Twitter's contradiction

From Twitter's website comes this description:

Twitter is a service for friends, family, and co–workers to communicate and stay connected through the exchange of quick, frequent answers to one simple question: What are you doing? Why? Because even basic updates are meaningful to family members, friends, or colleagues—especially when they’re timely. Eating soup? Research shows that moms want to know. Running late to a meeting? Your co–workers might find that useful. Partying? Your friends may want to join you. With Twitter, you can stay hyper–connected to your friends and always know what they’re doing. Or, you can stop following them any time. You can even set quiet times on Twitter so you’re not interrupted. Twitter puts you in control and becomes a modern antidote to information overload.

So Twitter allows you to stay "hyper-connected" and "always know what they're doing" -- yet, it is "a modern antidote to information overload". Wouldn't just turning off your phone and computer be more effective?

Apple's "man behind the curtain", designer Jonathan Ive

Some interesting articles on the lead designer at Apple, Jonathan Ive:

"The man behind Apple’s design magic"

Design Museum award announcement

BBC profile

Business Week's in-depth profile of Apple's "man behind the curtain"

...

[how the design team works together -- a small group of people in a large studio with state-of-the-art prototyping machines...]

They rarely attend industry events or awards ceremonies. It's as though they don't require outside recognition because there isn't any higher authority on design excellence than each other, and because sharing too much information only risks helping others close the gap. And they personally reflect the design sensibilities of Apple's products -- casually chic, elitist and with a definite Euro bent. The team, made up of thirty- and fortysomethings, has a definite international flair. Members include not only the British Ive but also New Zealander Danny Coster, Italian Daniele De Iuliis, and German Rico Zörkendörfer. "Its good old-fashioned camaraderie -- everyone with the same aim, no egos involved," says British fashion designer Paul Smith, a friend since the late 1990s when Ive sent him a new iMac. "They have lots of dinners together, take lots of field trips. And they've turned these gray frumpy objects called computers into desirable pieces of sculpture you'd want even if you didn't use them."

Most of Ive's team live in San Francisco, and rumor has it that the starting salary for the group is around $200,000, some 50% above the industry average. They work together in a large open studio with little personal space but great privacy. Many Apple employees aren't allowed in, for fear they'd catch a glimpse of some upcoming product. A massive sound system pumps up the music. Ive invests his design dollars in state-of-the-art prototyping equipment, not large numbers of people. And his design process revolves around intense iteration -- making and remaking models to visualize new concepts. "One of the hallmarks of the team I think is this sense of looking to be wrong," said Ive at Radical Craft. "It's the inquisitiveness, the sense of exploration. It's about being excited to be wrong because then you've discovered something new."

Ive's team at Apple isn't the usual design ghetto of creativity that exists inside most corporations. They work closely and intensely with engineers, marketers, and even outside manufacturing contractors in Asia who actually build the products. Rather than being simple stylists, they're leading innovators in the use of new materials and production processes. The design group was able to figure out how to put a layer of clear plastic over the white or black core of an iPod, giving it a tremendous depth of texture, and still be able to build each unit in just seconds. "Apple innovates in big ways and small ways, and if they don't get it right, they innovate again," says frog design founder Hartmut Esslinger, who designed many of the original Apple computers for Jobs. "It is the only tech company that does this."

...

[Jobs's perfectionism...]

...he's as committed to perfection as any Swiss watchmaker. This is a guy who once insisted that a shipment of fine Italian marble for Apple's first Manhattan retail store be sent to Cupertino, Calif., so he could inspect the veining in the stone.

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[innovative ideas combined with perfectionism...]

During an internship with design consultancy Roberts Weaver Group, he created a pen that had a ball and clip mechanism on top, for no purpose other than to give the owner something to fiddle with. "It immediately became the owner's prize possession, something you always wanted to play with," recalls Grinyer, a Roberts Weaver staffer at the time. "We began to call it 'having Jony-ness,' an extra something that would tap into the product's underlying emotion."

By the time he graduated, Ive was already something of a legend in British design circles. Grinyer visited him once in his flat in the very tough Gateshead section of Newcastle and was shocked to find it filled to the rafters with hundreds of foam models of Ive's final project, a microphone and hearing aid combo that teachers could use to communicate better with kids with hearing problems (not surprisingly, in white plastic). "I'd never seen anything like it: The sheer focus to get it perfect," recalls Grinyer.

...

[they used supercomputers to drive simulations of products...]

They carted off the beloved Cray supercomputer Apple's designers had used to simulate the performance of dreamed up products.

...

[tyranny as an efficient governing style...]

"Steve Jobs is a tyrant, but that's precisely what Apple needed," said usability expert and author Donald A. Norman, even though he was one of the thousands who were pushed out in those early days. "Jobs said: 'This is the direction we're going,' and he unleashed Jonathan to make it happen."

...

[working in secrecy in a warehouse...]

In 2001, Apple unveiled the first computer made out of titanium. The backstory: Ive let Danny De Iuliis and two other team members sneak thousands of dollars worth of computers to set up shop in a San Francisco warehouse, far away from Apple's main campus. They worked there for six weeks on the basic design and then headed off to Asia to negotiate widescreen flat panels and to work with toolmakers. The result: a clean, post-industrial look that marked the end of the more whimsical design language of the original iMac. In October of that year, Apple unveiled the iPod, which immediately set the standard for cool in digital music players -- not just because of the iPod itself but because of the way it worked seamlessly with Apple's iTunes jukebox software and online store.

[precursors to Apple design...]

That integration is a major part of Apple's design magic. Thinking about "design" as simply style or fashion misses the point. The original iMacs were clearly retrospective nods to the Jetsons school of design. And the white, clean "look" of the iPod is "very derivative of central European design from the late 1960s and early '70s," says NewDealDesign's Amit. Compare many Apple products to the work of Dieter Rams, chief designer at Braun, and "you'll see that it's almost verbatim," he says.

[trial and error, and perfectionism...]

What really sets Apple's products apart is the "fit and finish," the ultimate impression that results from thousands of tiny decisions that go into a product's development. Take Apple's pioneering work in injection molding. It's part science, part art, and plenty of trial and error. The process involves figuring out how to inject molten plastic or metal through tiny "feed lines" into an irregularly shaped cavity, and then having just the right amount of holes so that it cools to a blemish-free perfection in seconds.