Design was something that was important to me from the start of this blog, over different incarnations of the blog, I featured interesting design related news. Design is defined as a plan or drawing produced to show the look and function or workings of a building, garment, interfaces or other object before it is made.
But none of the definition really talks about what design really is in the way that Dieter Rams principles of good design do. His principles are:
It is innovative
It makes a product useful
It is aesthetic
It makes a product understandable
It is unobtrusive
It is honest
It is long-lasting
It is thorough down to the last detail
It is environmentally-friendly – it can and must maintain its contribution towards protecting and sustaining the environment.
It is as little design as possible
Bitcoin isn’t long lasting as a network, which is why people found the need to fork the blockchain and build other cryptocurrencies.
Bitcoin uses 91 terawatts of energy annually or about the entire energy consumption of Finland.
The Bitcoin network relies on thousands of miners running energy intensive machines 24/7 to verify and add transactions to the blockchain. This system is known as “proof-of-work.” Bitcoin’s energy usage depends on how many miners are operating on its network at any given time. – So Bitcoin is environmentally unfriendly by design.
On the other hand, Apple products, which are often claimed to be also influenced by Dieter Rams also fail his principles. They aren’t necessarily environmentally friendly as some like AirPods are impossible to repair or recycle.
Four years ago I wrote about the Casio G-Shock GWF-D1000 Frogman, this post is about a much more humble member of the same family the Casio G-Shock GW6900. The GW6900 is an update of the classic Casio DW6900 shape. This gives it a button on the front below the watch face to turn the back light on, very similar to the later 9400 Rangeman series.
This makes it easier to light up than the original 5600 series G-Shocks and many of the other models including my beloved Frogman models.
No name
The GW6900 is much more humble. It has no name like other models. It’s cheap and ubiquitous in nature, being the ‘everyman’ of G-shock models. It has looks that while discreet feel like it was an artefact from a 1980s anime cartoon series with giant mecha, with its soft roundness and form follows function urethane armoured protection.
What changed to make the DW6900 series into the GW6900? Out goes the need to change the battery every few years. Instead you get solar charging and the use of radio signals set the watch with atomic clock accuracy.
Glow in the dark
Electroluminescent technology can trace its way back to work that GE was doing in the US during the early 1960s. GE was making electroluminescent dash instruments for Dodge Charger cars from the 1960 model year. Below is an example via Wikipedia taken by Jonathan Gibbs in a 1966 Charger.
Fastback Jon
With the GW6900, you still get the turquoise electroluminescent illumination that Timex first made famous with their Indiglo watches in the early 1990s. The reality was that electroluminescent thin film materials were becoming a thing and Sharp in Japan and Planar in the US were rolling out the display technology during the 1980s. But the glow still takes me back to early 1990s dark warehouses with sporadic bursts of these watch screens.
The case is unchanged as is the strap. A pleasing resin material that quickly adapts to the wearer over a few weeks and becomes smoother to the touch. It feels quite ‘dainty’ on the wrist compared to an Apple Watch or a modern sports watch, yet it’s been robust enough for use by law enforcement and the military, until smartwatches gradually took over. Now the G6900 and its ilk have been gradually replaced by the Garmin Tactix and Apple Watch Ultra models.
The main section of the display allows you to have have two time zones displayed and is generally glanceable. The night light works well, but the display can ‘wash out’ a little. Upgrading the light to an LED would provide a greater degree of contrast to make the watch more legible when reading with the backlight.
As for the three ring displays at the top of the watch display. The first gives you an idea of battery charge. The second gives you an indication if functions like an alarm or hourly chime is turned on and the third one visualises ten second segments for no apparent reason.
A simple watch
The GW6900 is a simple watch. It won’t make you more sexually attractive or boost your apparent status. It won’t keep you up with the latest online happenings. But it will keep on running even in the most arduous of circumstances and will tell you the time in the middle of the night due to it’s easy to find light button.
I am happy with a simple watch.
Watch ownership as a rite of passage
When I was a child, having your own watch was a right of passage similar to getting your first smartphone today. Knowing the time gave you more control over your life, pulling my phone out of my pocket to look at the time doesn’t scratch ‘knowing the time’ itch in quite the same way. Maybe it’s a generational thing, but I can find smartwatches intrusive at times with their constant reminders and need to be charged.
But at the same time I want to know I have the time with just a twist of the wrist away.
After owning your first watch at school, the idea of getting an ‘adult watch’ was the next big thing: buying a quality watch for life.
COVID seemed to bring people back to owning a serious watch. Serious watches became more of a mainstream thing, although a good watch is now viewed as an investment opportunity, and luxury watch flipping a side hustle. Alongside these developments, watch robberies seem to have taken off, so a humbler watch seems to be a prudent measure when I am out and about in London.
The Casio GW6900 is the grey man of watches, tough enough for life, but tame enough to go unnoticed. It doesn’t hurt that it costs less than 100 pounds.
I was sat thinking about a client project the other day. I was using Miro as a way to articulate my thoughts into something that the creatives could work with. As I stared off at a Post-It note on my wall that made up part of the prototype the idea that the tools are changing sailed in and sat at the front of my thoughts. I became deeply uncomfortable.
At a conscious level I know that technology and the tools that I use based on it are changing all the time. But what made me more uncomfortable was a deeper shift in the model of how the tools interacted with me and where the control sat. Sometimes it feels as if we longer use them, instead they use us. To what end has never been clearly articulated.
This quote from my first agency boss describes the nascent online landscape of the late 1990s:
After 50 years of radio and TV pushing marketing messages at people, it took technology to turn it around so that people pull in the information they want. Today’s new consumer has a cultural comfort with interactivity that just keeps building on itself, and it’s all because the technology is finally where it needs to be to let them do it.
I just couldn’t imagine the same thing being said about the experience of most netizens in our social platform dominated world today. The tools are changing, they now use us more than we use them.
I was particularly struck by this statement quoted in a BBC article and attributed to Thomas Bangalter
“Daft Punk was a project that blurred the line between reality and fiction with these robot characters. It was a very important point for me and Guy-Man[uel] to not spoil the narrative while it was happening.
“Now the story has ended, it felt interesting to reveal part of the creative process that is very much human-based and not algorithmic of any sort.”
That was, he says, Daft Punk’s central thesis: That the line between humanity and technology should remain absolute.
“It was an exploration, I would say, starting with the machines and going away from them. I love technology as a tool [but] I’m somehow terrified of the nature of the relationship between the machines and ourselves.”
A couple of my friends had home computers that were used as glorified games consoles. There was little technological value in playing Daley Thompson’s Decathlon or Frogger using the rubbery keyboard of a Sinclair ZX Spectrum. My school had a computer lab with three seldom used BBC microcomputers and I had one lesson on using Excel during my time in school. This all meant that I really came to computing in the late 1980s and early 1990s. I was a self taught Mac user. From someone who was used to hand writing or typing documents, cut-and-paste was a radical new way of creating a document.
Having my own Mac and printer helped me get through my degree relatively stress free compared to my peers who largely relied on the University’s computer and printing services facilities.
Over the time I have used computing, I’ve noticed that technology tools are changing and not for the better. Computers were seen to be personally empowering and enabling. This age of computing is encapsulated by a phrase attributed to Steve Jobs about the Mac being ‘a bicycle for the mind‘. Steve Jobs also used the analogy of a computing appliance and used both Cuisinart and Sony product philosophies as exemplars for the Apple II and Mac.
In many respect, this was similar to the vision that Stewart Brand had for the ‘back to the land’ hippie movement bible The Whole Earth catalog. The subtitle of the catalog was ‘Access to Tools’. The tools in question were an assortment of recommendations including books, maps, garden implements, specialised clothing, woodworking tools, forestry gear, tents, welding equipment, professional journals, early synthesizers, and personal computers.
Mother of All Demos
Throughout his life Brand has had a knack of being at the right place and at the right time. Including help facilitate Doug Engelbart’s ‘Mother of All Demos‘ – a public demonstration of prototype technologies that mapped out our digital age. Being in the audience for the Mother of All Demos must have been mind-blowing at the time. For an audience that would have found computer terminals transformative, there would have been a realisation that their tools are changing right in front of their eyes.
Cuisinart
Mac Classic
The rounded edges and corners of the Apple II’s plastic case was inspired by Cuisinart, as was the Mac Classic’s ‘sit up and beg‘ stance. The idea that the the Mac was a ‘computing appliance’; something that just worked. For IT professionals of a certain age who had invested in Microsoft skills, this was mistaken for the Mac being a ‘toy’.
Before the web, this led to a religious type split. I have been a proud Mac user since 1989, which gives you an idea on where I sat. The IT professionals did not believe in personal user empowerment, but they would also struggle with the way tools are changing now as well. The thinking of these IT professionals can be seen in the clunky experience of using SAP enterprise software today.
The overlooked HyperCard
Some of the tools were brilliant ideas but didn’t get widespread adoption. My personal favourite of software in this category would be Apple’s HyperCard. HyperCard was a framework that allowed you to build processes from an address book or digital brochures to mind-blowing experiences and even running factories.
For example, Northwest Airlines managed their entire plane maintenance management programme using HyperCard. Nabisco ran at least one factory using HyperCard as an enterprise resource planning platform.
HyperCard was ‘No Code Tools‘ before the founders of AirTable or Zoho Creator were even born.
Danny Goodman who wrote a lot of the guides to HyperCard, went on to write some of the best books for programming assorted web and mobile technologies from JavaScript to iOS development.
This empowerment extended to many web technologies and web services. Email, forums and chat apps radically changed business and personal networks. It was now easier to access information and expertise. The late 1990s and email saw increased worker collaboration across offices and departments. You saw services like Yahoo! Pipes provided to ‘power-user’ consumer netizens during the Web 2.0 era. RSS newsreaders like Newsblur do a similar job, as do social bookmarking services like pinboard.in.
Modal interfaces and software buttons
When electronic products first moved into the home they had mechanical buttons. Buttons limited functionality, but allowed for the creation of highly intuitive products. Buttons have since been proven to be faster and safer to use automotive applications than touch screens. The use of touch screens being driven as by the car manufacturers marketing department. Logic controls were buttons connected to servos that provided a slimmer finish, a more sophisticated looking product.
Depending on the device they also allowed for the use of software.
But sophistication gave way to confusion as buttons often had to do multiple jobs and use a modal interface. I spent a good deal of my childhood programming my parents video recorders and setting the time on their digital watches and clocks in the home and the car.
Modal interfaces have their place. During my time as a student I worked for MBNA in customer service roles. The modal interface of the CardPac software allowed me to move around a customer record much faster than a point and click ‘windows type’ application. This was particularly important handling stressed customers who have been waiting to speak to a customer services rep in a phone queue.
I would switch into edit mode and quickly tab through fields of data faster than scrolling down and hunting and pecking with a mouse and cursor.
It’s not so much fun if you make one error programming a mid-1980s video cassette recorder and have to go cycle through the rest of the process to go back to the beginning and start again.
You also started to see software defined buttons. This appeared on machine tools and music instruments first. If there was ‘Mac like moment’ for software defined switches, it was the launch of the first commercially successful digital synthesiser: the Yamaha DX-7.
The Yamaha DX7 was so powerful, yet challenging to use – that a veritable cottage industry of books and tutorial videos like the one above. One of the most prominent manual writers was Lorenz Rychner, who wrote guides for various Yamaha electronic instruments as well as later Casio, Kawai, Korg and Roland instruments that was inspired by the Yamaha DX7. Eventually when personal computers became used in music production, Yamaha DX7 editing software appeared as well.
Getting these electronic instruments to work saw a new artist credit appear on albums and singles; that of MIDI programmer. In the 1980s, the audio tools are changing, but experts are required to get the most out of them due to software defined buttons. Apple took this to its natural extreme with a MacBook Pro model that replaced function keys with a touch screen that changes controls based on what software programme is being used at a given time.
Pictures under glass
Technology allowed the entire display surface to become software defined buttons, directly with your fingers. This robbed people of the tactic feedback of a button, knob or lever to create a phenomenon of ‘pictures under glass‘. This changes our relationship between our tools and how we interact with them. It also opened up new ways of interaction.
Swiping and gestures
Korean smartphone manufacturer managed to reduce the kind of gesture tracking that was previously in living rooms with Sony EyeToy series of devices controlling a Sony Playstation of Microsoft Kinect into a smartphone handset.
Pantech’s Vega LTE smartphone allowed control at a distance. This was based on technology from eyeSight to do gesture controls.
Within applications, dating app Tinder created gestures that became ‘common language‘ – to swipe left as in reject an option. But the very gesture of swiping left was part of gamification as the tools are changing from working for us, to us working for them. They are no longer tools of personal liberation in terms of ideas and thinking.
Digital drugs
Captology to captured users
To talk about how tools changed and became items of personal enslavement one has to back to the late 1990s. B.J. Fogg is a combination of media theorist and technologist with a doctorate in communications and heading a behavioural design lab at Stanford University.
The insight that B.J. Fogg had was that with the right design cues, computers could become ‘charismatic’ in nature. They could manipulate behaviour. Professor Fogg converted his doctorate paper into a new discipline that he called ‘captology‘ ( from computers as persuasive techologies). By 2003, Fogg had realised that some of the methods had negative impacts on users. He flagged ethical use to his own students and in his book Persuasive Technology: Using Computers to Change What We Think and Do.
Unfortunately, a number of Fogg’s students and readers took these unethical tactics into Silicon Valley businesses and used them as ‘growth hacks’ for brands as diverse as Tinder (swipe right) and Robinhood the stock trading app that gamified transactions. This was the dark side of ‘move fast and break things’ mentality prevalent in Silicon Valley at the time.
Other’s like Fogg’s student Tristan Harris saw what was happening and were horrified. Harris went on to co-found The Center for Humane Technology – an organisation raising awareness of the problems and holding the organisations to account.
Addiction
What was then termed internet addiction or video gaming addiction was by recognised as an issue by both the World Health Organisation (WHO) and the Chinese government. As far back as 2006, China estimated the number of addicts in its country as numbering 2 million children and young adults.
Psychoactive tools
Modern technology didn’t bring a distortion of reality on their own. Regulation and media owners have a lot to do with it. The origin of the modern ‘filter bubble’ was said to be syndicated talk radio host Rush Limbaugh as media regulations were relaxed. This allowed media eco-systems to be created that catered to left wing or right wing views. There was no longer a common view, which people could hold different opinions over, but ‘the truth’ and ‘alternative facts’
“You’re saying it’s a falsehood, and Sean Spicer, our press secretary, gave alternative facts,”
Kellyanne Conway quoted in The Atlantic magazine
A combination of societal isolation, reductive algorithmic models, bad actors and dark pattern designs leave users more vulnerable in the online world. Machine learning and internet content allow for the creation of an overwhelming amount of content.
Whole worlds can be created. This means that there is no social glue of common experiences. There is no consensus and technology enables the bar bell.
Being boring
So enough about digital drugs. Let’s back to something more boring. In the appropriately titled essay The Future is Boring by Eliane Glaser published by Monocle in its Monocle Companion Volume 2: 50 essays for a brighter future; the author discusses the pointless rituals of techno-capitalism. The reason for these pointless rituals is often that the tools are changing, providing useless digitally mediated services and access that is ultimately unfulfilling in both form and function.
Plenty have already covered the OceanGate Titan implosion in more detail. I will not repeat that work but wanted to bring to wider attention how marketers have jumped on the bandwagon. The following advert appeared in the print edition of the Financial Times, placed by Omega watches promoting their Omega Seamaster Planet Ocean Ultra Deep series of watches.
‘Seamaster – Precision at every level’ next to a scale going beyond 6,000 metres.
Omega
I personally thought that the advert was too soon after the implosion for good taste. Although the watch community has seen a renewed interest in deep diving capable watches after the OceanGate Titan incident.
Young Japanese are craving fast fashion. What happened? | Vogue Business – it’s the economy stupid, luxury is less accessible. Secondly, much of the youth looks like Gyaru peaked in the early 2000s due to financial issues and things haven’t improved since. Shibuya subcultures were as dependent on the ability to spend as on youth creativity.
I haven’t been a car owner since 1998. Back then driving a car was a very analogue experience and had been for decades. I grew up reading Car Magazine and was excited to get behind the wheel and drive when I was old enough. The reality of driving was rather underwhelming. The Opel Corsa was also known as the Vauxhall Nova at the time, now it’s also known as the Vauxhall Corsa. The Opel Corsa of the time was known as a good first car for new drivers. This was back when joyriding was a crime wave sweeping the UK and Ireland and vehicles leasing or finance wasn’t as commonplace as it is now.
Consequently insurance companies penalised car owners with punishing insurance premiums, to the point that my car usually cost less than the annual price to insure it.
Last car standing
I owned or driven a number of the competitors to the original Opel Corsa including the Fiat Uno, the Ford Fiesta and the Rover Metro. Rover went bankrupt, Fiat now makes a retro-futurism of the Fiat 500 rather than a modernised version of the Fiat Uno and finally Ford sunset the Fiesta. So the Opel Corsa remains the last car standing.
Convoluted product DNA
However, that belies the fact that GM Europe including their Vauxhall and Opel brands were sold to the PSA Group and then became part of Stellantis in 2021. Stellantis is the result of a merger between the PSA Group (Peugeot, Citröen, DS, Opel and Vauxhall) with Fiat Chrysler Automobiles (Abarth, Alfa Romeo, Chrysler, Dodge, Fiat, Jeep, Lancia, Maserati and Ram Trucks.
This generation of the Corsa relied on PSA underpinnings rather than previous generations based on General Motors designs.
Modern Opel Corsa versus its ancestors
The modern Opel Corsa has a wedge shape with more overhangs that gives it a pleasant look. In the driver’s seat is when the experience starts to change from the original car. The wedge shape and high doors with obligatory side impact protection means that you have significant blind spots in the drivers chair.
The original Corsa was a three door car, but four and five door versions came along later. The modern Opel Corsa allows a little more leg room in the back. The boot would hold two carry on cases and a couple of tote bags, which from memory was a little larger than the late 1990s capability of the Opel Corsa.
Back to the interior. As a super mini, the Opel Corsa’s seats were one of its better features. The modern car had seats that felt weirdly similar to previous generations of Corsa, even down to the lack of lumbar support and a manual knob to dial in the seat back angle.
Because of the smaller windows and higher doors the interior also felt darker, rather than the light airy driving experience that I remembered.
Dashboard
The most apparent change in the latest version of the Opel Corsa compared to its ancestors is the dashboard. Digital car systems go back to the likes of Clarion’s Auto PC from 1998. There is no voice recognition, but there is a touch screen. This controls some of the car’s settings such as having the lights come on automatically, the radio and mapping. The digital experience was limited compared to systems from the likes of Mercedes Benz, but that’s no bad thing, as there was less technology to master. This was particularly important given that it was a hire car, that I wanted to get into and drive away with minimum fuss.
I found its reversing camera invaluable, mainly because of the narrow view provided by the the rear window.
My car was rented from Hertz. While Opel claims that the car is compatible with Apple CarPlay, I couldn’t get it to work so both navigation and media options were limited. This meant that the car’s information screen was of limited use and a smartphone holder became a must purchase item in order to use a mapping app.
On the plus side, what was there was intuitive to navigate, which is important to the hire car experience. Maybe the system was restricted at the request of Hertz? I don’t know.
The button controls for lighting off the screen would be hard to reach for drivers with smaller arms.
Driving
The 1.2 litre engine is fine for either motorway driving or in urban conditions. At no point did I feel that I would have preferred more power, to paraphrase Rolls Royce the acceleration and speed were adequate. I managed to get about 50 miles / gallon out of the car through a mix of driving, which surprised me.
The car was skittish, yet unengaging in terms of its handling, with a steering wheel that was oddly shaped for using during longer journeys. The clutch was very progressive, but the brakes weren’t.
The Opel Corsa isn’t a desirable car, but it is a perfectly adequate one.
The North America semiconductor corridor looks at Mexico, the US and Canada as a potential production capacity eco-system for the semiconductor industry. The North America semiconductor corridor is framed in terms of increasing resilience in security. At the moment the semiconductor industry for reasons of cost and supply chain ecosystem is focused on the US Pacific coast and Asian countries from Singapore to Korea that face on to the Pacific.
In the North America semiconductor corridor also has a political advantage bringing back more high value jobs across Canada, the US and Mexico. There are considerable challenges to the North American semiconductor corridor from talent to energy and water requirements. The US CHIPS and Science Act has looked to catalyse some of the change required.
Ancient monuments to the dead
The summer solstice on Wednesday reminded me of Ireland’s stone monuments. Some like Newgrange have a calendar type element, but most of them are solely monuments to the dead. The megaliths continue to guard their secrets well despite the educated deductive reasoning of archaeologists.
Wilkie Collins radio dramas
Wilkie Collins along with Arthur Conan Doyle invented what we now know as the detective genre. This stream of Wilkie Collins dramas is better than modern productions on BBC Radio 4.
Technics SL-DZ1200
Techmoan did a review of the Technics SL-DZ1200. I am a big fan of the DZ1200 over Pioneer’s CDJ devices and they did a good rundown of the device. Hopefully, the DZ1200 will come back in a new and improved form if Technics relaunch of the SL-1200 is sufficiently successful?
Microsoft Auto PC
Auto PC
Back when I worked agency side on Microsoft I never heard about the Microsoft Auto PC experiment which seems to be Microsoft’s abortive move into in-car entertainment and information systems. This seems to be alongside the more successful personal digital assistant and nascent smartphones. It’s fascinating to see technologies like voice recognition, iRDA, compact flash (but not as a music media) and USB being incorporated because these capabilities were being put into future PDA and smartphone products.
CES launch
It was launched at CES in 1998 according to the Microsoft corporate website. It’s interesting, I still have similar problems with voice recognition.
Directions
The rudimentary directions software was similar to the turn-by-turn direction print outs that I ordered from The AA Route Planner service. during the mid-to-late 1990s for long journeys – but on your stereo screen. A similar approach was also taken by Palm app Vindigo for pedestrians about the same time. Disclosure: I worked agency side on the launch of the Vindigo London guide alongside the work I was doing on Palm PDAs at the time.
(The AA Route Planner service still exists, but it is now online rather than something you ordered over the phone and received via the mail. However you can still print out turn-by-turn directions. It’s also likely to not send you on some of the interesting routes that modern navigation apps seem to manage.)
Clarion
I feel sorry for Clarion who were Microsoft’s only hardware partner. Clarion is now owned by Faurecia SE, a French headquartered auto parts manufacturer with Chinese car manufacturer DongFeng Motor Corporation who were the local partner to Peugeot, Nissan and Honda’s efforts in the Chinese market as a key minority shareholder.
