Playing hardball

An interesting discussion with movie prop designers that just had to include this iconic figure.

The hardest props I ever made
It was very strange because I approached representatives of the company [Wilson Sporting Goods], and they were not interested at all. It just didn’t matter to them. I told them, “You know, we have Tom Hanks here. We have Robert Zemeckis, who did Back to the Future. We have this venue for this ball of yours that is incredible. And it’s named Wilson.” They were very polite, but not interested. I told them, “We’re depicting your product. It’s a wonderful character in this movie, and it saves this man’s life.”

At some point, I called back and got some kind of great sales rep. And she got it. She understood exactly what this was. She said, “Let me see what I can do.”

And the rest is history. So much so, that you can now buy your very own Wilson, as well as a variety of other movie-themed balls Tom Hanks might recognise.

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Book cover comparisons

Further to some previous posts about book cover design, here’s a birds-eye view of a whole load of them.

11 years of top-selling book covers, arranged by visual similarity
An interactive map of over 5,000 book covers, organized by machine learning.

It’s interesting to play around with the filters, to see how samey some of the genres are. It all reminded me of those photomosaic images from the 90s.

Mechanical, musical marvels

I’m not sure how I’ve failed to share Wintergatan’s Marble Machine video before now. It’s from a few years ago, but I still come back to it and am just as blown away as I was the first time I saw it.

Wintergatan – Marble Machine

It’s just (just??) a large music box, really, but it made quite an impression, to say the least. And as technically astounding as that is, a new-and-improved version is being built, and musician/designer/engineer Martin Molin has been sharing the journey in some detail. It looks and sounds incredible.

Marble Machine X plays drums

As well as showing us his own work, Martin has filmed his favourite music machines from the Speelklok Museum in Utrecht, in the Netherlands. They’re just as bizarre.

100 year old self-playing violin – “The Eighth Wonder of the World”
This amazing instrument is The Hupfeld Phonoliszt Violina – an Orchestrion with self-playing Violins, Enjoy!

Domtoren Clock Tower plays the Marble Machine song
Malgosia Fiebig surprised me completely by playing the Marble Machine song on the Carillion of the Domtoren clock tower for the whole city of Utrecht!

It’s crazy to think that that 900 year old tower, all 112.5 metres of it, is one instrument.

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An accidental typographer

Check out the work of Shuetsu Sato, a Japanese security guard who’s accidentally become a graphic designer and typographer.

Tokyo subway’s humble duct-tape typographer
Walk the bowels of these stations long enough and you may come across Shuetsu Sato 佐藤修悦. Sixty-five year old Sato san wears a crisp canary yellow uniform, reflective vest and polished white helmet. His job is to guide rush hour commuters through confusing and hazardous construction areas. When Sato san realised he needed more than his megaphone to perform this duty, he took it upon himself to make some temporary signage. With a few rolls of of duct tape and a craft knife, he has elevated the humble worksite sign to an art form.

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For the love of books

A new advertising campaign from Penguin that nicely off-sets yesterday’s article about unwittingly putting kids off reading — a set of posters celebrating the “life-affirming relationship that forms between a reader and the books they’ve loved over the years.”

Penguin celebrates dog-eared delights in new Happy Reading campaign
“The books are the ‘talent’ in this campaign,” Sam tells It’s Nice That. “Every reader has had the experience of falling in love with one and we wanted to showcase books that demonstrated evidence of these relationships and that told stories beyond those printed on their pages, whether through their cracked spines, dog-eared pages or the furiously scribbled notes in their margins.”

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There’s more info on the Penguin website.

The classics we fell in love with, as chosen by our authors and readers
This summer, we’re celebrating the individual books that readers have fallen in love with. We’ve sought submissions from authors to artists, musicians to booksellers, and from you, Penguin Classics readers.

It’s hard to imagine e-books having the same impact…

This website is so frustrating!

You must check this website out, it’s so bad it’s good.

Behold, the most (intentionally) poorly designed website ever created
Sometimes we take Web and user interface design for granted—that’s the point of User Inyerface, a hilariously and deliberately difficult-to-use website created to show just how much we rely on past habits and design conventions to interact with the Web and our digital devices.

We don’t appreciate how many user interface conventions we take for granted, until they catch us out like this. It’s crammed full of twists and jolts and frustrations. It took me an age to get past just the first page!

And another thing

How often have you thought about your Shift + 7 key?

Ampersands: A beloved character
It began life as a shortcut for scribes and proved just as useful for early typesetters, eventually working its way into the English alphabet as the 27th letter. We collectively dropped it from the ABCs, and the decline of handwriting and manual typesetting made it less useful. But its flexibility and grace have kept it on our business cards and movie posters.

These Quartz Obsession e-mails are typically full of wonderful rabbit holes, and this one’s no exception. Let’s start with a quick introduction.

Where did the ampersand originate?
Developed from the Latin et (“and”), the ampersand, formerly the twenty-seventh letter of the alphabet, is a character with a cult following among students of typography.

And not just students of typography — the lowly ampersand can count lawyers, entrepreneurs, movie producers and restaurant owners as fans, if these links are anything to go by.

For law firms, the ampersand is a character worth saving
Paul Hastings, Norton Rose Fulbright, Hogan Lovells, Proskauer Rose, Baker Botts: the list of new BigLaw titles built on the corpses of ampersands is almost endless. All these firms discarded their ampersands as if they were ashamed of them.

There are practical reasons so many hipster businesses follow the exact same naming structure
There’s also a nostalgic feel to this construction. “At some point in its early history, I’d guess the germ of that trend was an allusion to the common practice in 17th/18th/19th centuries of naming your company after its principals (e.g. Gieves & Hawkes, Dege & Skinner, Marks & Spencer, etc.),” says Simon. “Could be some of your fashion brands want to allude to handcraft, to pre-industrial or non-industrial processes.”

Stereotypography
So far, critical appraisal of the ampersand in Pride & Prejudice has been mixed. On Slate, David Edelstein calls the ampersand one of the “ominous first impressions” that he had to get over in order to like the movie. The Toronto Globe and Mail (or is it “Globe & Mail”?) says the ampersand signals a “contracted, contemporary approach” to the novel. The San Francisco Chronicle finds the typographical choice to be indicative of the movie’s “jaunty approach.” And the Detroit Free Press says “the only thing really new” in the film is “the hip ampersand of the title.”

Contemporary! Jaunty! Hip! That’s a lot of stereotypical baggage to put on a modest piece of punctuation that has been kicking around in one form or another for about two thousand years.

Petition · Restore the ampersand as the 27th letter of the alphabet
This isn’t just for us. Think of all the uses of the ampersand out there, and all the people and organizations that could benefit from allowing the ampersand back into our alphabet.

We’re not asking for much. And to be completely honest, we’re not exactly sure who calls the shots on these sorts of things, but having Merriam-Webster on our side seems like a good start.

Bring back the Ampersand

It’s fair to say that graphic designers and typesetters are this character’s biggest admirers, though.

Font Aid IV: Coming Together
The Society of Typographic Aficionados is proud to announce the release of “Coming Together”, a font created exclusively for Font Aid IV to benefit the victims of the 2010 earthquake in Haiti. The font consists entirely of ampersands, to represent the idea of people coming together to help one another. Type designers, graphic designers, and other artists from around the world contributed artwork to the font.

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Design by: Herb Lubalin
Herb Lubalin is best known for his logotypes, or as he called them ‘expressive typography’. One of his most famous works is the Mother & Child masthead he designed for a Curtis magazine, where the ‘O’ in the word mother is a womb for the word child. The use of the ampersand in this design is pure genius.

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Attitudes toward hyphenation and rag settings
In fact, Gill was even more willing to challenge convention than Dowding. Not only did he liberally use ampersands for “and” but he also used contractions (e.g., “tho’”), and superscript letters (e.g., “production”) to achieve even spacing. But most importantly, he advocated that text be set flush left, rag right (though he did not use that phrase) as not only more natural than justified setting, but as the best way to guarantee consistent word spacing. He considered the insistence on justified text to be nothing more than a superstition, remarking that “even spacing is more important typographically than equal length.” In his view justified text existed to satisfy man’s desire for neatness.

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That last link is my favourite, I think. I could read about typography and book design all day. There’s something very calming and comforting in a well set page of text like the one above. Those margins!

So it was a wonderful coincidence to see that today’s Aeon newsletter contained this link about book printing.

What’s as satisfying as a good book? Seeing one made the old-fashioned way, by hand
The director Glen Milner charts each step in the process as bookbinders piece together a new hardbound edition of the memoir Mango and Mimosa (1974) by the British writer and painter Suzanne St Albans. From folding pages to sewing and gluing paper to the leather spine, skilful human hands are front and centre throughout. Milner documents this melding of mechanics and craft with an almost musical rhythm, conveying skills and methods born of centuries of refinements.

Birth of a Book

And would you believe it, that printing and bookbinding company is in Leeds, just 5 miles away from me!

“Minimalist infantilization”

You don’t need a degree in visual identity to notice a certain amount of homogeneity amongst corporate branding these days. Graphic designer and writer Rachel Hawley investigates this  “creepy cheerfulness of a thousand smiling san serifs.”

The corporate logo singularity
By the time Facebook and Google got in on the fun, of course, this new style was well underway. Motorola, Spotify, Airbnb, PayPal, and Lenovo had all undergone similar redesigns; over the next few years, Dropbox, Mastercard, Pandora, Pinterest, and Uber followed suit, among others. The twenty-first century, it became clear, would be smooth, sleek, and simple.

What we’ve been left with is the unsettling omnipresence of a single corporate aesthetic, its reach rapidly expanding beyond its tech origins. Taken individually, any of these wordmarks might effectively communicate the intended qualities of friendliness and approachability; together, their cheerfulness is downright creepy, like the painted-on smile of a clown’s face.

[…]

Here, the truth is made plain: the childlike nature of corporate branding isn’t a random trend, but part of the mindset that consumers ought to be treated like children. Details are the sinister machinations of faceless authority figures; friendly colors and geometric letters like those on a toddler’s building blocks are comforting by contrast. That each brand looks more or less like the next is only for the better: the world is a little smaller that way, less likely to confuse or frighten. As Jesse Barron wrote for Real Life magazine in 2016, “We’re in the middle of a decade of post-dignity design, whose dogma is cuteness.” Cuteness, employed as these companies do, talks down to you without words.

In related news, Firefox is having a rebrand. And yes, this feels quite ‘cute’ too, after reading Rachel’s article.

Mozilla gives Firefox a new look that goes beyond the logo
Built around four distinct ideological pillars — a radical optimism about the internet, a desire to build better products, a drive towards openness, and a belief in the fundamental importance of being driven by strong convictions — the new look and feel isn’t the end of story, with Mozilla claiming that: “As a living brand, Firefox will never be done. It will continue to evolve as we change and the world changes around us.”

Firefox’s new logo has more fire, less fox
But before you say “What did they do to that poor fox!” know that the logo you see above actually isn’t the browser logo — that’s the brand-new overarching logo for Mozilla’s whole family of Firefox products, with each component (including the browser) having its own logo, too.

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Video game nostalgia

It’s a big week for video games, with E3 2019 in full swing. But never mind all that, let’s look back to the good ol’ days with Sam Dyer, founder and book designer of Bitmap Books.

Bitmap Beauty: Exploring classic video game box art from the 80s and 90s
“Given the limitations the artists had, this pixel art is a real work of art and deserves to be treated as so. However, the box art also hugely influenced which games we purchased before the internet. It really was the cover art that would draw you in, when in a shop.”

The unsung design wonder that is classic video game packaging has been explored by Bitmap Books for five years now, with Sam founding the indie publisher following a decade as design head for brand agency The House. The first release was a visual compendium dedicated to the 1982 Commodore 64, and like all the vintage console-dedicated books on Bitmap, the tome is packed out with game screengrabs, creator interviews and lovingly annotated looks at box art from around the world.

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In a similar vein, here’s a link-filled piece from a pair of academics writing in The Conversation last year.

Finding nostalgia in the pixelated video games of decades past
Every day, it seems, new ultra-high-resolution video games are released, syncing with players’ social media accounts and ready for virtual reality headsets. Yet old games from the 1970s and 1980s are still in high demand. The Nintendo Corporation has moved recently to both quash and exploit that popularity, shutting down websites hosting old games’ code while planning to release its own back catalog on a new platform. […]

Playing old video games is not just a mindless trip down memory lane for lonely and isolated gamers. The average age of a U.S. gamer is 34, and many popular retro game titles have been around for 20 years or more. It seems Generation X-ers could be returning to their cherished childhood properties.

In fact, emerging media psychology research, including our own work, suggests that video game nostalgia can make people feel closer to their past, their friends and family, and even themselves.

Meanwhile.

A Bentley on the Fury Road

Like something out of Mad Max.

Russian mechanic adds giant tank treads to a Bentley Continental GT turning it into a badass ‘ultratank’
As Kosik added giant tank treads and made other adjustments to the Bentley, he carefully documented every step of the process in a series of progress videos until the final reveal on May 8, 2019.

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Bentley Ultratank. First Run. Eng Sub.

What an incredible project. Here’s Miller’s version, a little less immaculate.

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A first look at Mad Max: Fury Road’s killer vehicles: Peacemaker
In the mix-and-match world of classic Australian muscle, the 1971–78 Chrysler Valiant Charger is something of a companion to Ford’s XB Falcon that plays so prominently in the Mad Max mythology. So in Fury Road there are at least two Valiant Chargers featured. This one, called Peacemaker, isn’t so much a Chrysler of any sort as it is some classic sheetmetal stretched out over a U.S.-made Ripsaw light-tank chassis.

Comfort food?

Is this a reversal of the phrase, ‘you are what you eat’? Now you can eat what you are.

Burger King trolls McDonald’s while nodding to mental health issues in new campaign
One of the joys of a big brand rivalry must be the chance every now and again to get one over on your nemesis through a catty campaign – or to try to at least. This week Burger King has stepped up to the plate, waving a red rag to its biggest foe McDonald’s with the launch of five “Real Meal” boxes, a cheeky rip of McDonald’s famous Happy Meal. Including Pissed, Blue, Salty Meal, YAAAS and DGAF (that’s “don’t give a f–k” to save you the Urban Dictionary trip), the new boxes allow customers to order a Whopper based on their mood, alluding to the fact that many people ordering a “Happy” Meal are far from it.

See also this other unhappy meal.

The writing in the walls

I’ve not really thought about bricks before, unless they’re in artworks of one kind or another. But here, they’re being considered as design objects in themselves. Or rather, the makers marks that get stamped onto the top of each one.

Patrick Fry unearths our new favourite design gem: bricks!
For Patrick, this hidden typographic mark links to his own obsession with “design that isn’t necessarily created by designers but rather engineers, craftsmen and the like,” he tells It’s Nice That. “It’s design for utility that often has a strange, imperfect quality that really appeals; it holds an honest story. This ‘outside design’ exists apart from our historical understanding of graphic design, it’s raw and unrecognised.” And in turn, makes bricks one of those fascinating elements of design that are ubiquitous, and that we couldn’t really live without.

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This wine’s a little flat

I’ve seen some unusual wine glasses, but these wine bottles look very intriguing.

Flat wine bottles could cut costs and emissions, says firm
The global wine industry is estimated to use more than 35bn glass bottles a year (including 1.8bn in the UK alone), and transportation – typically in cases of six or 12 – involves large volumes of unused airspace.

Garçon Wines, launched in 2017, claimed its bottle was the first that could be posted through a letterbox. Until now it has been used only for novelty gifts, but the company said it was in talks with wine manufacturers and suppliers about producing the bottles on a much larger scale.

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The company’s carton for 10 flat bottles, being launched at a packaging conference in Birmingham on Wednesday, would hold only four glass bottles of the same 75cl volume.

What a great idea! I hope it takes off. I’d much rather have one of these bottles on my table or shelf than those cumbersome wine boxes you can never quite properly empty.

Garçon bottles
A majestic homage to the classic Bordeaux bottle shape familiar to wine lovers everywhere, our flat wine bottles are both stylish and sturdy. Their slender form stands proudly and slightly taller than conventional glass bottles, adding a note of distinction to your dinner table and a topic for discussion.

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But don’t be fooled by their delicate demeanour: Garçon wine bottles are durable and dependable. They’re designed to endure the jolting and jarring of the bumpiest delivery service and won’t break in transit. Our flat wine bottles always reach you in the finest condition, even when they’re delivered through the letterbox.

Letterbox wine, to go with letterbox flowers. Whatever next? Do you remember when you could get movies through the post?

(Via)

Electronic embroidery

As if computers weren’t complicated enough already.

A programmable 8-bit computer created using traditional embroidery techniques and materials
The Embroidered Computer by Irene Posch and Ebru Kurbak doesn’t look like what you might expect when you think of a computer. Instead, the work looks like an elegantly embroidered textile, complete with glass and magnetic beads and a meandering pattern of copper wire. The materials have conductive properties which are arranged in specific patterns to create electronic functions. Gold pieces on top of the magnetic beads flip depending on the program, switching sides as different signals are channeled through the embroidered work.

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See also The 200 Year Old Computer for more connections between thread and computing.

Switched on

Here’s a poetic exploration of the humble light switch, highlighting what may be lost if everything becomes smart.

Let there be light switches – from dark living rooms to dark ecology
It means the resilient light switch, like the door handle, reveals the accumulated touch of all those gone before, a patina of presence. Juhani Pallasmaa said that the doorhandle is the handshake of the building; is the light switch the equivalent for the room?

[…]

Pallasmaa, in his The Eyes of the Skin, noted that touch is a key part of remembering and understanding, that “tactile sense connects us with time and tradition: through impressions of touch we shake the hands of countless generations”. Is this reach for the switch merely functional, then? A light switch can stick around for decades, as with the doorhandle. When you touch the switch, you are subconsciously sensing the presence of others who have done so before you, and all those yet to do so. You are also directly touching infrastructure, the network of cables twisting out from our houses, from the writhing wires under our fingertips to the thicker fibres of cables, like limbs wrapped around each other, out into the countryside, into the National Grid.

If we always replace touch with voice activation, or simply by our presence entering a room, we are barely thinking or understanding, placing things out of mind. While data about those interactions exist, it is elsewhere, perceptible only to the eyes of the algorithm. We lose another element of our physicality, leaving no mark, literally. No sense of patina develops, except in invisible lines of code, datapoints feeding imperceptible learning systems of unknown provenance. As is often the case with unthinking smart systems, it is a highly individualising interface, revealing no trace of others.

I think I now need to re-read Bret Victor’s take on the future of interaction design, that I mentioned earlier.

That’s better!

The next Marvel film is set in 1990s, and so is its promotional website.

Marvel launched a delightful, retro website to promote Captain Marvel
The result is absolutely delightful. The website taps into the nostalgia for the 1990s that we’ve seen in the film’s trailers, and features a ton of components that were mainstays of the web almost a quarter of a century ago: random animations, zany photo editing, HTML frames, brightly-colored fonts, and of course, a guestbook and hit counter.

Perfect! Now, all we need to do is switch the rest of the web back.

Just my type

Jesse Simon continues to pay attention to the details of his built environment.

The colours of Berlin: yellow
The colours of Berlin is a new bi-monthly series that will run throughout 2019. Where other posts on this blog have attempted to describe typographic trends and phenomena in Berlin, the entries in this series will focus on a particular colour by presenting a collection of images without additional text. Every city has its full spectrum on display; this is the one that belongs to Berlin.

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It’s hard not to feel down about the ugly state of my city, when I compare it with those examples of considered design. So here’s something quirky to lift my mood.

“Something illegible still has something to say”: Eliott Grunewald on his type designs
“I’ve been more interested in display typefaces, for their expressiveness and ‘voices’; like type as an image more than the design of a text typeface,” he tells It’s Nice That. “So I guess, sometimes, it does result in letterings which are formally too intense or even illegible. But something illegible still has something to say, to show or to promote, I don’t feel that even if you cannot read the word, you cannot get anything from it.”

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And, for a full account of what goes into good typeface design, take a look at this.

Why San Francisco
We got our first glimpse of Apple’s new sans-serif typeface, San Francisco, when the Apple Watch was unveiled in September of 2014—a new typeface designed specifically for legibility at small sizes on a tiny, high-resolution screen. Big news for type nerds and Apple fans alike.

It’s very thorough, and I don’t pretend to understand half of it, but it’s nice to see someone paying such close attention to the details.

Pictures under glass

Following on from yesterday’s post about Joe Clark’s frustrations with various aspects of iPhone interface design (and smartphone design more broadly, I think), here are a few more.

First, Craig Mod on the new iPads — amazing hardware, infuriating software.

Getting the iPad to Pro
The problems begin when you need multiple contexts. For example, you can’t open two documents in the same program side-by-side, allowing you to reference one set of edits, while applying them to a new document. Similarly, it’s frustrating that you can’t open the same document side-by-side. This is a weird use case, but until I couldn’t do it, I didn’t realize how often I did do it on my laptop. The best solution I’ve found is to use two writing apps, copy-and-paste, and open the two apps in split-screen mode.

Daily iPad use is riddled with these sorts of kludgey solutions.

Switching contexts is also cumbersome. If you’re researching in a browser and frequently jumping back and forth between, say, (the actually quite wonderful) Notes.app and Safari, you’ll sometimes find your cursor position lost. The Notes.app document you were just editing fully occasionally resetting to the top of itself. For a long document, this is infuriating and makes every CMD-TAB feel dangerous. It doesn’t always happen, the behavior is unpredictable, making things worse. This interface “brittleness” makes you feel like you’re using an OS in the wrong way.

How we use the OS, the user interface, is key. Here’s Bret Victor on why future visions of interface design are missing a huge trick – our hands are more than just pointy fingers.

A brief rant on the future of interaction design
Go ahead and pick up a book. Open it up to some page. Notice how you know where you are in the book by the distribution of weight in each hand, and the thickness of the page stacks between your fingers. Turn a page, and notice how you would know if you grabbed two pages together, by how they would slip apart when you rub them against each other.

Go ahead and pick up a glass of water. Take a sip. Notice how you know how much water is left, by how the weight shifts in response to you tipping it

Almost every object in the world offers this sort of feedback. It’s so taken for granted that we’re usually not even aware of it. Take a moment to pick up the objects around you. Use them as you normally would, and sense their tactile response — their texture, pliability, temperature; their distribution of weight; their edges, curves, and ridges; how they respond in your hand as you use them.

There’s a reason that our fingertips have some of the densest areas of nerve endings on the body. This is how we experience the world close-up. This is how our tools talk to us. The sense of touch is essential to everything that humans have called “work” for millions of years.

Now, take out your favorite Magical And Revolutionary Technology Device. Use it for a bit. What did you feel? Did it feel glassy? Did it have no connection whatsoever with the task you were performing?

I call this technology Pictures Under Glass. Pictures Under Glass sacrifice all the tactile richness of working with our hands, offering instead a hokey visual facade.

And that was written in 2011. We’ve not got any further.

The YouTube video he links to isn’t there anymore, but this one from Microsoft works just as well.

Stop neglecting the users

This is a great breakdown from Joe Clark — not quite tipping over into a rant — of all the iPhone user interface issues Apple is happily ignoring.

iPhones are hard to use
Observing what are dismissively called “normal people” (or “users”) for more than a decade, the one thing iPhone owners are proud they know how to do is force-quit apps. They also know how to set a ringtone and choose atrocious wallpaper. And that’s it. But they aren’t to blame.

People kind of don’t know that they can swipe up or down from top or bottom of screen. As an example, I certainly almost never see anybody turn wifi on or off that way (it’s almost always through Settings). They certainly don’t know what Control Center and Notification Center are by name. (They also don’t know what their iSight camera is. They don’t know what Springboard is, and shouldn’t have to. But do they know what the home screen is?)

It’s not just an issue with iPhones, I don’t think. It certainly frustrates me too, when I see people struggle unnecessarily with a task on any smartphone, though no fault of their own.

Seniors love iPads, but seniors and unhealthy people in general have a serious pressing need to fill out the Medical ID section (not obvious) in the Health app (also not obvious). Exactly the people who need this function are the least likely to use it. We cannot, and should not, rely on these seniors’ grandkids or caregivers to do it for them.

Fill out these fields and not only could a paramedic, or just a bystander, learn what medical conditions you have if you’re unconscious, they can phone your emergency contacts (and also call an ambulance via 911 or local equivalent).

Ok, I admit that’s something I hadn’t done until reading this. We’re really not making full use of these devices. And Apple (and I’m sure all the others) aren’t really, either.

You really need to tell the phone, and/or Siri, who you are and who your family members are. This involves creating a contact card (what’s that?) for yourself and linking to it. Then all your family members need their own cards, and you have to laboriously specify their relationships to you.

I insist this is not an optional or nice-to-have feature. If you have chest pain, you have to be able to hold the button down and say “Call Charlie” or “Call my wife.” (God help us if Siri asks which Charlie to call.)

Another friend really did have chest pain in a foreign country and it never occurred to him to call anybody. So in fact, Apple, a trillion-dollar corporation, has to put considerably greater resources into telling people how to set up their phones for emergencies so they will actually use those phones then. Again, this means forcing people to do it upon setup and making it exceedingly clear, in writing and in video, what their phones can do for them when they need their phones the most.

This is obvious, when you think about it. I hope someone from Apple reads Joe’s blog.

I’m still quite reluctant to talk to my phone (rather than talk with) but I gave it a go after reading this article, with mixed results. I just wanted to know what was in my calendar later on.

Doing what?

What? Let’s try again.

Doing what?

OK, never mind.