With apologies to Jean-Luc Godard.

What is it about podcasters that allows them to make what looks like such a difficult medium seem so effortless? Brian Oberkirch is a great example: he’s the brains and voice behind the consistently fascinating and highly professional Edgework podcast, in which he hosts terrific dialogues with some of the best creative minds on the Internet. Last night he interviewed me via Skype at 10:00p EST, and he had the completed podcast episode up and available for download by 10:00a this morning. Wow, how do they do it? Anyway, it was a blast to talk to such a pro; Brian really knows how to run an interview. Have a listen and let me know how badly I stammered.

In other news, please vote for Subtraction.com in the 2007 Bloggies competition, where I’ve been very, very generously nominated for the “Best-Designed Weblog” category. That’s a huge honor, and I’m totally touched. I’m up against some formidable competition — not the least of whom is Veerle. I couldn’t possibly be saddened to lose to someone of that stature, because her blog is so clearly awesome. Still, it would be really nice to win, so if you can spare the time to vote for me, I’d greatly appreciate it.

Finally, you have two opportunities to come hear me ramble on about design: First, in just a few weeks I’ll be appearing in London at The Future of Web Apps conference (one of Ryan Carson’s many influential Carson Systems projects), where I’ll be talking about everything I know (and some things I don’t) about the topic of “Managing User Interfaces.” I’m pretty excited for that. I’ll also be doing a so-called ‘power session’ at South by Southwest Interactive in March, which will offer up for public appropriation everything I’ve ever appropriated myself about designing with grids. Mark Boulton will be sharing the stage with me, too, to provide the real substance. And of course, I’ll be available for hanging out afterwards, which after all is the real point behind the conference, right? Hope to see you there, or somewhere…

I haven’t forgotten our deal: once a month, I ask a designer or illustrator to create artwork to accompany the prior month’s archives, cutting loose in any fashion he or she desires to add a little bit of life to these pages. And in turn you, dear reader, take it in wholly and enthusiastically, even if each piece’s overall awesomeness leaves you too speechless to leave a comment on this blog. For a refresher on this arrangement, you can start at the November 2006 or October 2006 archives and work your way back to see all the wonderful work produced over the past year.

It may be nearly an entire month late, but I’m finally living up to my end of that for my December 2006 archives. (The fault for this truancy is mine entirely, not the artist’s.) This month, I was able to convince my good friend Mike Essl, who is the Assistant Professor in Graphic Design at the Cooper Union for the Advancement of Science and Art, to contribute what’s turned out to be the most aggro entry yet. It’s a shake ’em up, in-your-face change of pace from what we’ve seen before, and I dig it loads. You can see it here.

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A quick update on matters Helvetica.

First, Gary Hustwit’s “Helvetica” documentary is real, or at least about ten minutes of it are, anyway. That’s how much I saw in a private screening of a handful of clips that was held last night at Pentagram here in New York. Hustwit invited about fifty or so of us to a “reception celebrating the release of three limited-edition letterpress prints” commemorating the film (beautiful work from Experimental Jetset in Amsterdam, Build in London and Norm in Zürich), but the real star of the show was the sneak peeks.

It’s very hard to judge an entire movie on the basis of a handful of snippets, but let me just say that I’m really excited for its release after this little taste. To see graphic design writ large on the silver screen (well, it was projected on a big wall last night, but that’s close enough) was really invigorating, and the interviews he showed, especially with Michael Bierut and Wim Crouwel, were riotous. Fingers crossed, the final product is going to be a film we’ll all treasure for a long time.

In other news, a resounding “Yes!” to those of you who have emailed in to ask — I will indeed be doing another run of my Hel-Fucking-Vetica tee shirts soon. I have a lot of traveling to do in the next few months, but I’ll try and squeeze in the time to actually put another order through. This round, the shirts will be run in a different color entirely, so as to preserve the ‘limited edition-ality’ of the first batch, perhaps in a shade of black or gray for increased bad ass-ness. And, in all likelihood, I’ll be running that second batch alongside a first edition run of my Fear of a Cooper Black Planet tee shirt, too. Stay tuned, type fans.

Finally, take note of “Helvetica Memory,” an alphabet designed by Mike Essl for Rick Valicenti’s Playground. It’s a fun reinterpretation of the typeface, as filtered through the lens of Helvetica’s contemporary ubiquity. And it’s also a good lead-in to something else Essl-related, for which you’ll need to come back to this blog next week. How about that? A weekend cliff-hanger!

The music industry is considering doing away with digital rights management, The New York Times reported on Tuesday. This change of heart might be interpreted as a white flag in the D.R.M. battle, an admission that software-based restrictions on digital media are problematic, at least, enough to hamper the labels’ ability to do business online.

Or, you can read it, as I do, as a strategic ploy to undermine the iTunes Music Store, which, as Apple has recently admitted, has turned D.R.M. against the very people it was meant to protect. Apple’s FairPlay digital rights management framework, by tying purchases made through the iTunes Music Store exclusively to the iPod and to no other handheld media players, has allowed the company to create a de facto monopoly on digital music sales, in which it’s very difficult for the major labels to peddle their wares over the Internet through any other vendor.

Even though it’s still just a rumor, this newly enlightened attitude is an encouraging sign, right? If it actually comes to pass, though, I seriously doubt it will be accompanied by an embargo on the industry’s questionable habit of suing consumers who download music from unauthorized channels. Concessions tend to come piecemeal, not wholesale, in this kind of economic disruption.

Nor will it mean that I’ll be any freer to do what I really want to do with digital music: create and distribute the equivalent of mix tapes online. A steady stream of new music makes its way into my iTunes library, some of it protected by D.R.M., some of it from less reputable sources. I’m no taste maker, but I hear a fair amount of interesting stuff, and I’d like to share it with people (this means you).

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Mac OS X’s built-in Address Book is about as unglamorous a utility as any you can name. Aside from the fact that having a system-wide database of contacts that’s available to any application willing to hook into it is incredibly handy, very little about it could be described as interesting. It’s dead boring, in fact.

And yet, the other day, it surprised me. A colleague of mine sent, attached in an email, an updated vCard with his new home address. At first, I groaned a bit, because the relevant information — the new address — was buried inside of the vCard, hidden from view. I wanted it visible in the body of the email so that I could just update his contact information by hand. I was under the impression that, if I clicked on the vCard, it would launch Address Book and automatically add itself again to my contacts database — leaving me with two different cards for my colleague. Not a big deal, but an annoyance.

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Nicholas Felton of the New York design studio Megafone does some beautiful work, but the piece that’s really caught my eye is his Feltron 2006 Annual Report. Not a corporation, “Feltron” is Felton’s nom de guerre, under which he publishes, I suppose, personal projects and experiments. It’s hard to say because, like many designers’ indulgences, there’s frustratingly little information available at Feltron.com.

Doesn’t matter. Because this ‘annual report,’ a follow-up to a similar project he did at the end of 2005, is a work of delightful inventiveness. Using the pro forma conventions and banalities of corporate annual reports, Felton summarizes the notable trivia of the past twelve months of his life: the number of days he spent on vacation, the amount of time he spent on jury duty, the many remote geographic locations visited, and even a summary of plants he’s killed. All of it is executed in the kind of highly detailed diagrammatic vernacular that designers tend to fetishize — “info-porn” is the term — and with Felton’s precise, disciplined and, here anyway, his nearly unfailing aesthetic eye.

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The long-awaited new design for Boxes and Arrows, the venerable online information architecture magazine, went live earlier this week and it’s… um, it’s different. Very different.

Of course, it’s hard for me to give an objective assessment of this new look’s graphical merits. Way, way back in August 2004, I pulled a feverish all-nighter (with my former colleague, Chris Fahey) to knock out a competing design that I hoped would be selected as the new face for the magazine. I’m still very fond of what we pulled off, but, obviously, our proposal did not prevail.

Still, I’d like to think that even without that conflict of interest, I’d have much the same reaction as I had when I first saw this revision: the new Boxes and Arrows lacks certain traits of executional elegance that I value in well-designed interfaces. I’m talking about some basic stuff here: consistency in typographic conventions, semantic clarity in graphical elements, disambiguation in interface constructions, continuity with prior branding art… it’s a mess, and it will win no beauty pageants.

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In the past week or so, I’ve had to update or install new versions of software from Apple, Microsoft and Adobe. Having undertaken these tasks more or less in succession, I noticed something I’d never paid conscious attention to before: how the sizes of their progress screens — the dialog boxes that visually track the completion of each software installation — also served as visual indicators for the character of each application.

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Thank goodness for Subtraction.com, right? Because without it, there would be only a gaping maw where there might otherwise sit a surfeit of news coverage and analysis of Apple product announcements. And certainly without Subtraction.com, there would be no possible way of learning what I’m telling you right now: that Apple has, just yesterday, fulfilled years’ worth of wishes made while snuffing out birthday candles, crossing fingers behind backs, and tossing pennies into water fountains. Stop the presses, you heard it here first: there is an iPhone, and it’s magnificent.

Almost as if just to spite me, it does everything I could’ve dreamt of asking of it just last week: it’s a phone, it’s a camera, it’s a personal digital assistant, and it’s a platform, too. An honest to goodness computing platform, from what we can tell at this early date; an Apple-authored operating system that fits in the palm of your hand. We’ve waited a decade for Apple to redress all the shortcomings and unfulfilled promises of the Newton, and that patience looks finally rewarded.

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One more thing before we get started with today’s Macworld Expo craziness. Regarding whatever Apple’s going to announce at Steve Jobs’ much-anticipated keynote address in just a few hours: if it’s a new device of some kind, whether an Apple-branded mobile phone, a set-top box, a P.D.A. or a space age massage chair, then I hope it doesn’t sync with iTunes.

That is, I want it to sync with my Mac, of course, but I just don’t want that process to be handled through iTunes.

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For the past few months, I’ve carried around my Treo 650 smart phone with something very much like abandon. I’ve dropped it, tossed it, scratched it and let it tumble about inside of my briefcase, alongside my housekeys and assorted other sharp and unfriendly objects, without much care for its overall condition.

All of this, I can afford to do because since late last summer, there has been an almost irrefutable tide of rumor and allegation suggesting that Apple Computer will debut a brand new and potentially revolutionary mobile phone at next week’s Macworld Expo in San Francisco. Never mind that there’s been scant little evidence to corroborate these claims; this telephone’s impending announcement seems assured at least insofar as sheer desire and expectation are able to create technology products out of thin air.

This inevitability figures in prominently with my ongoing relationship with my Treo. I’ve long been dissatisfied with the 650’s bulky form factor and antiquated operating system, and I’ve been operating under the assumption that whatever Steve Jobs announces next week is going to replace my current phone, so why bother with preciousness? As soon as that new phone hits the market, goodbye Treo.

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