The Vostok blog

No amount of money, and no small amount of time, can buy taste.

Steve Ballmer via Marco Arment

Taste is like a language: those who know it understand you, those who don’t, never will. Taste is one of those black and white concepts: you either have it or you don’t. No middle grounds. Can you develop it? Yes. (Although aesthetic taste is something you’re born with). Does it make a difference in life? Yes. Always. Can you copy it? No. Never.

Salute Yuri Gagarin, Gherman Titov, Andrian Nikolayev and Papel Popovich. Pilots of Vostok mission 1, 2, 3 and 4 respectively. Respect.

We’ve been doing a bit of reminiscing today with the Kit-Kat map of Japanese flavors divided by region and wanted to share it. This is at least two years old so there’s nothing new here but we still love it. Unfortunately, we can’t find an english version of this so, if you happen to stumble upon one, give us a shout.

Some of the cool ones:

Sweet: Berry wine, golden peach, custard pudding
Weird: Camembert cheese, soybean paste, lemon vinegar
Savory: Grilled corn, miso, sweet potato, jacket baked potato butter
Beverages: Ramune soda, Earl Grey, caramel macchiato McFlurry

If you’re like us and silly fun facts like these rock your boat you’ll enjoy this list of past and present Kit-Kat flavors (in Japan and elsewhere). Yum!

Joseph Schumpeter argued in 1909 that small companies were more inventive. In 1942 he reversed himself. Big firms have more incentive to invest in new products, he decided, because they can sell them to more people and reap greater rewards more quickly. In a competitive market, inventions are quickly imitated, so a small inventor’s investment often fails to pay off [...]

Politicians should certainly stop demonising big firms and sentimentalising small ones: an economy needs both. But they should not allow their new-found appreciation of big companies to degenerate into a taste for picking national champions. Such firms typically gobble subsidies and crowd out smaller, more creative firms. Nor should they start tolerating monopolies. The key to promoting innovation (and productivity in general) lies in allowing vigorous new companies to grow big, and inefficient old ones to die. On that, Schumpeter never changed his mind.

Schumpeter column, The Economist

I fell in love with Haruki Murakami four years ago. The most un-Japanese of Japanese writers had me at hello. Our affair lasted 18 months and when it ended I promised myself never to go down that path again. I felt irritated by every new pot of pasta he boiled, by every new jazz song he hummed, by every new shirt he ironed. No more moons, no more dreams, no more unknown female voices stalking you on the other side of the phone. It’s my fault really. I have a tendency to binge on things I like and then feel nauseated by the slightest reminder of them.

But, as with all artificial restraints, temptation always ends up looming in. And following the trace of Murakami through Tokyo in this NYT article is what did it for me. (Side note: it’s great to see what the NYT design team can do when they don’t have to juggle with enormous amounts of content and ads):

Perhaps I will read 1Q84 after all. Just, you know, one more for old times sake.

I suggest reading the entire NYT piece, The Fierce Imagination of Haruki Murakami, and if you’re interested in buying the paper edition of the book, watching this video of Alfred A. Knopf’s cover designer for 1Q84 for a sneak peek of what your money will be worth. Fun fact: “The title of “1Q84” is a joke: an Orwell reference that hinges on a multilingual pun. (In Japanese, the number 9 is pronounced like the English letter Q)”.

UPDATE 31/09/2011:
A beautiful signed and numbered (only 111 copies) limited edition of 1Q84 is now available. This project is a collaboration between Simon Rhodes, Kristen Harrison at The Curved House and designer Stefanie Posavec. Covers printed by Justin Knopp at Typoretum. Photos available here.

An economic rant….

There are three ways of funding Japan’s reconstruction (total damage amounts to 7% of country’s GDP): issuing government bonds, increase in taxes or expenditure shifting (spend less on non-essentials and more in affected areas). Much has been debated and the government has decided on government bonds (to be paid in ten years). Economist and former government economic adviser, Takatoshi Ito considers this to be a huge mistake. The main reason: Japan’s working-population is getting smaller and not necessarily richer. The burden of debt will bring about new problems in ten years. His proposal: make the baby-boom generation (today’s highest income profile sector and tomorrow’s retirees) share the burden along with the rest of the population. Don’t wait 10 years, do it today: increase VAT taxes, that way everybody pays.

Unfortunately Mr. Takatoshi Ito’s motion (and that of other economists as well) will remain unaddressed; taxes are infinitely unpopular.

Mr. Ito’s full talk at the Fundación Ramón Areces is available here.

Almost seven months have passed since 3/11. Time enough to erect a barrier separating what was from what will be. And it looks like Japan is making the most out of it.

The bittersweet reality of catastrophes is that, despite everything, they honor you with a precious gift: the opportunity to start over. Funnily enough, what comes across most strongly is their desire to start anew, create something that’s their own and not just an interpretation of other cultures. This documentary grasps a tiny tiny glimpse of that.

You can watch the complete series here.

Time Out Barcelona has granted Filmin (the VoD service we designed last year), the People’s prize for Best Innovative Project. A very much deserved prize indeed.

As ‘Gabriela who works at Vostok‘ this is pretty much what I have to say. But, as ‘Gabriela who loves movies and doesn’t know what she would do without them’, I would like to say a few more things about Filmin:

1. It’s one of the best online video services out there. It’s run by people who love movies, it’s simple, it’s efficient and it has a great catalog. Sure there are a few things I wish they could do better… but hey, I also want my man to be handsome, intelligent, sensitive and understanding…everyday, at all time…so hey, who cares?

2. It’s one of the few bridges between –and I’m gonna be intentionally simplistic here to stress my point– the two sides of the Spanish film industry today: the more “internet is the devil” side Vs. “internet is our savior”. There are millions of caveats, trillions of nuances and loads of things one cannot talk about unless one’s there, working at it and sweating it but, I can say this: we need middle-grounds, we need fresh air, we need companies, people, organizations and production companies that realize film distribution (and exhibition) has changed and that the new change will only bring good things for cinema.

And that’s it.

So congratulations and in Monsieur Tarantino’s own words:

Thousands of protesters have gathered in Madrid’s Puerta del Sol for the past five days. They demand jobs, economic equality, and “real democracy” hoping to make a difference in the upcoming elections, when they (we) will vote for new municipal councils and regional governments.

The Madrid electoral board is pushing to have the protest banned before the elections. To defy the ban people must get together and sign a petition. And they are. From all over the world. And a map is registering it all live.

There are only two things I have to say:

• You would never ever find this kind of map coming from traditional spanish mainstream media. And that says something.
• It’s a great example of a simple but powerful mesh between mapping, information design and political awareness.

Kudos to Vizzuality and Actuable for documenting and sharing this real time. Not only for Spain but for the world.

We found a great letter thanks to @martuishere on the subject. We abide religiously by number 3 and thus feel the need to post it here:

Unlike advertising agencies, we are not in the business of selling. We love our work and we love showing off the diversity of work we’ve done (please ask to see our portfolio!) but that’s because every project is crafted with thought and research, and with respect for our clients. We put all our resources into every client that engages us because we don’t need to save our best ideas to sell ourselves to potential new clients.

Supernicestudio.com