I was a medium-level juvenile delinquent from Newark who always dreamed about doing a movie. Someone said, “Hey, here’s $7 million, come in and do this genie movie.” What am I going to say, no? So I did it.

“Big Hy” — his handle among many loyal customers — would almost certainly be cast as Hollywood Enemy No. 1 but for a few details. He is actually Hyman Strachman, a 92-year-old, 5-foot-5 World War II veteran trying to stay busy after the death of his wife. And he has sent every one of his copied DVDs, almost 4,000 boxes of them to date, free to American soldiers in Iraq and Afghanistan.

Writing software is something that’s not typically associated with the work of a visual designer, but there’s a growing number of designers who write custom software as a component of their work. Over the last decade, through personal experience, we’ve learned many of the benefits and pitfalls of writing code as a component of a visual arts practice, but our experience doesn’t cover the full spectrum. Custom software is changing typography, photography, and composition and is the foundation for new categories of design practice that includes design for networked media (web browsers, mobile phones, tablets) and interactive installations. Most importantly, designers writing software are pushing design thinking into new areas.

The asked a number of designers the impetus for writing their own software, and how it has impacted their work.

AP has a new look for the first time in thirty years. The creative system for the rebrand was developed by Brooklyn design firm Objective Subject.

Our iterative process generated an option with a red underscore, which we dubbed ‘the prompt,’ that evokes AP’s emphasis on editorial rigor and precise and accurate approach. Setting the letterforms in black on a white backdrop proved to further highlight these values, while improving contrast and legibility. Using a consistently white backdrop further improved the strength of e mark in the variety of environments it needs to live in.

We retained the original logo’s stencil lettering, which embody the gutsy and adventurous personality of an international news organization. Redrawing the letters upright speaks to AP’s integrity, while lending a more contemporary feel to the mark.

Be sure to check out the process video to get a feel for the brand mark’s development.

The AP has more information in the form of a dry press release (imagine this is the look they’re trying to avoid). They also have a placeholder up for their new website, with a link to a PDF of the brand introduction, which features the following image detailing the evolution of the logo.

Congratulations to my friends at Objective Subject on a great job. Look forward to seeing the new system in the wild.

The Submarine Cable Map, just in case you wanted to know where your bits are going. Here’s an excerpt from the description of the site:

TeleGeography’s free interactive submarine cable map is based on our authoritative Global Bandwidth research, and depicts active and planned submarine cable systems and their landing stations. Selecting a cable route on the map provides access to data about the cable, including the cable’s name, ready-for-service (RFS) date, length, owners, website, and landing points. Selecting a landing point provides a list of all submarine cables landing at that station.

The source is available too.

This project is experimental and of course comes without any warranty whatsoever. However, it could start a revolution in information access. We are currently using WWW for user support at CERN. We would be very interested in comments from anyone trying WWW, and especially those making other data available, as part of a truly world-wide web.

A revolution in information access indeed.

You also might be interested in this post from the eightface archive: The oldest page on the internet.

Psychedelics are thought of as ‘mind-expanding’ drugs so it has commonly been assumed that they work by increasing brain activity, but surprisingly, we found that psilocybin actually caused activity to decrease in areas that have the densest connections with other areas. These hubs constrain our experience of the world and keep it orderly. We now know that deactivating these regions leads to a state in which the world is experienced as strange.

Here are links to abstracts from the first and second study.

From the AT&T Archive: watch Saul Bass pitch the Bell Systems logo redesign. (via @jalbertgagnier)

Women shop, men stockpile. That’s one theory, anyway, of how men buy clothes differently from women. If women see shopping as an opportunity, a social or even therapeutic activity, the thinking goes, then men see it as a necessary evil, a moment to restock the supply closet.

I hate shopping, this is starting to look like a pretty good idea.

A robot making a sandwich (and popcorn). Oh, you’re not impressed?

sudo make me a sandwich

We are not accustomed, here at GQ, to acting as a celebrity Make-A-Wish Foundation. But something about this tweet captured our attention. The grouping was unlikely, yet it made an instant kind of cosmic sense, as though you had been waiting for the picture long before it appeared. The Venn diagram of their fame might have a small overlap—I found that most people knew two of the three—but that intersection was a particular pocket of smart, inventive, forward-looking cool. The destination, too, made a certain intuitive sense, Tokyo being both a fun-house mirror of pop-culture iconography and a place where generations of Western seekers have gone to feel both reverently awed and gloriously disoriented.

A diagram from the 1969 study, A Dynamical Explanation of the Falling Cat Phenomenon, by Kane and Scher of Stanford University. Apparently one of the very few scientific papers on cat physics.

Kane and Scher neither lifted nor dropped a single cat. Instead, they created a mathematical abstraction of a cat: two imaginary cylinder-like chunks, joined at a single point so the parts could (as with a feline spine) bend, but not twist. When they used a computer to plot the theoretical bendings of this theoretical falling chunky-cat, the motions resembled what they saw in old photographs of an actual falling cat. They conclude that their theory “explains the phenomenon under consideration”.

Will Shortz has been the New York Times crossword editor for almost twenty years. He explained to Alex Hoyt how he goes about editing the puzzles.

Every crossword in the Times is a collaboration between the puzzle-maker and the puzzle editor. On average, about half the clues are mine. I may edit as few as five or ten percent of the clues, or as many as 95 percent for someone who does a great puzzle but not great clues. Why accept a puzzle when I’m going to edit 95 percent of the clues? Well, if someone sends me a great puzzle with an excellent theme and construction, you want fresh, interesting, familiar vocabulary throughout the grid, I feel it would be a shame to reject it on account of the clues, because I can always change them myself.

A selection of colour photos from the London Blitz by the Daily Mail.

In the years of IE 90% dominance there was nothing much to do but regard the browser as a “black box”, but now, with open source browsers having more than half of the usage share, it’s a good time to take a peek under the engine’s hood and see what’s inside a web browser. Well, what’s inside are millions of C++ lines…

I tend not to post anything that I haven’t consumed in its entirety, but exceptions can be made. As Justin pointed out, the article is a must-read for anyone interested in web development.

Scanwiches (via Subtraction). There’s a book coming out in the fall. Now I’m hungry.

It was astounding how something so commonplace, so elemental, could have so many variables. You just have to learn to see all those variables, to recognize what effect every moment of heat, every motion of the hands has. To get back to that thing I tasted, I would have to know exactly what to look for and nail it every step of the way.

Three eggs, salt, pepper, and a little butter. That’s all there is in a classic French omelet, but it’s enough to keep reteaching me this vital lesson: Things are only simple when you’ve stopped asking the right questions of them, when you’ve stopped finding new ways to see them. Because what you find, when you learn how to find it, is that even simple things can be wonderfully, frustratingly, world-openingly complex.

Wugazi is combination of Fugazi and Wu-Tang Clan, created by Cecil Otter and Swiss Andy. The album, 13 Chambers is available to download from their site.

Dan Solomon interviewed the pair and discussed how the album came to be. For the technically minded, Joe Gross offers a track-by-track breakdown of the album.

It is possible to cross Dublin without passing a pub.

In Ulysses, James Joyce mused that “a good puzzle would be to cross Dublin without passing a pub”. No-one’s really sure if it was possible, and Dubliners have always felt proud that it was not straight forward. The traditional Irish way to ‘solve’ this puzzle is to walk across Dublin, and call into every pub in the way and have a pint. This way you never actually pass a pub.

What problems can’t be solved by the internet?

As the Internet Archive has digitized collections and placed them on our computer disks, we have found that the digital versions have more and more in common with physical versions. The computer hard disks, while holding digital data, are still physical objects. As such we archive them as they retire after their 3-5 year lifetime. Similarly, we also archive microfilm, which was a previous generation’s access format. So hard drives are just another physical format that stores information. This connection showed us that physical archiving is still an important function in a digital era.

Recognizing that a book is just another device is important. It’s way too easy to make all sorts of cute analogies and comparisons between books and the digital world, so I’ll avoid it. How our society consumes words and images is bound to shift, but the book will still be here in fifty years.