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1 " The approach to digital culture I abhor would indeed turn all the world's books into one book, just as Kevin (Kelly) suggested. It might start to happen in the next decade or so. Google and other companies are scanning library books into the cloud in a massive Manhattan Project of cultural digitization. What happens next is what's important. If the books in the cloud are accessed via user interfaces that encourage mashups of fragments that obscure the context and authorship of each fragment, there will be only one book. This is what happens today with a lot of content; often you don't know where a quoted fragment from a news story came from, who wrote a comment, or who shot a video. A continuation of the present trend will make us like various medieval religious empires, or like North Korea, a society with a single book.The Bible can serve as a prototypical example. Like Wikipedia, the Bible's authorship was shared, largely anonymous, and cumulative, and the obscurity of the individual authors served to create an oracle-like ambience for the document as " the literal word of God." If we take a non-metaphysical view of the Bible, it serves as a link to our ancestors, a window. The ethereal, digital replacement technology for the printing press happens to have come of age in a time when the unfortunate ideology I'm criticizing dominates technological culture. Authorship - the very idea of the individual point of view - is not a priority of the new ideology. The digital flattening of expression into a global mush is not presently enforced from the top down, as it is in the case of a North Korean printing press. Instead, the design of software builds the ideology into those actions that are the easiest to perform on the software designs that are becoming ubiquitous. It is true that by using these tools, individuals can author books or blogs or whatever, but people are encouraged by the economics of free content, crowd dynamics, and lord aggregators to serve up fragments instead of considered whole expressions or arguments. The efforts of authors are appreciated in a manner that erases the boundaries between them.The one collective book will absolutely not be the same thing as the library of books by individuals it is bankrupting. Some believe it will be better; others, including me, believe it will be disastrously worse. As the famous line goes from Inherit the Wind: 'The Bible is a book... but it is not the only book' Any singular, exclusive book, even the collective one accumulating in the cloud, will become a cruel book if it is the only one available. "
2 " Often interfaces are assumed to be synonymous with media itself. But what would it mean to say that “interface” and “media” are two names for the same thing? The answer is found in the remediation or layer model of media, broached already in the introduction, wherein media are essentially nothing but formal containers housing other pieces of media. This is a claim most clearly elaborated on the opening pages of Marshall McLuhan’s Understanding Media. McLuhan liked to articulate this claim in terms of media history: a new medium is invented, and as such its role is as a container for a previous media format. So, film is invented at the tail end of the nineteenth century as a container for photography, music, and various theatrical formats like vaudeville. What is video but a container for film. What is the Web but a container for text, image, video clips, and so on. Like the layers of an onion, one format encircles another, and it is media all the way down. This definition is well-established today, and it is a very short leap from there to the idea of interface, for the interface becomes the point of transition between different mediatic layers within any nested system. The interface is an “agitation” or generative friction between different formats. In computer science, this happens very literally; an “interface” is the name given to the way in which one glob of code can interact with another. Since any given format finds its identity merely in the fact that it is a container for another format, the concept of interface and medium quickly collapse into one and the same thing. "
― Alexander R. Galloway
3 " Jobs's intensity was also evident in his ability to focus. He would set priorities, aim his laser attention on them, and filter out distractions. If something engaged him- the user interface for the original Macintosh, the design of the iPod and iPhone, getting music companies into the iTunes Store-he was relentless. But if he did not want to deal with something - a legal annoyance, a business issue, his cancer diagnosis, a family tug- he would resolutely ignore it. That focus allowed him to say no. He got Apple back on track by cutting all except a few core products. He made devices simpler by eliminating buttons, software simpler by eliminating features, and interfaces simpler by eliminating options. He attributed his ability to focus and his love of simplicity to his Zen training. It honed his appreciation for intuition, showed him how to filter out anything that was distracting or unnecessary, and nurtured in him an aesthetic based on minimalism. "
― Walter Isaacson , Steve Jobs
4 " If you want to make money at some point, remember this, because this is one of the reasons startups win. Big companies want to decrease the standard deviation of design outcomes because they want to avoid disasters. But when you damp oscillations, you lose the high points as well as the low. This is not a problem for big companies, because they don't win by making great products. Big companies win by sucking less than other big companies.”-“The place to fight design wars is in new markets, where no one has yet managed to establish any fortifications. That's where you can win big by taking the bold approach to design, and having the same people both design and implement the product. Microsoft themselves did this at the start. So did Apple. And Hewlett- Packard. I suspect almost every successful startup has.”-“Great software, likewise, requires a fanatical devotion to beauty. If you look inside good software, you find that parts no one is ever supposed to see are beautiful too.”-“The right way to collaborate, I think, is to divide projects into sharply defined modules, each with a definite owner, and with interfaces between them that are as carefully designed and, if possible, as articulated as programming languages. Like painting, most software is intended for a human audience. And so hackers, like painters, must have empathy to do really great work. You have to be able to see things from the user's point of view.”-“It turns out that looking at things from other people's point of view is practically the secret of success.”-“Part of what software has to do is explain itself. So to write good software you have to understand how little users understand. They're going to walk up to the software with no preparation, and it had better do what they guess it will, because they're not going to read the manual. "
― Paul Graham , Hackers & Painters: Big Ideas from the Computer Age
5 " A computer is a general-purpose machine with which we engage to do some of our deepest thinking and analyzing. This tool brings with it assumptions about structuredness, about defined interfaces being better. Computers abhor error. "
6 " One of the problems with computers, particularly for the older people, is they were befuddled by them, and the computers have gotten better. They have gotten easier to use. They have gotten less expensive. The software interfaces have made things a lot more accessible. "
