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Oliver Ding

Design Observer - 0 views

  • In its Standards of Professional Practice the AIGA makes this unequivocal statement regarding authorship, “When not the sole author of a design, it is incumbent upon a professional designer to clearly identify his or her specific responsibilities or involvement with the design. Examples of such work may not be used for publicity, display or portfolio samples without clear identification of precise areas of authorship.” Unfortunately, this dictum has not led to consistency in the way graphic design is credited in magazines, books, websites, or contests and doesn't address the problem of unattributed work.
  • The AIGA's stance speaks to what has traditionally been the major issue in graphic design attribution — in such collaborative work why does a single designer end up getting the credit?
  • What about young designers who put work done at a well-known studio on their personal portfolio site? What about big studios that use a monolithic studio credit for the work done by individual employees? And (as in the Sundance Channel example) what about work that goes completely uncredited?
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  • On the other hand designers now have seemingly limitless opportunities to promote themselves. On a portfolio site, a blog post or a Facebook page, designers are free to make their own assertions about their contribution to a given project. This was not the case when the only opportunities for recognition were only a handful of contests and publications each year. Now every designer has their own "catalog" site and design work circulates in a fairly unregulated way even within the design press.
  • In films, for example, credit is acknowledged once and for all and in detail at the end of a film. There is a great deal of horse-trading, arguing, and appeasement regarding the credits for any film project, but by opening night everything’s printed on film, the modern equivalent of being set in stone.
  • Film credits have been instrumental in codifying the labor hierarchy in the film industry, institutionalizing a shared vocabulary of job titles and responsibilities. No such standard has evolved in design — for example the term Art Director means something vastly different in an in-house design department than it does at an advertising agency.
  • Rather than wade into such ambiguous waters, it is easier to simply not credit anyone. Many large design studios have reached a similar conclusion and simply credit any work done at the studio to the studio entity. Frequently the mainstream press simply leaves works of design unattributed as if they were produced out of thin air.
  • Part of the problem is that attribution only becomes an issue after a work has become enduring or “important” and by that time it’s hard to recreate exactly how it came about.
  • In fact, the vast majority of graphic design is still done by unknown designers for unknown clients. It is a testament to the increasing influence of design that people care at all who animated a network interstitial or laid out a signage system. Perhaps this enhanced profile has made an unrealistic expectation that designers should get credit at all in a field with a blurry notion of authorship. Or perhaps the proliferation of design media channels simply offers more opportunities for half-truths and situational ethics when it comes to giving credit (and taking it).
  • Great post. It is a never ending battle to try to make sure that everyone who had some influence on a project be name-checked, and it is the right thing to do to give credit where credit is due, and we try very hard to do so. I recently scoured my records to try to credit a photographer for a project we worked on over 10 years ago. It was the one and only time our office ever worked with this person, and for the life of me I can not remember her name. I feel terrible about it, but there it is, I tried but came up short. If and when I come up with the photographers name I will certainly try to rectify the situation.As for work you're not especially proud of, I love the Alan Smithee idea. Posted by: Mark Kaufman on 05.20.08 at 01:20
Oliver Ding

How internet rock stars drive traffic. We take a closer look at Mahalo, Pownce and True... - 0 views

  • All three companies have used the personal brands of their founder’s effectively to launch, and all are leveraging social networks. (Side note: It is very interesting that Facebook and Twitter made the top 10 for all three.) Mahalo is also doing a great job getting their content featured on other sites, and Guy is doing a great job evangelizing Truemors at conferences. It will be interesting to see if Leah, Kevin, Guy and Jason can sustain their momentum over the coming months as the hype settles, and the product themselves become the real growth driver. It will most certainly be an interesting ride, and we’ll be keeping a close eye on their progress and tactics
Oliver Ding

OAuth: Introduction - 0 views

shared by Oliver Ding on 14 Aug 08 - Cached
  • OAuth and OpenID OAuth is not an OpenID extension and at the specification level, shares only few things with OpenID – some common authors and the fact both are open specification in the realm of authentication and access control. ‘Why OAuth is not an OpenID extension?’ is probably the most frequently asked question in the group. The answer is simple, OAuth attempts to provide a standard way for developers to offer their services via an API without forcing their users to expose their passwords (and other credentials). If OAuth depended on OpenID, only OpenID services would be able to use it, and while OpenID is great, there are many applications where it is not suitable or desired. Which doesn’t mean to say you cannot use the two together. OAuth talks about getting users to grant access while OpenID talks about making sure the users are really who they say they are. They should work great together.
  • Is OAuth a New Concept? No. OAuth is the standardization and combined wisdom of many well established industry protocols. It is similar to other protocols currently in use (Google AuthSub, AOL OpenAuth, Yahoo BBAuth, Upcoming API, Flickr API, Amazon Web Services API, etc). Each protocol provides a proprietary method for exchanging user credentials for an access token or ticker. OAuth was created by carefully studying each of these protocols and extracting the best practices and commonality that will allow new implementations as well as a smooth transition for existing services to support OAuth. An area where OAuth is more evolved than some of the other protocols and services is its direct handling of non-website services. OAuth has built in support for desktop applications, mobile devices, set-top boxes, and of course websites. Many of the protocols today use a shared secret hardcoded into your software to communicate, something which pose an issue when the service trying to access your private data is open source.
Qien Kuen

Charity For Debt:: Main Page - 0 views

  • Charity For Debt is a new non profit dedicated to helping students and alumni pay off their student loan debt by providing paid (up to $20/hour) volunteer opportunities at local charitable organizations. Charity For Debt establishes unique partnerships between local businesses and giving individuals to sponsor students to contribute their energy for local charitable needs in the community.
Oliver Ding

Design Thursday: What would a Mayan branding guru do? - 0 views

  • But if you go back a few thousand years, the site was home to the Mayans, a highly advanced civilization whose ruins still dot the region. Among their many accomplishments, the Mayans developed one of the most sophisticated writing systems in Mezo-America, with over 800 glyphs and symbols. And that’s where the New York-based design and branding firm Carbone Smolan began its brainstorming to create a symbol that would capture the essence of the resort’s history and culture. “We understood that Punta Nizuc was Mayan for “nose of the dog” “ says co-founder Leslie Smolan. “After researching the Mayan culture, and noting visual cues like anthropomorphic creatures with softly rounded, wave like forms, our sketch process and final logo incorporates both, evoking both dog and sea.” Smolan shared her Nizuc mood board to show us the earlier incarnations of their ideas. The logo also reflects the Mayan belief in the circular nature of the continuum of life – birth, death, rebirth. So, Smolan says, the logo is designed to keep your eye moving around the mark. It’s a cool little bit of cultural conscription, and looks surprisingly authentic, even if its pedigree is more Manhattan than Mayan. Of course, a strictly New York interpretation of what “nose of the dog” would look like would probably be something cold and wet – not the pictogram you’d want to represent a luxury a beach resort.
Oliver Ding

风雨同舟:新浪书画家博友+新士人赈灾义卖总动员!_沐斋_新浪博客 - 0 views

  • 我们捐出自己的拍卖作品,最好是为此次赈灾点题而作的精品,汇集一处,在各自的博客统一发帖开展义卖。广大博友参与竞拍,拍卖截止期限到期时间统一结束,竞得者作为每一副作品的买家,将款项直接邮寄中国红十字总会,并在自己博客出示票据,汇款人建议填写你所拍得的作品作者名或买卖双方联名。票据公示后,画家立刻将作品邮寄给竞得者。所有作品均0元起价!每次加价由各画家自行决定,提倡0元一手。
    • Oliver Ding
       
      Their Internet, a great idea:)
Oliver Ding

4 Reasons Amazon.com Will Rule the World - 0 views

  • The country's leading online retailer has been doing a lot of things right lately, and Goldman Sachs' James Mitchell thinks that the future will only get better for Amazon. He sees sales growing at an annualized clip of more than 20% over the next decade. The buy rating on Goldman's conviction list pegs a $98 price target on the stock.
  • 1. Retail's weakness is Amazon's gain
  • 2. Amazon is a triple threat in digital delivery
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  • 3. Nobody knows their customers like Amazon
  • 4. Compounding magic is Amazon's friend
  • Let's put Mitchell's 20% clip in action. Net sales clocked in at $14.84 billion last year. If Amazon's top line grows at a 20% rate, we're talking about nearly $92 billion come 2017. And keep in mind that Mitchell sees that as the floor. If Amazon is able to grow at a 25% annualized rate, we would be looking at $138 billion in net sales in nine years.
Oliver Ding

Jayhan Loves Design & Japan » If You Are Able To Survive You Must Remember Th... - 0 views

  • This is not a design or Japan related post, but it is so sad and touching that I had to share it with my blog readers. I came across is tearing slide presentation at SlideShare, about a mother protecting her child in the recent earthquake disaster in Sichuan China. Unfortunately the mother was dead because of the hard objects hitting on her. But the rescuer found out that there is a baby under her child and quickly get him out. The child was fine, thanks to his mother. Then the rescuer found a hand phone near the baby and on the screen, it says “My dearest child, if you are able to survive you must remember that I Love You”. This is such a sad story. In the earthquake that struck last week, it already taken so many people’s life (40,000 and counting), and every life behind there is a family, and there is a story to tell. If there is no earthquake, maybe they are enjoying their life right now with friends and family. But the earthquake just ruined it all. I hope everyone can pray and hope for Sichuan so that everything will become OK. And my respect to all the rescuers and medics and many more unsung heroes who are restless and working hard to save more life.
Oliver Ding

"网络道德"一文的反思 | 网貝 - 0 views

  • 习惯成自然的事情,一下定义为无道德,那也太绝了。 意识的东西也一样需要成长吧,不知道博主是不是一直都如此注重版权,或者你使用的正版的Windows,其他软件均是购买正版,但是中国大范围内能如此的人实在少之又少。问题是现在用盗版的人他们并不清楚自己在用盗版,换句话说软件这个东西需要花钱的意识还没有培养起来。 一样,抄袭这个东西也不也差不多。经你这么一说,都上升到这个民族不道德了。 农村在野地里可以随意大小便而不去厕所,就下定义说农民都不文明吗?
  • 同样,“转帖需要注明出处,要反链”这个基本要求,我相信在中国网民中并非一个深入人心的概念。比方小A在上网,看到一篇好文章,他很喜欢,想跟大家分享,就习惯性复制粘贴,搬到自己的博客上或者某个论坛里面,他并没有考虑什么版权问题,在他心目中互联网上的东西很自然就应该是这样转来转去的。 对于小A,我们可以说他做的不对,但的确不应做什么道德上的谴责,因为他不知道这样的行为不好。 现在另有一位小C,他也看到了一篇好文章,很喜欢,要动手搬。然而他发现这篇文章不但最后有作者的署名和链接,而且在文章中间,也出现了几处作者的名字,有几个链接链到作者别的文章。 如果仅仅是“习惯成自然”,那么这时候小C最方便的做法就是鼠标一划拉,复制粘贴,发布。这样问题也不太大。不过小C的做法是,划拉鼠标的时候短一截,不选取作者的署名,粘贴以后再不辞劳苦地从文中找出作者的名字和链接,删掉,或者改成自己的链接,做完这些准备工作以后再发布出来。 这种情况下,再用“习惯成自然”“没有意识”来解释就未免有些勉强了。因为很明显,小C是有版权意识的,而且这意识还很强,只不过他希望把版权变成自己的而已。
Oliver Ding

In Twitter's Scoble Problem, a Business Model - GigaOM - 0 views

  • In Twitter’s Scoble Problem, a Business Model
  • Anyway, to put Scoble and his Tweets in context, let’s assume for a minute that he always has 25,000 followers and he sent them 12,000 updates which are all 140 characters long, the maximum size allowed by Twitter. Again, hypothetically speaking, assuming each update is 100 bytes, then 12,000 updates generated used up 30 GB of data. (12000 updates * 100 bytes)* 25,000 = 30000000000 (30 GB) So here we come to the good part. This massive database of followers is what Twitter should turn into a business. Twitter should charge Scoble, Leo, me, Michael Arrington and anyone else who has more than 100 friends and followers. How about something simple? $10 a month for 1,000 subscribers. 25,000 subscribers means someone like Scoble should be paying them around $250 a month.
  • Let’s take it a step further. Twitter should limit people to 500 free messages a month. Any more should come in a bucket of, say, 1,000 messages for $10. Businesses like Comcast that want to use the service for commercial reasons should pay for the service, and so should startups like Summize, which want to build their businesses based on Twitter’s API. This would also fit the Freemium business model that Twitter investor Fred Wilson so loves. And at the same time, it would help Twitter overcome its abhorrence for adding advertising to the messages. I think many of us have a lot to gain from the service: My alerts about my posts on the system are a form of advertising for my work, and generate enough attention that paying for the service makes lot of sense.
Oliver Ding

SlideShare Blog » Blog Archive » Slideshow: Please Help Earthquake Victims In... - 0 views

  • One of our Chinese users, Oliver Ding has uploaded this slideshow , which is a call for people to help out the victims of the tragic earthquake that rocked central China’s Wenchuan County on the 12th of May, leaving behind thousands of dead. We deeply mourn the tragedy and would request our users to do their little bit in this regard. Please head over to these two sites - PledgeBank & CnReviews.com to learn how you could help out in contributing. We also request everyone to join the China EarthQuake Group that Oliver has created. We have featured his pledge as the Slideshow of the Day.
Oliver Ding

Flickr: The Help Forum: [Official Topic] Find Your Friends! - 0 views

  • I didn't find any of my friends using this, but I did find an old account of my own that I had completely forgotten about. For a split second I was like, "how did this person find all those photos of me???" Lol.
  • Any thoughts on the privacy issue I raised above? Revealing information about users shouldn't be something a user has to opt out of. For example some people may not want their co-workers or potential employers to know that they have a flickr account. They should have to opt in instead of opt out. I think this could get ugly for some people who don't want to be found. Also the setting for opting out should be changed. I may want to be found by my flickr buddy name, but just not by the new email address way. There should be a way to leave things the same way they were before. Now I can only opt out of everything or opt in for everything.
  • Proggie: Privacy is something we take very seriously at Flickr. People have actually always been searchable by email address on Flickr (via "People Search"), and we chose to respect our member's existing people search preference settings (as well as make that preference page easier to find). On the opt-out versus opt-in issue, this is something where we carefully weighed the options, and chose the default option based on what we feel would have the greatest benefit for the majority of our members. Just as we chose to make "public" the default for uploaded photos, we chose to preserve opt-out as the default for people search on Flickr.
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    This is case of you are one of your friends on web :)
Oliver Ding

中美青少年在线生活经验之对比 | Oh My Media | 媒介与传播研究 - 0 views

  • MIT的Henry Jenkins(亨利·詹金斯)教授最近在上海做field work。他最新的网志文章,谈及中美两国青少年在线生活之经验与感受的差异。他在一次会议中使用来自以“Young Digital Mavens”为名的研究的报告中的数据,以强调在中国青少年中培育新媒体素养及伦理之重要。
  • 五倍于美国受访者的中国受访者表示他们拥有(与现实生活)类似的在线生活(61% vs.13%)。 五倍于美国受访者的中国受访者赞成“我曾尝试过如何在线呈现自我”(69% vs. 28%)。 过半中国受访者(51%)表示自己曾在某些在线活动中采用了迥异的人格,美国受访者对应比例17%。 30%美国受访者认为互联网有助其社交生活,但77%中国受访者赞同“互联网帮我交朋友”。 中国受访者更倾向于表示他们曾在线表达个人观点或写过些关于自己的东西(72% vs. 56%),而且其在线表达比日常人格更为激烈。 中国受访者几乎两倍于美国受访者地赞同, 匿名在线有助于更好地表达诚实的观点(79% vs. 42%),以及在线时能更自由地说/做一些离线时无法说/做的事。
  • 有人提到中国年轻人可以很容易地使用blog技术,但难以使用如myspace和facebook这样的社会网络服务
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  • 有人说中国人非常积极地进行西方媒介内容的引介翻译工作,也包括翻译一些关于协作文化的东西,但他们自己接受采纳这些文化的步调却甚是缓慢。还有人解释道,中国人从互联网上取走了很多,但奉献的不多。
  • 显然作为youtube上业余媒介内容创造者的后舍男孩不会被我们错过。 但我被告知,他们(中国人)在杂糅与改造(re-mix and modding)的实践、及创建同人志(fan fiction)方面都曾远为落后,尽管也有人说这一切正在迅速改变。
  • 关于中美青少年对待数字环境的不同方式的一种假设是:美国青少年不太注意他们向网上发布自创内容的潜在后果,他们表现得大大咧咧或有些幼稚,既不顾近期可能的知识产权纠纷,也不怕未来雇主或者学校因此如何看待他们。而活在完全不同的政治和文化语境下的中国年轻人,看起来不那么愿意冒风险,对潜在后果也十分小心,他们看来更为珍视自己在网上找到的自由,因他们深知在行使这些自由时所冒的风险是什么。 另一原因则是在线世界的语言壁垒。中国年轻人更擅长于英译中的技能,有更强的动机去接触西方的内容;他们也感觉到,西方对他们不得不说的东西并不感兴趣,又无意通过翻译中国的内容来弥补这样的鸿沟。
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