After three years of innovation, the new HONOR MAGIC mobile phone from HUAWEI was launched in China on Friday the 16th December, 2016, together with a totally new type of advanced intelligent user-centred operating system called MAGIC LIVE. The new platform is due for EU and US release in 2017.
Honor Magic AI Powered smartphone with Quad-HD display
MAGIC LIVE continuously learns about its user’s behaviour and automates tasks, so it can provide assistance in a more naturalistic and human way. The OS’ AI understands complex patterns in ‘micro and macro’ user contexts, integrating its data across phone features and boosting its own user insights with publicly available data from weather and flight schedules to events and venues, to name but a few.
The ‘magic’ is not just the predictive tech, but how it has been integrated across functionalities in the system. Most importantly, the intelligence is embedded in the handset. It only shares relevant information with its owner – the phone recognises its owner and keeps the data safe within the physical boundaries of the handset. FaceCode Intelligent Recognition protects your privacy as the phone authenticates your face when you pick it up!
The handset hardware is highly tactile and evocative. The design evokes the surface tension of water — it has an ultra slim metal frame that allows for a large three dimensionally arched screen, to fully immerse the user with the phone’s content. All connector interfaces (ear phone jack, USB-C and SIM) are carefully assigned to the metal block at the bottom of the phone.
As long as I can remember, I have been drawing. As soon as I could hold a pencil I started scribbling. Those scribbles turned into drawings of my friends, my family, their houses, their cars and other people I saw on the street. It was a way of navigating the world that existed around me. It was my way of labeling things. Drawing was part of my language process, like any child. It helped me categorize the world- and therefore understand it.
I drew a lot of family portraits. People gave me confirmation through those. I got more confidence because they loved my drawings and slowly I started to draw things that I wished to see. A world of my own imagining. A boat with wheels or a man with 8 legs. They were kind of dreams, an imaginary life.
Drawing was also a way to express my moods and feelings and like most kids I used crayons and “wax pastels”. There drawings that were a kind of abstract expressionism. So far it is the story any child might have with drawing. But it was at school that drawing started to have a particular significance to me. Although I was verbally articulate, I soon realised that I wasn’t like the other kids. My imaginary world was visual- not verbal.
I started to have a very hard time in school. I couldn’t keep up with the class work and worse than that, didn’t understand the point of the exercises. Why couldn’t I carry on imagining the world? Why wasn’t I allowed to draw all the time?
It turned out that I am heavily dyslexic. But in those days, the schools and teachers didn’t have the tools or knowledge to diagnose kids like myself. And because my problems were not recognized or diagnosed at school, my situation just became worse. Drawing was my only refuge- my only way of communicating with the outside world and getting some positive feedback from my teachers and peers.
Drawing became my very own language.
The other kids loved it and I was more popular because of it. It helped me compensate for my verbal and written expression – or lack of it. But one day, when I illustrated my thoughts with drawings in a Finnish language test my teacher yelled at me again and everyone laughed at me. On Monday my drawings were great, on Tuesday they got me into trouble. It was a very confusing time.
Somehow I managed to finish school. My drawings meant that I could go to higher education – it got me into university and it was probably the greatest way for me to learn during my university time. I used drawing to make mental notes. It was the most important single media to learn, document, plan and illustrate all the design and architecture I was learning about. Once again I was allowed to dream.
As a student I traveled to important locations, sites and buildings in Rome, Siena, and Venice to make drawings. Once I sat all day in Siena’s main square until late in the evening. Drawing allowed movement, but it also enabled stillness. It let me observe life I wouldn’t normally have seen. I drew all the buildings around the square. I realized that drawing a building or site is one of the best ways to learn architecture.
During the drawing process you learn every detail, you learn about proportions and shadows, and even the daily changes of the architecture in a profound way. It was through drawing that I realized that architecture is not static, but inherently connected to the time and space of its surroundings.
Only later I understood the importance of life drawing. Even if it was difficult and painful to draw the human body, it was a way for me to learn about layers of structure, from what is seen to what is unseen. From the skin right through to the bones. The breathing living movement that is part of every stillness. Light and shadow. What I learned from life drawing I have also taken with me into my furniture design- it has been translated quite clearly into an understanding of the body’s relationship to furniture- and architecture. Ergonomics, use and pose. The emotion of space.
I have always been fascinated by technical drawings. To me they are like abstract modern art. Technical drawing tells me more about something than a photo or realistic sketch. Technical drawings reveal secrets and mysteries: How things are made, how things work. In the end, technical drawings are the final documents we do in my office. They are my work, and my tools to talk with other people about design. They describe my projects more than words ever could.
And my drawings go on teaching me, more than I could imagine. It’s not as if I have an idea and then I draw it. Drawing is a reiterative process, where the drawing itself takes on a life of its own and tells me the questions that need to be answered. Anyone who draws understands this. You can’t ‘choose’ what you draw unless it is already justified. Already correct. The designs in my studio are always based on technical drawings- they are the last defining work done in the whole design process. Drawing from an early age enabled me to develop a process naturally that enables me to ask all the right questions at the right time, again and again until the solution is just right.
When I am drawing today, there are many reasons depending on the time: maybe I am studying a technical detail, maybe I am trying to understand “what if” – or maybe I am trying to find out why something is good. Maybe I am just thinking aloud. I always make several sketches to communicate and discuss ideas with my people in my studio.
When I am bored: I draw, it’s a friend who can be with me no matter where I am. I entertain myself by dreaming about possible products and spaces for a future that is better than one we know today.
I look back at the old masters: my heroes before me- Alvar Aalto and Eero Saarinen. I look at their drawings and am in conversation with them. In Alvar Aalto’s drawings you can see several scales sketched in a one single piece of paper simultaneously: From a detail of a door handle to the site-plan to the perspective of a house. In a way this represents his holistic view on design. Just one drawing holds all that knowledge.
I meet my heroes in books and discuss design and architecture with them through every line and gesture.
I am still fascinated about the vast variety of problems that Eero Saarinen could try and solve in a one single drawing: I saw a plan of a skyscraper and a evaluation matrix of candidates for his possible future wife in one drawing. For me this represents his opportunistic view on architecture- and how he also used drawing as a thinking process- to think about the future. To dream the future. The drawings are serious, poetic, light and artistic. They are about something that could be or something might not be for centuries.
So when you ask me to explain the importance of drawing, I should in fact, draw for you. Because drawing is not only a strong part of my work and who I am. It is more than that – it has enabled me to be myself, in a complex world ruled by words.
We’ve had some contact with a small band of families, parents, kids and all, who have been living in a way that feel is in harmony with their surroundings. It’s an important & inspiring story. It is said that we are only 6 degrees of separation from any other person in the world. Please share this message with your network. There is a good chance some of you know someone who can has a spare 300K USD knocking around. This land is going to be taken away on behalf of the federal government. The community needs money to stop them.
Here’s their message to share:
“We live on a mountain. A group of folk living off-grid, in tipi dwellings, in the Cascade-Siskiyou wilderness. The land on which we live is being offered for sale. An outside organization is attempting to buy the land for conservation and remove our village with the belief that people and forests are not healthy companions. We know this to be untrue, so we have created The Land Liberation Project.The imminent goal is to purchase this land and place it into a land trust, ensuring no future development of the land as well as a stipulation that it is to never be sold again. We are seeking support in many venues, and the assistance of your donation, however large or small, will give us leverage in our quest for survival.
Tax deductibility of your contribution to the Tipi Village Land Liberation fund is secured through our association with the Way Foundation (EarthTeach), an Oregon public trust with federal 5013C not-for-profit status. For more information go to Land Liberation Project. If you are interested in purchasing a Tipi go to Rogue Dwellings.
Interesting article in the Guardian about choice and marketing. And a great quote from Professor Tim Jackson, the author of Prosperity Without Growth: “We buy things we don’t need with money we haven’t got to make impressions that don’t last on people we don’t care about.” In his book, he describes how the never-ending spiral of over-consumption has led us into never-ending spiral of debt and cultural decay in Western society. And moreover, how “We do not have investment structures, investment markets, investment conditions that are suitable to lay down the infrastructure to allow people to make better choices.”
But marketeers take note: its not all do-goodiness in his message. It’s proven that consumers who are faced with too much choice, make no choice at all. In fact, the biggest luxury of our age is to be totally relieved from the stress of choice making. To check into a Japanese Ryokan, on the top of Mount Koya, to be served a set breakfast and told when to take a bath, and what to wear; what could be a better remedy to the stresses of modern day life?
“If you are committed to serve, there is always endless opportunity.”
Here are some notes we used in China on turning risk into value.
The reality: Resources- both material and human – come at an increasing cost. Which makes business more and more risky – financially, environmentally, and socially. At the same time, customers are going “back to basics”. They are claiming the service, that has been stripped away by mass production. Once again they are demanding value in exchange for buying a product. Consequently, two different economies are emerging. The thriving and the struggling.
A shared brand vision for better business.
Successful global companies know who they are first and foremost. They have a 2020 vision, and a roadmap of how to get there. A clearly defined 2020 brand vision will help your business rise above product category, economic downturn and consumer trends. Successful companies can survive change because they are designing change. This means asking the right questions at the right time: How do you want to serve people and society? What are the needs of the people who make up your business?
At Imaginary Life, we see brands as partnership platforms. Branding engages people in a shared vision; people at the company, partners in the value chain, end consumers, and even competitors. Imaginary Life designs global communications platforms for people to engage in and share your company’s brand vision.
The companies who are keeping quiet about sustainability fall into two categories: the ones who know what they are doing, and the ones who don’t. Denial ain’t a river in Egypt, as they say in Cairo. Our oceans are dying, our air changing, and our forests and grasslands turning to deserts. From fish and plants to wildlife to human beings, we are killing the planet that sustains us, and fast.
But telling this to business people is like showing a smoker a slice of a cancer infected lung. It just doesn’t work. No matter how eco-conscious the person is- the catastrophe scenario is just too much to take on, emotionally, and viably. And quite frankly- isn’t it up to our governments and politicians to sort out this mess? The UN treaty on climate change — our best hope for action — expires next year. As it looks like, the US corporate-nation-democracy will not take the lead – leaving every other nation on the fence? We suspect not. But let’s stick to business for now.
Forward looking companies realize that drastic change in legislation is inevitable, and are already quietly working towards a 2015 change in legislation that will exceed any CSR law being mentioned today. Far beyond the blanket calls for lower carbon emissions and the carbon payoffs, a cradle to grave product life-cycle responsibility is almost certain to put many successful companies today exactly there: in the cradle if not the grave.
We are working on a total integration process that we call the Power of X with our friends at Boy’s Don’t Cry. On the highest level, its a cross-disciplinary approach that everyone talks about, but its also a fractal model that can be easily understood and used for every meeting to extract the specialized knowledge and needs of each attendee user, that is fast to facilitate and synthesize into the overall process. It’s about asking the right questions at the right time, and reinterpreting those questions as the project becomes more informed with time. We have started to use this process on ourselves, together with our network partners such as Storylab, and are developing it even further into a user manual.
I’m reading another complex and beautiful Richard Powers novel, ‘Galatea 2.2′. In it, a writer is assisting a cognitive neurologist who is trying to model the human brain by means of computer-based neural networks. The writer’s job is to talk to the computer, to ‘educate’ it, in order to construct in its memory that endlessly sweet web of connections which makes for a ‘world’ and from which we humans speak, so that one day the computer may be able to comprehend human language and talk back. Its a virtually impossible task (and one mirrored in similar conversations – semi-impossible or beautifully present – taking place in the worlds of the people around him: an autistic boy, an old woman slipping into dementia, first lovers in a foreign country, a deeply loved professor sinking into death with unbounded dignity) because what makes us human is an infinite yet particularised mosaic of little somethings and nothings, inexpressibly weighted, the somethings balanced against the nothings. Balanced in ways that defy gravity.
Here’s a slice of the ticker-tape sweetness of that computer’s education, the mimicking of the endless immeasurable context that is consciousness:
“…We told her about parking tickets and two-for-one sales. About tuning forks and pitchforks and forked tongues and the road not taken. We told her about resistors and capacitors, baiters-and-switchers, alternating current, alternate lifestyles, very-large-scale integration and the failure of education to save society from itself.
We told her about wool and linen and damask. We told her about finches and feeders, bats and banyans, sonar and semafores and trail markers made of anything the living body might shed. About mites and motes, insect galls and insecticides, about mating for life or for a fraction of a minute.
We taught her about the Securities and Exchange Commission. We told her about collectors who specialize in Depression-era glass. About how people used to teach their children about the big hand and the little hand. About defecation and respiration and circulation. About Post-it notes. Registered trademarks and draft resistance. The Oscar and Grammy and Emmy. Dying of heart disease. Divining with a fresh-cut alder rod.
We told her how the keys on a piano were laid out. About letterhead. Debutantes balls… We showed her the difference between triforium and clerestory. We traced the famous pilgrims’ routes through time and space. We told her about spoilage and refrigeration. How salt was once worth its weight in gold. How spice fueled the whole tragic engine of human expansion. How plastic wrap solved one of civilisation’s nightmares and started another.
We showed her Detroit, savaged by short-term economics. We showed her Sarajevo in 1911. Dresden and London in 1937. Atlanta in 1860. Baghdad. Tokyo, Cairo, Johannesburg, Calcutta, Los Angeles. Just before, and just after.
We told her about revenge and forgiveness and contrition. We told her about retail outlets and sales tax, about ennui, about a world where you hear about everything yet where nothing happens to you. Bar-codes and baldness. Lint, lintels, lentils, Lent. The hope, blame, perversion and crippled persistence of liberal humanism. Grace and disgrace and second chances. Suicide. Euthanasia. First love. Love at first sight.”
And somehow, mixed in with all this and perhaps precisely because of it, I’ve just discovered the social networking site Twitter, a site where communications are limited to two lines of text. An ‘idiotic’ site, or so i thought. But when such limitation is taken up by the right person – such as the MIT researcher and ‘futuremaker’ John Maeda – it becomes a free-floating source of temporary context, some kind of innocent high-speed mesh of intelligence and simplicity.
Here’s a slice of the ticker-tape sweetness coming from Maeda:
The art of asking questions, is art.
Subtlety is a kind of dust in the room of life that shouldn’t be confused with just dirt.
The computer is now an abacus of many minds.
Time doesn’t fly. It travels leisurely by foot.
“If you can think, you can draw.”
Herbert Simon likened how we think to a pair of scissors. The brain is one blade, the other is the environment in which the brain operates
The sound of your heart isn’t a sound effect.
Watching waves break is non-stressful because you know you can look away at any time … and won’t miss a thing.
Art is the inexplicable urge to manifest feeling, intent, or question as a specific experience outside the artist’s mind.
Teaching is the rare profession where the customer isn’t always right and needs to be told so appropriately.
small is not only beautiful, but memorable.
and here’s something flagged by William Gibson about an hour ago, ‘tokyo sky drive’.
watching this, I know I’m never going to make it back to any monastery…