Friday art, дорогие коллеги:
https://t.me/anotheroffice

https://x.com/obsoletesony/status/1784492753700667506 😍

https://youtu.be/ddTV12hErTc
20% done is the new 80% done

https://www.airbnb.co.uk/release 🎟️

https://youtu.be/g-pG79LOtMw ✨

https://youtu.be/yk6UVnMn9ts
This is the way 🫡

https://youtu.be/Bhzno-IjuiY
Снова never bet against Mark, получается!

(тот же тейк у The Verge)

> Determine why I am confident in my perspective. Is it because I worked on a similar problem previously? Is it because of research? (...) If you can’t explain why you’re confident, then it’s extremely unlikely you’ll convince others. (...) [You might also] have to start by trying to invest into the relationship before delivering feedback.

> Determine the size of the “feedback pipe” between you and the other party. (...) You can deliver a much higher volume of lightweight feedback than heavy feedback. (...) You might have built up a backlog of dozens of pieces of valuable feedback. You have to figure out the order, (...) each piece might take months to work through.

> [If it’s being delivered to an uninvolved party], that’s not feedback, (...) that’s just commentary. (...) It polarizes the team. (...) It also frames you as an observer of the problem rather than part of the solution. (...) If you do want to complain, ah, I mean provide commentary, external friends and colleagues are the best recipients.

https://lethain.com/constraints-on-giving-feedback/

https://www.doesthedogdie.com/ 🐶

> In researching keyboard options for the Vision Pro, I ended up building the convertible Apple laptop-tablet that I so desperately want the company to make. (...) It’s a Mac with an iPad display that I can detach and use as a tablet whenever I want; it’s an iPad that transforms into a Mac when docked. And, it’s the ideal keyboard and trackpad accessory for the Vision Pro.

> The best part of using macOS and iPadOS together [is that] doesn’t feel weird at all. Quite the opposite: thanks to Apple’s consistent design language, (...) they are holistically consistent. (...) Sidecar is surprisingly resilient: (...) I sometimes forget I’m using a wireless display that’s actually an iPad running a different operating system.

> You can also scroll any macOS window with two fingers, pinch to zoom, or use the Apple Pencil to click any UI element. (...) Another nice use case for occasional touch interactions? Ripping the “display” apart from the MacBook and using the Apple Pencil to navigate and click around macOS.

> I’m fully aware that what I’ve done is absurd, even if it worked out well in the end. (...) [Yet] it’s so liberating to use a convertible Apple computer that can be both a laptop and tablet. (...) An official Apple one can’t come soon enough.

https://www.macstories.net/stories/macpad-how-i-created-the-hybrid-mac-ipad-laptop-and-tablet-that-apple-wont-make

> Instead of repetition, you create texture. (...) Steal a technique from gaming and create multiple variations of the same sound. Create 8-12 variations by varying pitch, volume, timing, or mix and randomly play one variation for every new key press. (...) If you’re a sound skeptic, trust me, try this one thing and it’ll blow your mind.

> As with visual design, sounds for actions should never be considered in isolation but in how they relate to one another. (...) Opposing actions—open vs close, prev vs next, send vs receive—(...) should sound like similar opposites. A sound might be played in reverse or the emphasis may be moved from the beginning to the end.

> Sound within the software world can feel like an echo chamber where most sounds follow what’s been done before—beeps, clicks, pops. If you want to sound like something new, go beyond software. Movies, games, and music all use sound in very sophisticated ways that can be co-opted for software.

> Haptics shape our perceptions of a sound. Think of a keyboard key stroke or swinging a hammer. Sound can make the same action feel soft or precise, clean or jumbled, heavy or light. Haptics can also be a substitute for sound in moments where it may be too much or just impractical.

https://www.notboring.software/words/the-sound-of-software 🧡

> Polish is something only the person who creates it will notice. It’s a paradox; polishing something makes it invisible. (...) Next time you flip a wall switch or plug something into an outlet, take a second and look at the two screws holding the face plate down. (...) Professional electricians will (almost) always line the screw slots up vertically.

> A traditional go board isn’t square. It’s very slightly longer than it is wide, with a 15:14 aspect ratio. This accounts for the optical foreshortening that happens when looking across the board. (...) Subtle adjustments go into the shape of letters in a typeface: round letters like ‘e’ and ‘a’ are slightly taller than square letters like ‘x’ or ‘v’.

> The polish paradox is that the highest degrees of craft and quality are in the spaces we can’t see, the places we don’t necessarily look. Polish can’t be an afterthought. It must be an integral part of the process, a commitment to excellence from the beginning. The unseen effort to perfect every hidden aspect elevates products from good to great.

https://matthewstrom.com/writing/the-polish-paradox/

> Something went [wrong] for adolescents in the early 2010s. (...) Rates of depression and anxiety in the United States [rose] by more than 50 percent. (...) Friendship, dating, sexuality, exercise, sleep, academics, politics, family dynamics, identity—all were affected. (...) Those were the years when adolescents in rich countries traded in their flip phones for smartphones.

> The changes started slowly in the late 1970s and ’80s, [as] many parents in the U.S. grew fearful that their children would be harmed or abducted. (...) In the 1990s, American parents began pulling their children indoors. (…) Young people who are deprived of opportunities for risk taking and independent exploration will, on average, develop into more anxious and risk-averse adults. (...) Shared adventures and shared adversity bound young people together.

> Real-world [interactions] are characterized by four features. (...) [They] are embodied, meaning that we use our hands and facial expressions. (...) Synchronous, [so] we learn subtle cues about timing and conversational turn taking. (...) [They] involve one‐to‐one communication, or sometimes one-to-several, [and] take place within communities that have a high bar for entry and exit, so people are strongly motivated to invest in relationships and repair rifts when they happen.

> Online interactions can bring out antisocial behavior that people would never display in their offline communities. (...) Kids going through puberty online are likely to experience far more social comparison, self-consciousness, public shaming, and chronic anxiety. (...) All this is made worse by the fact that so much of digital public life is an unending supply of micro dramas.

> Girls have much lower rates of addiction to video games and porn, but they use social media more intensely than boys do. (...) Even at the peak of teen cigarette use, in 1997, nearly two-thirds of high-school students did not smoke. (...) [Social media] applies a lot more pressure on nonusers, (…) which puts [them] at risk for anxiety and depression.

> Our ultimate goal should not be to remove screens entirely, nor [return to] 1960. [It should be keeping] young people anchored in the real world. (…) If parents don’t replace screen time with real-world experiences involving friends and independent activity, then banning devices will feel like deprivation, not the opening up of a world of opportunities.

https://www.theatlantic.com/technology/archive/2024/03/teen-childhood-smartphone-use-mental-health-effects/677722/

(статья выше крайне biased, но и соцсети сломаны beyond repair! так и живём)

> Vision Pro high-fidelity passthrough experience parallels Apple’s introduction of the iPhone’s original retina display. (...) “Gaze + pinch” input modality is the VR equivalent of the iPhone’s capacitive multi-touch. (...) Optic ID as an overlay on top of live passthrough is a beautiful design decision that only enhances [presence].

> Apple’s decision to over-spec the Vision Pro does, however, lead to the inevitable consequence of a headset weighing above 600g, (...) that makes it difficult for most people to wear it for more than 30-45 minutes. (...) [It] helps prepare the world to receive a more mainstream Apple VR headset that could have product-market fit.

> With this in mind, it’s easy to understand two particularly important decisions Apple made for the Vision Pro launch: designing an incredible in-store Vision Pro demo experience [and] launching an iconic woven strap that photographs beautifully even though this strap simply isn’t comfortable enough.

> Apple made the Vision Pro display intentionally blurry in order to hide pixelation artifacts and make graphics appear smoother. (...) This is the kind of thing that our hardcore VR engineers at Oculus would have fought against to the end of the world, and I doubt we could have ever shipped a “blurred headset”, LOL!

> Apple’s anti-VR stance is a risky move because it negates most of the traditional immersive content. (...) The Vision Pro aspires to become your “spatial iPad Pro”. (...) It's also [a few fixes] away from being a suitable [external monitor]. (...) Carrying a MacBook Air and a Vision Pro [could] give you a reasonably good workstation.

> I returned my Vision Pro for a full refund. (...) Apple’s high-risk decision to completely exclude immersive [VR games] — plus their inexplicable failure to create exciting momentum by not having high-quality AR apps at launch — don’t leave them with many options. (...) The only low-hanging fruit is to make productivity really good.

https://hugo.blog/2024/03/11/vision-pro/