How do you feel to have something you didn’t write attributed to you?

Not my article, but I’m still deeply disturbed because librarians and open-source advocates share the same ideals (and I was an OLA member at one point). The whole dubious deal is chronicled on Stewart Varner’s blog.

I have had the experience of having my writing rephrased so that it didn’t read like my own, and having all communication cease right after I turned in an article. I thought that was bad; what the American Library Association has done is infinitely worse.

Mercurial problem on my Mac solved!

I have been having trouble getting Mercurial running on my Mac. Basically, I have been getting this error message:

ImportError: dlopen(/usr/local/lib/python2.7/site-packages/mercurial/osutil.so, 2): no suitable image found. Did find:
/usr/local/lib/python2.7/site-packages/mercurial/osutil.so: mach-o, but wrong architecture

So, by chance, today I found out that if I use an account that is different from the one I normally use, Mercurial actually ran. Since this wouldn’t make any sense if the installation didn’t work, the installation must have been actually working, and the problem I had been experiencing must have been the result of incorrect user-specific configuration.

I did a little investigation and it turned out that this line in my .bash_profile was the culprit:

export VERSIONER_PYTHON_PREFER_32_BIT=yes

I have no idea why I had this line or what put it there (or whether I put it there myself and if so why). But now I’ve had it disabled and Mercurial is finally running…

This means getting Pidgin running will now be a distinct possibility…

A possible connection between craftsmanship and affordances

I had not thrown for literally half a year before I started again earlier this semester, and when I tried to bisque my first batch of work half of the batch got rejected for failing quality control. All the faulty work looked something like this:

Picture of a representative piece of the bad work that got rejected

Now what’s wrong with this? Look again from the bottom:

Picture of the above piece of bad work from the bottom

Although the picture is, unfortunately, cropped, you can still see that the handle is essentially the same width as the diameter of the body of the cup. The problem was with the proportion between the attached handle and the body: The handle is too far out, and when you grasp a cupful of hot liquid you might not be able to securely grasp it at the correct angle.

There’s a second problem in some of the faulty pieces, mostly to do with the thickness of the handles. In effect, the faulty handles were too thin; visually they didn’t match the size of the cup bodies—in other words, they looked flimsy.

A third problem in a couple of the faulty pieces relates to the attachment of the handles. The faulty attachments look somewhat like this (unfortunately this is a bad picture for showing the fault; but all the faulty pieces have already been destroyed so I can’t reshoot them):

Picture of a piece of bad work with a faulty handle attachment

When I asked RT about what problem was with this, she looked at it a second time and said something like “I thought the bottom was not attached.” Although theoretically the attachment might have been secure, visually it looked unattached and therefore someone using the cup wouldn’t feel safe.

Getting back to my main point, in an earlier post I voiced some pretty nasty comments about art criticism, especially as it relates to craft. But I think the QA fail has highlighted a possible reason for instinctively disagreeing with describing skill as merely reduction of uncertainty.

Returning to the three problems I mentioned above, the first problem was failing to afford a secure grasping action, while the other two problems were the presence of false affordances (that is, apparently affording a safety hazard when the affordance is probably not actually present). Although RT has described everything in visual terms, all this visual talk is actually a proxy for a critique on the work’s ergonomics and affordances.

I think ultimately, at least certain aspects of craftmanship are directly related to affordances and therefore craftmanship is not entirely subjective.

Why blindly following accessibility guidelines isn’t always a good idea

I have not been logging in to my student email as often as before, and when I logged in earlier today I noticed this — am I allowed to use the word travesty? —:

Slightly censored screen capture of a piece of email I received that is replete with meaningless repetititons of Title: XXXX Logo - Description: XXXX Logo

Does the endless repetition of “Title: XXXX Logo - Description: XXXX Logo” make sense to you? Does “[cid:image006.png@01D0EF06.71E85C40]” look meaningful or accessible to you? No, they don’t, but this is what you get when you blindly follow “accessibility guidelines” and trust Word to mail out form letters.

Which brings me back to a point I’ve been trying to make since first year: You can’t divorce alternate text from its true roots: As fallback for text browsers and plain-text offline formatters. In other words, as fallback for what is to be inserted in place of the image whenever — not just when the final output is speech — the final output is plain text.

This is why alternate texts that say “XXXX logo” are almost always wrong, or for that matter why (as this example shows) anything that results in “Title: X - Description: Y” is also almost always wrong.

Alternate text for screen readers was not the original intent; being usable for the screen reader is actually the curb cut. Alternate text was invented for accessibility, for sure, but the true intended medium was the text screen, not the screen reader.

I didn’t know @SEGD has changed its name

Earlier today I went to SEGD’s site to look for some information. (I forgot what I was looking for…) Much to my surprise, I noticed that it showed its name as the Society for Experiential Graphic Design.

I never knew of the change, and according to the What is Environmental Graphic Design article on SEGD’s site, they changed their name way back in 2013.

The same article mentions EGD as becoming the “enabler of Smart Cities.” So things are actually falling into place… (just not where I want them to be, I guess…)

Rare gem found at @BMVBookstores

I dropped by BMV today by chance. As I walked in I thought, “So where should I go to?” Then I instinctively walked to the “Languages” section.

Scanning the shelves, I spotted a very rare gem:

(This is the very rare gem that I found: the green APA manual.)

It looked exactly like the APA manual, but it’s a different colour, and it says “Presenting Your Findings” on the spine. I took it out and there it says, “Presenting Your Findings: A Practical Guide for Creating Tables,” published by the American Psychological Association.

I scanned the shelves another time to see if the other one for figures was there somewhere. Nope. I scanned it another time to make sure. Nope, not there.

Still, just this one was a very unexpected find. Who would have thought, BMV? I literally had never seen this book before, anywhere: not even at Chapters or at the U of T Bookstore.

Graphic design seen from another perspective

You might not think an editors’ conference would have anything to do with graphic design, but in fact it did. Other than getting to know “industry standard” practices and expectations, it was revelatory to look at graphic design from the (stereotypical) editor’s viewpoint. My two surprising finds: Graphic design is misunderstood in editing circles, and bad graphic design is giving graphic designers and other artists a bad name. Since summaries of the relevant sessions have already been posted, I’ll just comment on a few observations I had.

“Graphic designers,” it was said during the Q&A at Sunday’s “Clear Communication” session, don’t care about communication but instead care “only about visuals.” This is, of course, a grave misrepresentation, since graphic design is all about communication. In fact it is so much about communication that it’s also called “communication design”; I find it incredible that a quarter century after graphic design has been called communication design people are still claiming that graphic design is not about communication.

So how did this misrepresentation come about? Friday’s “How and What to Edit in Visuals Accompanying Text” gave us a clue. The presenters showed a lot of badly designed visuals that don’t communicate (including apparently-not-to-well-conceived illustrations, badly designed infographics, and badly set text). Eventually I just had to say “bad graphic design is giving us artists and designers a bad reputation.” Editors have this misinformed idea that communication design isn’t about communication because there is simply too much bad art out there.

Outside the art and design circles, it also appears that the term “illustration” is misunderstood, since one of the presenters said the style of a graphic can be “realistic” or an “illustration”—The problem here, of course, is that illustrations can be realistic. “Illustrations” is not the right word (which should be a big problem in an editing conference); the correct word should be “caricatured.”

(My handwritten notes for the session “How and What to Edit in Visuals Accompanying Text”)

The idea of caricature returned later when the “suppression (?) of irrelevant details” was mentioned. Suppression of irrelevant details is, of course, caricature. Strangely, McCloud’s Understanding Comics was actually mentioned. Perhaps the word is too technical for people outside art the design circles—or perhaps I see it as a normal word only because I’ve worked so long with this prof.

We all know that colours have cultural significances, but I found it bizarre that at one point it was suggested that yellow should not be used because it would be misunderstood as indicative of a warning. I was shocked; not even American and Canadian designers would agree to that statement, and the example was an illustration. I had always felt Ontario to be boring but I’d have never thought of this as one of the reasons; in a multicultural country like Canada such a claim also sounds culturally biased.

It was also mentioned that (if I read my notes correctly) neuroscience tells us that our brain cannot hold more than seven pieces of information at the same time. But I was skeptical because this contradicts Malcolm Gladwell’s claim (which I happened to be able to check because I happen to be from the right linguistic background). That said, since I’m actually working on a neuroscience project right now maybe I need to somehow weave this claim into some sort of query that I can ask the neuroscience people; this might prove productive :-)

This is about all in terms of comments I can still make out of my notes, but perhaps I should mention two more interesting connections near the end: “Grouping like items together” was mentioned (Gestalt theory, something I’ve never been strong at); and reading information that isn’t really there into graphs (semiotics—debates around iconicity in particular—, another thing I’ve never been strong at). There was actually more semiotic talk earlier when perceptual resemblance (and of course, the comment about yellow that I disagreed with) was mentioned. This has little to do with editing but I guess these are reminders that I should brush up on my theory.

For some reason that I’ve already forgotten, I tweeted a few times during Sunday’s session but didn’t take any notes. Why I didn’t take any notes on Sunday will forever remain a mystery…

Black Cat, 6D01, and tactility

I went to the far west end of Dundas West today, to Black Cat Artspace. It was already just a few minutes before 9 when the streetcar finally arrived after a long wait, so I actually sort of expected to find a closed gallery when I got there. But of course, art openings don’t usually actually close at 9 (unlike Artscape Youngspace… =P). The opening was still going when I finally got off at Roncevalles.

“Come in!”

I looked around, marvelling at what I saw.

“Is there anything you like?”

“Everything is so cool!”

RT described “Tag on Cups” (that’s what it’s called) as “Graffiti artists around the city decorating prethrown cups.” But I don’t think “decorating” is doing justice to what’s there. Every single cup there was sgrafitto, mishima, or both. I was really impressed with the underglazing. And the patterns and the drawings and paintings—I tried painting once and I know what I saw was a lot of work. Yes, I know this is technically surface decoration, but this is very intricate “decoration” we’re talking about.

What really struck me the most, though, was that everything was so tactile. When I do sgraffito or mishima, the glaze would fill the holes and lines and smoothen the resulting surface out. Not these cups. You can still very much feel the carved parts—even the thin delineating lines of patterned lettering.

(Ok, RT has corrected me: The surfaces were carved; it was not sgrafitto or mishima. And it was body stain, not underglaze. I failed to recognize what techniques have been used. But I’m still very impressed.)

Which brings us back to our program’s “Del” show last Friday. One of the pieces was a tactile painting. But compared to these cups, that painting was not very tactile at all.

In fact, the day before I went to Del I was at MOCCA, and I was looking at the other set of oil paintings (the first set was oil on plexiglass—on the back of the plexiglass—so the surface was completely smooth), and I was marvelling how three dimensional those paintings were. The only thing I didn’t do was to actually touch them. But those paintings were all more tactile than the “tactile” painting at Del.

I’m still unhappy that Del was a two-hour show, and with close to non-existent promotion. But I’m also wondering if we’re being misinformed about the status quo of how tactile normal art forms are. Both Tags on Cups and what I saw at Mocca show that a lot of art is already very tactile…

The end, no matter how you determine it’s the end

Today was convocation. So it’s now the end, no matter how you determine if it’s the end or not.

Anyway, several things that you’ll only see in an OCAD convocation:

  • Telling people to tweet and instagram their convocation experience (and plastering the backstage with the hashtag) but telling the same people they have to check in their phones in a coat check.

  • Not getting your diploma on the stage and having to return your gown before getting your diploma. (This was a real head scratcher.)

  • The school officials not following all the standard formulaic verbosity on the stage. (In fact when the chancellor (?) asked the president the rhetorical question of whether to confer degrees in absentia the president didn’t even say a thing—she just gave a nod.)

I thought this wouldn’t be a thing after GradEx, but this was still a thing.

I thought I would see more people, but I guess it’s hard when this doesn’t happen at school.

Some thoughts about RGD’s accessibility webinar (Hi @good_wally)

[I had originally planned to just comment on my question, but what I wrote in a related email discussion sort of didn’t make sense. So let me write that down here too. So these really are just unorganized random thoughts.]

Let me comment a bit on the question I posed near the end of the webinar, which ended up being literally the last question that got through: “What best practices would you recommend if the design had to work with a CMS hostile to doing things semantically?”

This is, of course, a real example, one that I had already mentioned previously. In this particular case, which is a different case than what I had blogged about last time, what I found was that the CMS was so hostile to authors that I could not even get Microformat 1.0 content (dtstart and dtend specifically) to stick.

Let us think a little bit here: Microformats are designed to work in pretty hostile environments. But in real-world environments that some designers have to work within, not even Microformat markup can survive. How can HTML structural elements survive? The answer is they don’t. I was not talking about environments where the the designer has the power to reconfigure the CMS (if so the question would have been moot); I was talking about situations where the designer is working with a non-technical client (with a CMS created by someone else) who has neither the technical skills to even go to the Administer screen nor the financial resources to hire someone to reconfigure their CMS. But they’ve already budgeted the money to redo their CMS—which you have no influence over either. I’m talking about a 100% hostile situation which you have no control over whatsoever.

So what do we do in such cases? When people talk about making existing sites accessible this is the reality. Whether the CMS in question is WordPress or Drupal isn’t really relevant; in this particular case the hostile CMS is actually Drupal, but you can’t reconfigure it.

In any case, I think the RGD is doing meaningful work in the accessibility area. A few days ago on an email discussion I actually cited RGD’s AccessAbility handbook because the RGD is actually one of the very few organizations that are not buying into the myth that print accessibility equals “large type size.”

But someone disputed RGD’s ability to create accessible PDF files because the “accessible PDF” version of the handbook was not produced by the RGD but by an outside contractor. While the latter is true, I think, to be fair, this need to be put in some context. First of all, producing an accessible PDF from InDesign is not straightforward, and the steps Adobe documented (the same steps described by ADOD) do not actually work, and I can say this because I tried it when I did my issue of Cadmium (the OCAD SU zine that’s no longer being produced) and verified that the documented procedure did not in fact work.

The other thing, which is quite tangential, is that (I might add having Accessibil-iT do the final work does not prove that RGD does not have the capability — it’s normal for graphic designers to contract out non-core tasks anyway —, but that’s not the point I’m trying to make) RGD has raised some points that do not seem to have been addressed by most other people talking about accessible print. So they are tackling a conceptual problem, with the appearance (let’s say this for the sake of argument) that they might not have the best practical skills (or craft). As our chatting at a pre-DesignThinkers student mixer two years ago showed, this is actually very “OCAD.”

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