• Japanese cultural norms – asking about weight – Insightful little culture-clash story; an American working in Japan isn't sure how to deal with blunt (especially from the Japanese!) questions about his increasing weight
• Clive Thomson on Bruce Bueno de Mesquita, renowned for his use of mathematical game theory models for prediction – Those who have watched Bueno de Mesquita in action call him an extremely astute observer of people. He needs to be: when conducting his fact-gathering interviews, he must detect when the experts know what they’re talking about and when they don’t. “His ability to pick up on body language, to pick up on vocal intonation, to remember what people said and challenge them in nonthreatening ways — he’s a master at it,” says Rose McDermott, a political-science professor at Brown who has watched Bueno de Mesquita conduct interviews. She says she thinks his emotional intelligence, along with his ability to listen, is his true gift, not his mathematical smarts. “The thing is, he doesn’t think that’s his gift,” McDermott says. “He thinks it’s the model. I think the model is, I’m sure, brilliant. But lots of other people are good at math. His gift is in interviewing. I’ve said that flat out to him, and he’s said, ‘Well, anyone can do interviews.’ But they can’t.”
• New York Times Magazine on the Beatles’ Rock Band videogame – This is a fantastic article that spans many big issues: gaming, music, performance, art, history, culture, product development, authenticity, creativity, entertainment, technology. It's a must-read.
• Brian Dettmer turns books into sculptural pieces – Contemporary visual artists see opportunity in what many bemoan as the twilight of the age of the book. John Latham (1921-2006), Hubertus Gojowczyk, Doug Beube and others have treated books as sculptural stuff. But no one whose work I have seen tops that of Atlanta artist Brian Dettmer at Toomey Tourell.

• A thoughtful consideration (that could have so easily gone curmudgeonly) on the changes in how (and how much) we consume art – Cameras replaced sketching by the last century; convenience trumped engagement, the viewfinder afforded emotional distance and many people no longer felt the same urgency to look. It became possible to imagine that because a reproduction of an image was safely squirreled away in a camera or cell phone, or because it was eternally available on the Web, dawdling before an original was a waste of time, especially with so much ground to cover.
• Michael Pollan on the cultural shifts revealed by themes in food-related TV entertainment – The historical drift of cooking programs — from a genuine interest in producing food yourself to the spectacle of merely consuming it — surely owes a lot to the decline of cooking in our culture, but it also has something to do with the gravitational field that eventually overtakes anything in television’s orbit…Buying, not making, is what cooking shows are mostly now about — that and, increasingly, cooking shows themselves: the whole self-perpetuating spectacle of competition, success and celebrity that, with “The Next Food Network Star,” appears to have entered its baroque phase. The Food Network has figured out that we care much less about what’s cooking than who’s cooking.
• Nine Reasons RadioShack Shouldn’t Change Its Name – Best one is " RadioShack has problems beyond any issues with its name." Also they did already change name from Radio Shack to RadioShack.
• Radio Shack: Our friends call us The Shack – Do they really now? More proof that you can't simply declare yourself cool. Promo or overall rebranding, it reeks of inauthenticity.
• Understand My Needs – a multicultural perspective – A Japanese usability professional compares the norms of service that retailers provide in Japan with those elsewhere (say, his experience living in Canada), and then contrasts that to the common usability problems found in Japanese websites. Culture is a powerful lens to see what causes these differences, and how usability people can help improve the experience.

(originally published at Core77)

Subway ad for Suica, transit fare payment by mobile phone, Tokyo, 2008

Why Japan’s Smartphones Haven’t Gone Global is a toe-dip into the case study of factors that have limited export of Japan’s cutting-edge mobile phone innovations.

Yet Japan’s lack of global clout is all the more surprising because its cellphones set the pace in almost every industry innovation: e-mail capabilities in 1999, camera phones in 2000, third-generation networks in 2001, full music downloads in 2002, electronic payments in 2004 and digital TV in 2005.

Despite their advanced hardware, handsets here often have primitive, clunky interfaces. Because each handset model is designed with a customized user interface, development is time-consuming and expensive, said Tetsuzo Matsumoto, senior executive vice president at Softbank Mobile, a leading carrier. “Japan’s phones are all ‘handmade’ from scratch,” he said. “That’s reaching the limit.”

• Japanese robots not finding their market, recession and high prices blamed (but not fundamental mismatch between need and solution?) – Roborior by Tmsuk — a watermelon-shape house sitter on wheels that rolls around a home and uses infrared sensors to detect suspicious movement and a video camera to transmit images to absent residents — has struggled to find new users. A rental program was scrapped in April because of lack of interest. Though the company won’t release sale figures, it has sold less than a third of the goal, 3,000 units, it set when Roborior hit the market in 2005, analysts say. There are no plans to manufacture more.

  That is a shame, Mariko Ishikawa, a Tmsuk spokesman, says, because busy Japanese in the city could use the Roborior to keep an eye on aging parents in the countryside. “Roborior is just the kind of robot Japanese society needs in the future,” Ms. Ishikawa said.

  Sales of a Secom product, My Spoon, a robot with a swiveling, spoon-fitted arm that helps older or disabled people eat, have similarly stalled as caregivers balk at its $4,000 price.

• Chris Anderson on the differences between scarcity thinking and abundance thinking – When scarce resources become abundant, smart people treat them differently, exploiting them rather than conserving them. It feels wrong, but done right it can change the world. The problem is that abundant resources, like computing power, are too often treated as scarce.

Today YouTube launched a beta of a TV-friendly version of their site. Here’s some thoughts on YouTube, brands, interfaces, transformation, and authenticity.

Casio’s Exilim cameras feature a YouTube mode that supposedly eases the process of capturing and uploading videos to YouTube.

Note the prominence of the YouTube badge on the front of the camera. It’s bigger and brighter than the manufacturer of the name of the product line!

Euronews is sponsoring a YouTube channel, Questions for Europe and is broadcasting YouTube-like content.

Although this photograph of a TV screen is of poor quality, when watching the program it’s fairly easy to see that the picture quality is far beyond what’s available on YouTube and that that Euronews is simply taking traditional broadcast video and placing it in a YouTube-like interface. Although the progress bar is still useful in a non-interactive mode, the whole thing is a bit of a cheat: you can’t actually use any of those controls.

Finally, in Shibuya, Tokyo, YouTube sponsored some sort of performance/talent competition.

They built a stage that resembled a YouTube window, with the interface simply as visual detail on the exterior. In this setup real life is framed as a stand-in for digital content (which itself is a proxy for real life content). The mind does boggle.

Pictures from Japan here and pictures from Amsterdam are here.

Tokyo, 2002. Don’t you just love the jogging inset?

Bali, 2007. I was reminded of Wanted! posters.

Brussels, 2009. All the European Parliament election posters we saw had an “ordinary-person” vibe to them, just slightly gussied up for the poster.

More pictures from Belgium here.
More pictures from Bali here
More pictures from Japan (2002 here, 2008 here)

The impulse to touch and its long-term effects as remnants of previous touchers touching serve as an invitation

Japanese Tea Garden, Golden Gate Park, San Francisco, November 2008

Kyoto, Japan, January 2008

Also see previously: Friction Never Sleeps

Me on bass, Firefly Club, Osaka, Japan, 2001

I had the TV on in the background the other night while I was doing some work around the house–I’ll admit it to you–I was watching E Hollywood True Stories, “Joe Francis Gone Wild.” (Francis is the guy who created Girls Gone Wild (NSFW))

Anyway…about halfway through the show, I heard a really familiar sound fading up in the background. I turned up the volume on the show, and, sure enough, it was a piece of a song from a CD I recorded a few years ago.

ghost7, New Directions in Static, 2004

As the wow feeling of hearing something I had made broadcast this widely subsided, I started thinking about other aspects of the situation: shouldn’t someone have contacted me, shouldn’t I be getting paid for this?

And here’s where the irony, or at least the thought-provoking conundrum, begins.

I know how hard it is to earn a living playing music (or even just to cover your expenses). Yet I have, ahem, “friends,” who download all kinds of “free” musical content. And when I lived in Japan, I had other, ahem, “friends,” who rented lots of CDs from Tsutaya (the Japanese Blockbuster Video) and copied them onto MiniDisc to build their music collections, thus depriving the artists of their cut of a CD sale. (For a great breakdown of the traditional music industry business model, and a startling look at the reality of making a living as a musician, check out Moses Avalon’s website and book, Confessions of a Record Producer).

My initial self-righteousness about getting paid for the use of my music highlighted a clear differentiation I’ve been making between creative “product” that comes out of the “entertainment industry” and what’s made by people like me, whose primary livelihood is something other than their music, art, etc.

Now that any content placed in the public arena is almost instantaneously redistributable, whither goes the business model/s for creative production? Are songs-as-products becoming obsolete, to be replaced by songs-as-loss-leaders, a la the Starbucks/iTunes “song-of-the-week” card?

How, in this freewheeling new world, will it continue to be possible to shift enough units to pay for the production of something like a U2 album or a feature-length film?

CD Cover, George Lynch (ex-Dokken), 2000

New analysis covered over at O’Reilly on Radiohead’s 2007 “pay-what-you-like” experiment for selling their album, In Rainbows, would seem to support the loss leader model, with the attention generated by the online trading of the album seemingly as valuable as any actual money earned through paid downloading.

I’d add as well that firing up the tour bus remains an essential part of the prospect. Aside from tribute bands, no one’s found a way yet to pirate the live performance. (Although perhaps the scenario in Kiss’ 1978 movie, where the band is attacked by a lookalike robot band, suggests one possible model.)

VHS box, Kiss Meets The Phantom of the Park, 1978

But back to more grounded futuristic pondering. Is Karl Marx’ dream of making means of production accessible to ordinary people coming to fruition via peer-to-peer content sharing and the free flow of certain types of “raw materials?”

As the “redistributability” of content facilitated by the internet crossbreeds with technology and approaches like just-in-time production, 3D printing, and mass customization, will other types of product production also be wrested from commercial producers?

And will someone from E True Hollywood Stories please contact me about that royalty check?

Without donuts being part of the plan when I travel, they seem to show up with some regularity. While Krispy Kreme and Dunkin’ Donuts seek to provide a consistent experience across geographies, there are also very unique experiences available in the very same category. The notion of donut is rather broad and is reinterpreted in some engaging ways. There’s something about the pure pleasure of a donut that also invites a fun approach to all aspects of the experience: the flavors, the environment, the presentation, the messaging.

Here’s a few I’ve documented. Please leave recommendations for other donuts-shops-to-experience in the comments.

Randy’s Donuts, LA (Amazing site, donuts are pretty good)

Voodoo Doughnuts, Portland, OR: Rex Diablo and Ol’ Dirty Bastard (fun to choose, less to eat)

Murciano in The Marais, Paris (the best thing I’ve ever eaten)

Fractured Prune, Washington D.C. (didn’t get to try it)

Roti Donat, Bali, Indonesia (definitely not good)

Mister Donut sign and exterior, Taipei, Taiwan

Mister Donut Simpsons promotion, Kyoto, Japan (I don’t remember what I got but it was good!)

IxDA SF
Originally uploaded by blackbeltjones.



Last night we attended an IxDA-SF presentation of Matt Jones on “Playfulness in Design”. No full summary to share (although maybe Matt will post the slides eventually) but one great line was the statement that “Mundane is the new fun” which refers to the little interventions of joy that are being added to everyday life, providing a new veneer of experience on top of behaviors that were once only necessary for survival.

This was one of the themes of Virginia Postrel’s Substance of Style (with its legendary discussions of the broad range of choice now available for toilet brushes). It’s also something that I’ve seen a lot of in Japan. Here’s one quick example:

This vacuum cleaner is fun: it is presented like a futuristic robot, available in at least 3 novel colors, and is styled in a notable way. This isn’t about making the chore of vacuuming fun, but about acknowledging fun as an ingredient can always be fun, from the purchase moment to the instant the vacuum is grabbed and turned on. Check out this elephant-robot for urinal cleaning as another example of fun. As a one-off, this is taking drudgery and distracting you with cuteness, but put together across so many product categories, brands, signage, TV advertisements and beyond, the notion of the constant layer of fun is so visible in Japan.

Matt is right at calling out the trend, and you can look to the Japanese as lead users of this trend.