> The secret to why podcast audiences are growing and attracting new voices might be authenticity. In addition to being more diverse, podcast hosts are better at sounding like themselves. Even tightly edited podcasts like “Serial” and Gimlet Media’s “ Startup” allow people to speak spontaneously and conversationally. Some voices aired are slow and others accented. Not only do audiences listen in spite of this authenticity, they appear to listen because of it. Online courses, on the other hand, sometimes sound like infomercials promoting expert knowledge rather than inquiries tempered by humility or curiosity. If we want to build engaging content, this is a mistake.
“Listeners want you to be real, a real person…I think the more human you are, the more people can then relate to you. The whole point is…people will want to take my hand and come along. It’s so they feel like they trust me enough to come down the road with me,” observes Kelly McEvers, host of the NPR podcast “ Embedded.” (Source)
To me, the idea of human scale is critical. It’s easy to fall into the trap of thinking that every idea must scale. That thinking is distracting, closes us off from great opportunities, and invites unnecessary complexity.
Turn down the amplifier a little bit. Stay small. Allow for human correction and adjustment. Build for your community, not the whole world.
Reality Ends Here was an environmental game at the USC School of Cinematic Arts (SCA) where students would secretly enter a hidden, optional, and unofficial game designed to serendipitous spark collaborative media-making. Don’t call this gamification.
Gamification is the application of points and badges and other representations onto real-world behaviors under the assumption that such application will motivate or “incentivize” said behaviors. We believe that gamification is a crude behavioral control system masquerading as innocent marketing. That is not what games are, or have been, or ever will be. We define a game as a set of rules and procedures that generates problems and situations that demand inventive solutions. A game is about play and creativity and surprise. Real play isn’t about motivating people to do things; it’s about channeling and challenging motivations that are already there in order to create new meanings and possibilities. Gamification is about “checking in” and ticking off boxes. Never confuse the two. At the very least, you will piss off any game designers within earshot (source).
A longer, more formal, explanation of Reality exists in dissertation form. (Article)
The idea that Mrs. Clinton is less likely than Mr. Sanders to let government get in the way of the Valley’s creativity and enterprise is one of her strongest selling points. Another is her pedigree as a Washington insider.
Al Gore, Bill Clinton’s vice president, was the White House’s ambassador to the tech community and helped connect public schools to the internet. In the years since, battles over net neutrality, intellectual property and privacy have shown companies here the value of friends in Washington. This has helped raise millions for Mrs. Clinton, with more on the way. (source)
Sizing and spacing type, like composing and performing music or applying paint to canvas, is largely concerned with intervals and differences. As the texture builds, precise relationships and very small discrepancies are easily perceived. Establishing the overall dimensions of the page is more a matter of limits and sums. In this realm, it is usually sufficient, and often it is better, if structural harmony is not so much enforced as implied. That is one of the reasons typographers tend to fall in love with books. The pages flex and turn; their proportions ebb and flow against the underlying form. But the harmony of that underlying form is no less important, and no less easy to perceive, than the harmony of the letterforms themselves.
This page is a piece of paper. It is also a visible and tangible proportion, silently sounding the thoroughbass of the book. On it lies the textblock, which must answer to the page, The two together – page and textblock – produce an antiphonal geometry. That geometry alone can bond the reader to the book. Or conversely, it can put the reader to sleep, or put the reader’s nerves on edge, or drive the reader away. (p. 145) source