feedback from customers to dictate new product designs, a third lesson from Apple is that smart companies should sometimes ignore what the market says it wants today. The iPod was ridiculed when it was launched in 2001, but Mr Jobs stuck by his instinct. Nintendo has done something similar with its popular motion-controlled video-game console, the Wii. Rather than designing a machine for existing gamers, it gambled that non-gamers represented an untapped market and devised a machine with far broader appeal.

The fourth lesson from Apple is to “fail wisely”. The Macintosh was born from the wreckage of the Lisa, an earlier product that flopped; the iPhone is a response to the failure of Apple's original music phone, produced in conjunction with Motorola. Both times, Apple learned from its mistakes and tried again. Its recent computers have been based on technology developed at NeXT, a company Mr Jobs set up in the 1980s that appeared to have failed and was then acquired by Apple. The wider lesson is not to stigmatise failure but to tolerate it and learn from it: Europe's inability to create a rival to Silicon Valley owes much to its tougher bankruptcy laws."

Monday, 11 June 2007

Curry wine

The Guardian reports - as we did a few months' back - on the emerging trend of wines specifically marketed to be drunk with the UK's favourite cuisine.

Resignation by Flickr


We've seen resignation via blog but now comes (apparently) the first major Flickr resignation. John Curley, deputy managing director of the San Francisco Chronicle had this to say accompanying his photo of him clearing his desk:

"what's up with me

Last Thursday was my last day at the San Francisco Chronicle. I had been there for 25 years, which seems absolutely impossible, but is nevertheless true.

My last position was deputy managing editor. Over the years I had been a copy editor, a news editor, the sports editor, an assistant managing editor, and then a deputy managing editor.

I leave with great sadness, but not a trace of bitterness. We all know what is happening to the newspaper industry, and it is not pretty.

Even though this is officially termed a "reduction in force," I am surprised and dismayed that the organization thinks it can have a future without me. To be honest, I thought I'd get the chance to help lead the paper where it needed to go to compete successfully in the digital age. But instead, off I go.

Thirteen other newsroom managers are leaving along with me, including my boss, the managing editor, Robert Rosenthal. Shortly, union job cuts will begin. It had previously been announced that 100 of the 381 editorial jobs at the Chronicle will be eliminated at this time.

It's a bad time for me, and a bad time for the paper, but most importantly, I think it's a bad time for the democracy."

But not -- it seems -- for the new democracy online ...

Tuesday, 29 May 2007

A need to know of now

UK thinktank Demos has just published a new report on collaborative culture, "Logging on: culture, participation and the web".

Here are some of the key points made:

  • Digitisation has changed everything. It has created public expectations for on-demand, constantly available, individualised access to products. It has also challenged the assumptions of cultural sector professionals that their role is to oversee public access to culture in the sense that they act as gatekeepers to what is produced, what is shown and how it is interpreted. In the analogue world, the public was able to engage with culture on terms set by experts and professionals: content, pricing, format and timing were all decided by the producer. In a world of infinitely replicable and manipulable digital content, this no longer applies. The full implications of this for the cultural sector are not yet clear. Big business is worried and confused and is seeking to hang on to as many 'rights' as it can. Meanwhile private, public and third sector innovations from Amazon to the BBC to Wikipedia march inexorably on, and internet phenomena like Second Life and MySpace revolutionise the landscape in the space of months.
  • No more than one in four UK households had internet access at the start of 2000. And, even if available, the web was accessed via painfully slow dial-up or ISDN connections and the nature and extent of online content was reflected in this. Websites were typically text-based, with little in the way of moving image or sound, and the early adopters of more complex web presences were penalised: people just could not access sites with flashy graphics. The internet was generally perceived as a passive resource for searching and retrieving information; few websites provided opportunities for interaction.
  • Today, practically anyone in the UK who wishes to access the internet can do so [claims the report]. A crucial development has been the introduction and rapid widespread take-up of broadband, set off by BT's launch of its DSL (digital subscriber line) products in late 2000. The proportion of broadband subscribers then increased annually, and reached 72.6 percent by June 2006. Funded by the National Lottery via the People's Network programme, 80 percent of public libraries now have an broadband internet connection.
  • Recent surveys have shown that people in the UK now spend more time on the web than watching TV. In particular new technologies, from SMS to gaming to web usage, have been rapidly adopted by young people. This move -- from watching TV, to gaming and the web -- is significant because it involves not just a change of media, but a shift from passivity to interactivity. Schoolchildren today are as attuned to IT as past generations were to blackboards, timetables and spelling tests. How, our children complete their education with skills and expectations based almost entirely on the digital age - a radical generational shift. By the age of 17, the average schoolchild in the UK will have spent more time in front of a screen that in school.
  • There has also -- and perhaps most crucially -- been a distinct change in the past couple of of years towards more interactive and collaborative online content - often dubbed 'Web 2.0'. Since 2001, a mass of services facilitating user-generated content, information-sharing and social networking have been launched and have gained phenomenal popularity. For example, Wikipedia, a free content online encyclopaedia, was set up in January 2001 and currently has over five million entries in several languages. The peer-to-peer filesharing service Kazaa was set up in March 2001, the video sharing site YouTube in February 2005. Blogging has spread like wildfire -- in April 2007 Technorati was tracking over 75 million blogs. The social networking site MySpace, launched in July 2003, surpassed the milestone of 100 million accounts in August 2006.
  • (Google) is often called ubiquitous, but there is more to it than reach. It is not so much that Google is everywhere we look ... it's more that it is the means by which we look, and that, so often when we do look, we look online. Google does something new. Just as it does with all that it covers, it opens the arts and culture to a whole new audience. As well as reaching new eyes, it also presents culture in a totally different and more participatory way. Through the self-ordering preferences of its users it manifests the power of public engagement and displays a barometer of public will. This is an important point. New web tools enable users collectively to express their preferences through their actions, without having to be asked.
  • Social tagging ... allows the user to apply keywords to any item of online content. Then the content can be viewed from the perspective of the users, not just the creators of that content. The results can be syndicated as feeds or viewed for navigation purposes as 'tag clouds' where the most commonly used words appear larger than other words. These tag clouds are sometimes called 'folksonomies' (the opposite of rigid taxonomies) because they represent the diverse perspectives from which people view a piece of content.
  • What we are seeing now are tools that build on and extend 'Web 2.0' trends:
    • mashups: linking of feeds of feeds so that content continues to be combined and 'mashed up' in new ways
    • small social networking sites: alongside or instead of large, global social networks, some may find it useful to keep social networks small. See Vox.
    • linking the online and offline in new ways: linking physical products with online services is just one way that online and offline networks are joining up. It becomes possible to unleash the power of social networking among people who share a product or geographical location. An iPod is much more useful when coupled with the music searching and sharing activities of MySpace. An advocacy website like avaaz.org will send targeted messages to people based on their postcodes as well as their interests.
  • New tools are emerging that encourage interactivity, connectedness and creativity. Rival conceptions of intellectual ownership are being used ad hoc by people to negotiate their own paths into the world of culture and creativity. Lawrence Lessig has recently described the battle between read-only and read-write on the web in his book, Free Culture. The first is where professionals and corporations own the copyright of culture and the public are allowed access to it at a price. Amazon and iTunes are examples of this way of working. Amazon will not list a publication unless it has a price tag; iTunes does not sell music, it rents it out in order to keep reaping continual rewards. Read-write is a freer and more open concept where people build their own culture. Examples here include MySpace, where people can post their own music files, and YouTube, which performs a similar role for the moving image. Both the commercial and open source models have been phenomenally successful and popular.
Another 'way in' to all this stuff is to watch this short film.

Thursday, 24 May 2007

PS3 for Protein Research


Finally some good PR for Sony. In a great example of open innovation, Stanford University recently used Sony Playstation 3 consoles to do some serious number-crunching research.

The BBC reports: "Attempts to understand diseases such as Alzheimers have got a boost from Sony's PlayStation 3 console. More than 250,000 PS3 owners have enrolled their console in the Folding@Home project which uses it to study the shapes proteins assume.So many have signed up that the project has carried out a year's worth of research in a month.

Proteins that do not fold correctly have been implicated in diseases such as Alzheimers and BSE.

The Folding@Home (F@H) project uses idle machines, be they PCs or game consoles, to simulate how proteins, the building blocks of life, assume the forms that play key roles in living tissue."

Wednesday, 23 May 2007

The Second (Dot)Coming


A second Internet goldrush appears to be underway but this time the buzzwords are 'social' and 'media'. In scenes reminiscent of oooh...1997 investors and high profile folk all over the place are launching new sites and investing in old ones. The latest? One-to-watch (literally) video search engine Blinkx.

The Independent reports today that shares in Blinkx surged 40 per cent after the company's market debut as investors clamoured to invest in the world's largest internet video search provider.

Blinkx has been spun out of Autonomy, the contextual internet search specialist that has retained a 10 per cent stake in the business. While Autonomy has often struggled to explain the significance and potential of its complex technology to befuddled investors, it appears that the rapid success of internet video companies such as YouTube has underlined the growth prospects of Blinkx.

In scenes reminiscent of the dotcom boom that characterised the markets in the early part of this decade, Blinkx shares surged 40 per cent to 63p on the first day of trading on the AIM market. The initial listing price of 45p a share was already at the top end of the pricing range and the IPO was strongly oversubscribed. Blinkx ended the day with a market capitalisation of £175m.

Blinkx offers more than 13 million hours of indexed video content, making it the largest video search engine in the world. Mr Chandratillake said the company's technology provides "the critical link" between the consumer and the fragmented online content industry. It processed 1.1 million searches last month alone.

The company has raised £25m that will be used predominantly to bulk up its sales and development staff. Mr Chandratillake said the company was looking to launch a broadband-based television service. He added that the company was also looking to develop an advertising platform.

It remains to be seen if any of these platforms will really make money. How oddly familiar ...

Thursday, 17 May 2007

Hamster Shredder

Tom Ballhatchet's hamster-powered paper shredder. Via Core77 design blog.

Wednesday, 9 May 2007

Design for the other 90%


"Design for the Other 90%" is a new exhibition running through Sept. 23 at the Cooper-Hewitt National Design Museum in New York City focusing on sustainable innovation. A few of its highlights will be familiar: The Katrina Furniture Project, the One Laptop Per Child initiative and Lifestraw (pictured), for instance, have both received generous media attention.

In featuring more than 30 innovative tools—each of which addresses issues such as safe drinking water, shelter, health and sanitation, education, and transportation—curator Cynthia Smith hopes to illuminate the critical need for humanitarian design. "It's a call to action," says Smith, who has worked for the Lee Skolnick Architecture + Design Partnership and studied at Harvard's John F. Kennedy School of Government. "We're trying to show that design can change lives."

While these consumers face many issues—poor shelter, limited medical care, and substandard school systems—developing appropriate solutions is easier said than done. To craft low-cost, high-impact remedies, like the ones featured in "Design for the Other 90%," Smith says innovators must "get creative." "There's more than one way to fix the world's problems," she explains, adding that roughly 2.8 billion people live on less than $2 a day. "We're trying to showcase a variety of solutions."

Read more and see a slideshow of some of the innovations at Businessweek online.

Thursday, 26 April 2007

Google is the world's most valuable brand.

The FT reported this week that Google is now worth $66.4 billion, ahead of GE, Microsoft and Coca-Cola.

The speed of the company's ascent has been astounding: the domain name google.com was only registered in 1997. Google's ranking jumped to the top spot from No. 7 a year ago, based on a 77 percent increase in the value of its brand. By contrast, Microsoft, which led the survey in 2006, tumbled because of an 11 percent drop in the perceived value of its brand.

The other top brands were as follows:

1. Google ... $66.4 billion
2. GE ... $61.9 billion
3. Microsoft ... $55 billion
4. Coca-Cola ... $44.1 billion
5. China Mobile $41.2 billion

Tuesday, 24 April 2007

Periodic Table of Visualisation Methods



Nicked from Cool Tools who say, "If you've ever wondered how to model something, or were looking for new ideas for segmenting and presenting complex concepts, this is an incredible online resource. A neat graphical explanation and example of each "element" (ex; a cycle diagram) appears as soon as your cursor scrolls over them. What I like most is that the categorisers have thoroughly sliced the categorising! For instance, they've color-coded their categories: data, metaphor, concept, strategy, information, and compound visualisation techniques. As if that were not enough to spark your brain, the creators also provide clues as to whether the model works best for convergent or divergent thinking, and whether it is more for an overview vs. detailed perspective. So far, I have used it mostly for inspiration, especially the metaphor models, but this resource has given me ideas and structure and the appropriate language for my work as a process designer and facilitator. I also passed this onto a 7th grade teacher friend of mine who is using it with his entire class!"

The table itself is here.

Created by Dr. Martin J. Eppler & Ralph Lengler, University of Lugano, Switzerland of Visual Literacy.org.

Innocentive

InnoCentive serves as a crowd-sourcing R&D broker. Companies can post R&D challenges to their site and 90,000 independent researchers in 175 countries have an opportunity to tackle them. Interestingly, many of the solutions come from "left field": physicists who easily solve what are nominally difficult chemistry problems, for example. Rewards range from $25,000 to $1 million, which works out pretty cheap given that American firms spend around $200 billion on R&D annually.

See also: The Rise and Fall of Corporate R&D, The Economist.

Monday, 23 April 2007

The Business of Innovation

"The Business of Innovation is a series of 5 one-hour programmes produced by CNBC, the worldwide leader in business news, which explores in-depth the most important topic in the business world today - Innovation. Each program will explore a different aspect of Innovation using CNBC's global newsgathering capabilities, well-known current and former CEO's and innovation experts to dissect the topic and provide guidance for viewers seeking to innovate in their own organizations. The series is hosted by award-winning journalist Maria Bartiromo, who calls the programmes "...ground breaking in scope"."

And it's all watchable in your own time, online.

Friday, 20 April 2007

Speed shopping


A company called ShopText has introduced a system that lets people buy products instantly using text messages, a process that eliminates the need to go to a store or even visit a Web site. For instance, a woman seeing an ad for a pocketbook in a magazine can order it on the spot simply by sending the text code found beside the item through her cellphone.

To use the system, a consumer must first place a phone call to ShopText to set up an account, specifying a shipping address and card account. After that, all purchases can be made by thumb.

When ShopText receives text messages about donations or products, it charges the credit card it has on file for the buyer, then, if appropriate, sends the product from one of its warehouses around the country.

ShopText was started in 2005 within Anomaly, an ad agency in New York, and worked at first with the PayPal unit of eBay to build text-message shopping tools. In November, ShopText was spun off as its own company, and since then it has been busy trying to persuade media outlets and marketers that mobile phone shopping, or m-commerce, stands to become as lucrative as e-commerce. As with all new business launches nowadays, ShopText comes with a social-good element as a core aspect of the brand: its mantra is 'shop. sample. donate'.

“E-commerce only represents a fraction of total retail — the thing that holds it back is it’s tethered to an Internet connection,” said Mark Kaplan, founder and chief marketing officer of ShopText. “The cellphones link products to media. When people get the impulse to buy, they have their cellphones.” And even better, people have their phones with them *all the time*.

Source: New York Times.