Not long after I moved from Manhattan to Brooklyn, I had that feeling familiar to most everyone who similarly relocates: “This is great. Why didn’t I do this sooner?” Once you’ve given up today’s Manhattan and its generally not-worth-it hassles, you understand how much more livable life is across the East River.

Well, I’ve got something like that feeling again right now, as I take the very first steps towards porting this site from Movable Type over to ExpressionEngine. (This is part of my recently stated desire to resolve the general slowness on this site.) It’s a daunting transition — especially for me, someone with more ambition than free time or technical facility.

To my surprise however, given a few short hours, I’ve gotten much further in getting ExpressionEngine to replicate my existing functionality than I thought I could. I literally started with zero knowledge of the software at the beginning of the week, and with less than six hours’ worth of labor, I’ve hobbled together a rough but serviceable, EE-powered re-creation of Subtraction.com.

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You could describe me as a somewhat reluctant fan of the Irish rock band U2. I was a big fan as a kid, but these days I only sporadically enjoy their music, and as they get older the band members’ penchant for dressing like dads just escaped from a Hot Topic store makes me cringe more and more. Still, I buy every new album they put out. I don’t really listen to them all that much, but I buy them. It’s something I do mostly out of habit and some vague idea that I may as well own all of their albums; I bought my first U2 record (cassette tape, actually) when I was fifteen or sixteen, I think. Oof. That’s twenty years of forking money over to these clowns.

Last night I threw another sixteen dollars on that pile when I went to see “U2 3D” at the IMAX theater at Lincoln Plaza. As an entertainment product, this movie is exactly as advertised: the Irish rockers filmed in concert, projected in three dimensions hugely against IMAX’s signature concave screen.

It’s not an unentertaining film, I’ll admit, though there was certainly more than enough of Bono’s hammy gestural histrionics to make me glad it only ran about ninety minutes long. I guess it helped that I knew all of the songs, too, but the real attraction — the only reason I was tempted enough to travel all the way uptown on a Monday for it — was the buzz I’d heard about this movie being a visual breakthrough.

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Unfortunately, I have bad news for the many friends I was hoping to see at this year’s South by Southwest Interactive Festival in Austin: I won’t be attending this year. Not that my three-year attendance streak was much to brag about, but I was really looking forward to showing up there for a fourth year. In spite of my criticisms about last year’s show, I still had a great time, learned a lot and left Austin wanting to come back.

However, I have pretty good reasons for why I had to cancel. First, I’m heading to San Francisco in mid-March for a business trip. At the end of my trip, I’m going to take my eleven year old nephew with me for a trip to Paris to see my dad. It’ll be his first trip abroad, which is exciting for him and exciting for me, too. We’ll be there for a week at the end of March, so if you have any recommendations on how to entertain a pre-teen in the City of Lights (or its environs), please let me know.

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Among the problems in my life that I’d like to do something about sooner or later is server performance for Subtraction.com and the various domains that I host along with it, including A Brief Message. These are all hosted over at DreamHost which, as I and many people have mentioned before, is less than ideal; it’s slow, slow and slow.

I’m told, though, that the performance I get from DreamHost is unfortunately about the level of performance I should realistically expect from any shared hosting plan. It’s consumer hosting, after all, and even if I move up-market a bit and pony up more money, consumer-grade hosting is never going to be as responsive as my fondest daydreams hope it can be.

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Um, did no one notice that, in my post about Adobe Creative Suite 3 that I mentioned that I had purchased that software package? Like, I bought it for myself, with my own hard-earned money. I didn’t “borrow” the installation discs from a friend or a business, which I’ve done in the past, ahem. (Not that using installation discs owned by some other party is particularly easy these days given Adobe’s anti-piracy measures.) But neither did I go looking for so-called cracked copies of the software on the Web, though they’re readily available, I’m sure.

It’s no doubt a function of the respectable, grown-up’s salary that I’m now lucky enough to bring home, but looking over the software on my hard drive, fully ninety-eight percent of it is legitimately mine (there are a couple of unpaid-for shareware utilities in there — I may be on the straight and narrow, but I’m a procrastinator, too). Meaning, I paid for it, and if you launch the software and invoke its registration screen, it will say “Registered to Khoi Vinh,” or something to that effect.

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A plug for a nice project from some friends: The Shirt Project is a collaboration between Louise Ma (who works in the design group at NYTimes.com) and Rich Watts. It’s a not-for-profit experiment funded by a fellowship that the two recent graduates received from the Cooper Union School of Art.

The idea is to design, print and sell a series of tee-shirts featuring topical, news-driven graphics. Though customers can buy the garments on à la carte, The Shirt Project is most interesting as a subscription. For US$75, customers get five shirts, sent one at a time, every four weeks — or roughly on that schedule. There will be ten in total.

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Time was, you’d buy a TV, bring it home and plant it in your living room. Then you’d watch it. For like a decade. And when the picture started failing, you’d go and buy another and do it all over again.

Nowadays, television is more than a piece of furniture, it’s an experience. It’s multi-sourced, time-shifted, narrow-casted, and/or delivered on-demand. Digital, in short. Like all experiences in the digital age, television now requires the support of a full complement of systems — a peripheral army of boxes, wires and software — to make it happen. You can’t experience digital television, really, with just one of anything.

This is why, I think, I’m an unlikely customer for Apple TV, Steve Jobs’ set-top contender in the living room war. To be honest, the couch potato in me is intrigued by its ability to access Internet video, which I’m sure I’d watch more of were it made as convenient as Apple TV promises. And last week’s announcement that Apple will rent movies on demand through the device, too, is intriguing.

But I just can’t imagine myself buying one anytime soon. It’s not only that I would be adding another box to my living room (though I’m certainly not eager to take on that added complexity), it’s also how much the digital television experience demands of us.

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I don’t mean to pick on Adobe, I really don’t. I admit, I have a fundamental disagreement with the insurrectionist strategy they’ve been pursuing with their Creative Suite applications; the company has essentially spent the decade so far leveraging those programs to carve out more than its fair share of space on my hard drive, and using the appropriated gigabytes to not so subtly transform the software into an unwanted back-door operating system of its very own. It’s immoderate behavior and frankly a pain in my butt.

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We’re living in the future, and I’ll tell you why: if you’re drinking water and breathing air in a time when a Steve Jobs-helmed Apple Inc. maintains stock keeping units for both a handheld computing device and an ultra-portable sub-notebook (the thinnest notebook on the market, no less), then clearly you’ve left behind the constraints of late 20th and early 21st century life and entered the wide, wonderful world of science fiction.

Back then, back in the distant past, Apple only ever entertained products that could fit inside a conveniently simplistic matrix of desktops and laptops of two grades: consumer or professional. To ask for a device of a more unusual order — something of the sort that even Apple’s less prolific rivals were regularly shipping even a decade ago — was a farcical daydream. Want to carry around an Apple-branded data device in your pocket? Want to tote around a Macintosh laptop all day without bringing on spinal injury? It just wasn’t done, son.

But now, today, we’ve got the MacBook Air, a laptop so thin and light it’s named after a shoe. At just three pounds, it fits inside a manila envelope, and is practically guaranteed to bring about envy in those with heavier laptops for at least the next three months. It’s not perfect — no Ethernet port, no FireWire port, and no swappable battery — but you know what? I’ll take it. After all those years of unrequited pining for a sub-notebook, the future looks just fine.

Last year, I spent a good deal of time talking about how print designers often fail to realize that the shift from analog to digital media also represents a shift from narrative to behavior — a fundamental change in the language and purpose of graphic design. That’s still an important concept, I think.

But after looking at portfolio after portfolio over the past two years while recruiting talent for an employer that still places a high value on narrative, I should shade this argument further: the future of this profession is not predicated simply on a one-way shift from the sensibilities of analog to the sensibilities of digital.

It’s a two-way street. Granted, the majority of the shift is incumbent upon the analog-minded. But there is a tremendous amount of storytelling that needs to be told in digital media, too, and a tremendous amount to be recovered from the craft of art direction, a discipline that is seemingly stranded in the analog world.

My complaint, right now, is that the majority of storytelling that happens on the Web is based in the interactively rich environment made possible by Flash. Flash has its uses, and I have no particular disdain for the medium. But its unique value is becoming less essential over time even as native tools like CSS and JavaScript become more capable.

Actually, I should rephrase this argument: not enough Web standards-minded designers are thinking narratively in the way that our Flash-fluent colleagues are. The vast majority of practitioners of XHTML, CSS and JavaScript are almost exclusively dedicated to behavioral work — interfaces and templates. There’s very little narrative design being done with these tools, and that’s a shame.

I’m offering a different kind of blog post today. Mostly out of necessity. What I had originally planned to publish this evening just didn’t work out. Click through to the jump, and you’ll see.

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Readers voting in New Hampshire’s primaries today, make sure to bring along your cameras: The New York Times has just re-launched the Polling Place Photo Project, “a nationwide experiment in citizen journalism that encourages voters to capture, post and share photographs of this year’s primaries, caucuses and general election.”

Sharp design observers may recall that this was an idea originated and executed by Bill Drenttel and AIGA during 2006’s mid-term elections. Bill approached us late last year with a proposal to overhaul it as a Times project, in collaboration again with AIGA. The editors really took to the idea to heart, and working with staff here, Bill and AIGA’s technology partner Thirdwave moved mountains to make it happen for this early stage of the campaign.

We quietly and preliminarily put up this site last week during the contest in Iowa, which is actually a caucus and therefore not an ideal subject for the kind of single-frame documentary photography we’re looking for. But New Hampshire is a proper primary with polling machines, and therefore was an ideal kick-off. As the marketing blurbs state, the project will run throughout the primary season and then into the general election — we hope to capture some fascinating visual documentation of democracy in action. When it’s election day in your state, remember to snap a photo to share with us.

Thanks to the miracle of 21st Century television distribution — doorstep DVD delivery via Netflix and the more limited but also more instantaneous phenomenon of on-demand cable television — I’ve now fully caught up on the first four amazing seasons of “The Wire.” Narratively, this level-sets me just in time for the fifth and final season, which began airing yesterday evening on HBO. But having watched the prior fifty episodes in their post-broadcast state — allowing me to devour them two, three, sometimes four at a time — I’m not sure I’ll be able to content myself with a measly single episode a week. Wah!

It’s going to be a long season, to be sure, but it’s probably for the better that I’ll have to enjoy the remaining episodes over the course of several months. That will give me time to really savor these final installments before the show shuts down forever. I’ll say it again: “The Wire” is the best television show ever. Ever.

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If I had a lot more time on my hands, I’d learn video. It seems like a blast. But I’m struggling enough already to keep up with the relatively static brand of design I get paid to do; a self-initiated foray into the world of motion seems expensive and time-consuming.

Still, I had fun messing about in a completely primitive way with video last month. I was invited by Jennifer Daniel, Erin Sparling and Amit Gupta to create a short bumper message for their new site, Command-Shift-3 — which is billed as being “like Hot or Not, but instead of clicking on hot babes, you click on hot Web sites.” It’s a cute idea, and in the early days, at least, Subtraction.com was a leader in the head-to-head competitions.

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All my digital cheerleading aside, I must admit there’s nothing quite like seeing your name in print. There’s an intangible quality to the medium that’s predicated, at last in part, on how relatively difficult and expensive it is to get large numbers of printed items in the hands of actual consumers.

Take magazines, for example. In this digital age, their strange, delayed distribution often makes them feel like time capsules from a world that’s perpetually six to eight weeks behind our own. And yet, when one’s name appears in one… then it’s a thrilling moment, there’s no doubt.

This month, my name appears in two magazines, and I have to admit, both times gave me a thrill. They’re both design publications, of course — Reader’s Digest still refuses to run my heartwarming story of how typography saved me when I fell through the ice during a cold New England winter — and they’re both on newsstands right now.

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Wasn’t it great how this year — and last year, I should say — Christmas Day and New Year’s Day both fell on Tuesdays? It made for a particularly quiet holiday season, at least at the office. And today, first day back at work, it’s a bit of a treat to remember that it’s just a three-day workweek — heck tomorrow’s Thursday, already.

All of that time off, both from work and, yes, from this blog, was exactly what I craved. I just needed the month of December, between my traveling and the holidays, to take it easy and spend time with Mister President. This morning when I got to the office, I felt more rested and recuperated than I thought I would, though there’s about a million things I’m already behind on for 2008.

Still, I’m feeling pretty positive about this year. Someone asked me in the elevator today if I thought the new year would be a good one, and somewhat unexpectedly, I said, “It’s going to be great!” I don’t know why I said that exactly, but it just sort of jumped out. And then I thought to myself, wow, it’s kind of frightening how much of an optimist I’ve become.

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