Hilarious - Baby scared of garden hose!
My poor nephew being picked on by his parents.
Hilarious - Baby scared of garden hose!
My poor nephew being picked on by his parents.
Via Stylegala comes a post by Lois Knight on Typography Essentials. I have been toying with a rule-of-thumb for simplifying web-typography. It's not what I'd call fully tested yet, but it has been working well enough with the students that I've had try it. Here it is:
The rule of twos: No more than two type faces, two colours, two point sizes, two line-spacings and two weights.
Of course you should break this rule, but when you don't have the time, energy or inspiration such rules of thumb can be useful. Oh, it's still in beta so send me your feedback.
I've just started using the Tabulator Firefox extension for browsing the SemWeb. I found that it needed a few tweaks to make it play super-duper nicely.
Use about:config in the address bar of firefox and change these keys:
Now DBPedia "resource/" links will correctly resolve to using Tabulator, while "page/" links will use DBPedia's own browser. Try it out below:
This post on Danbri's Blog highlights an interesting issue in ontological design. Just how specific and expressive do we make an ontology?
TBL has espoused designs that have the "Least Power" which makes them easier to design, implement and use. The sucess of HTTP is a great case in point. As a parallel, in graphic design we have a famous quote about beauty being taking everything out until you can't take anything else out. It's a pretty good philosophy, but like least approached it requires a knowledge of exactly how much is enough and how much is too much. That requires a deep knowledge of how the ontology will be used.
In FOAF, the a single relationship type foaf:knows exists. And most mapping tools I've seen assume a bi-directionality in foaf links - that is if one person lists another as a friend then a back-link is assumed whether or not it actually exists.
Do we want more specificy in foaf relationship types? Perhaps a fuller suite of uni-directional relationship types? In these early stages I'm not sure it's so important to get so specific. Once we get more of foaf:knows relationships then some way to classify these would become more important. For example, Facebook allows an optional level of extra specificity in describing relationship types - that is often necessary given the numbers of friends some people collect in Facebook social networks.
There is some work in this area already: A vocabulary for describing relationships between people
From another perspective, if an enumerated type over a typical dataset forms clusters approaching a single member - and that enumerated type is not meant to be a candidate key and the enumerated label is not naturally a singleton then the enumerated type is probably too specific. (an example of a natural singleton enumeration would be motherof or fatherof.)
And "typical" is the key here. Ultimately it becomes the specialist vs generalist tension that only really gets resolved via de-facto usage.
I recently had a conversation with my colleague Simon Laing. He suggested that approximately one million by one million pixels is at the limit of human perception, that any more pixels beyond this is not useful. Given that human colour perception is around 16.8 million colours, this means that there exists potentially: 1mil * 1mil * 16.8mil = 1.68 * 10 ^ 19 or 16.8 quintillion visual possibilities.
It's true this would take more than a million monkies; Computers could generate every visual possibility that could ever exist as a snapshot. The computer's owner could try to claim intellectual property rights over every visual possibility that does not already have rights claimed over it. This is of course ludicrous. No computer exists (yet) that is up to the task. And such a brute force approach fails to have any appropriateness context that would make it truly a creative work. Still, it would be an interesting statement to make.
Even if we succeeded in generating all visual snapshots, it would be a useless effort. Such a large number is not infinite, but it is innumerable. Innumerable is a practical infinity. Quite simply there would be little use in having this giant catalogue available since nobody would be able to usefully make sense of it without some form of classification and indexing.
Since generating each alternative is relatively trivial, the real magic is actually in the classification and indexing that allows the space of all possibility to be understood. We view that space using various mental models, world-views and abstractions that zone the space into regions. We layer these viewpoint lenses as a means to make sense of the chaos below. Human language contains ways to describe a visual scene without having to name each 1.68E+19 possibility individually.
Pixels themselves are only an abstraction for representing an underlying objective reality. However, the pixel level is too low for much practical use. For example we speak of web design using higher-level terms such as Banner, Navigation bar, content area, footer, sidebar and column. Like most modes of expression it's about selecting the level of abstraction from objective reality that is most useful to the situation.
This applies to generative design (and generative art). The program code contains the rules that represent the worldview and level of abstraction used to express the design. In generic algorithm parlance the program code contains the rules the transform the genotype (parameters) into the phenotype (output).
And this is only discussing snapshot (human perception is around 25 snapshots per second). What is we added the dimension of time? What about the possibilities of interaction? Photographers also understand the meaning (and thus it's communicative value) is also about the context that the snapshot is viewed in. This is where "beauty is in the eye of the beholder" comes in. Viewers, standing at an exact point in Heroclitus' river form meaning for themselves. Just having the snapshot is not enough without knowing its meaning. This is where the appropriateness measures of creativity come into the equation.