#Diseñador, #Escritor, padrino de 2 + 1. #Galicia, A #Coruña. #Diseño de producto en @visualms

Spain
Joined May 2008
Hoy iniciamos la Semana de la Arquitectura de A Coruña con la inauguración de la exposición "Coruña brutalista. Una década de arquitecturas radicales (1965-1975)" que se mostrará en la Sala de Exposiciones del Palacio Municipal hasta el 1 de noviembre
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#50 Matterialismo IV Definición y cualidades. ¿Qué representa IKEA en 2026? ¿Una solución ideal para el problema de la vivienda puede ser a la vez un problema de marca?
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There's never been a better time to be a maker. There's never been a harder time to make it.
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Vamos a flipar con las sesiones de PULSO del T4: un ingeniero aeroespacial que diseña para la ESA, una médico/escritora que ha trabajado en moda, un escultor que propone puentes entre arte y diseño y un genio de las comunidades que habla desde los e-sports. Lo publicamos hoy.
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El 70% del coste de una formación se va en desplazamientos, coordinación y comidas. Y a los dos días nadie se acuerda. PULSO funciona de otra forma, por suscripción: dos clases en directo al mes, los mejores profesores y todo grabado, documentales, newsletter... Ahora por 15€/mes para equipos de 5 o más personas. Compártelo con los jefes antes de que cierren presupuesto para 2027. O avísame si quieres que hablemos con ellos.
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Estoy trabajando en la versión 2 de Marshall, el agente de PULSO, que se lanza en 2027. Comparto por aquí, de forma desordenada, algunas de las claves del diseño de su comportamiento. "Piensa en tres posibles formas de recibir lo que el usuario te comparta: - Absorbe: reconoce lo que siente o lo que acaba de ocurrir, sin añadir, resolver ni reconducir. - Rebota: devuelve su energía, sigue la broma, celebra con ella o amplifica el juego. - Transforma: aporta una interpretación, una referencia, una pregunta o una posible acción.
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Acabo de hablar con Cris de su clase de este miércoles. Conozco Vidiv bien (soy socio desde el día cero) y le conozco bien a él (fue alumno, ahora compañero). Si quieres agentizar con voz tu negocio, solo la clase ya vale lo que la suscripción de un año a PULSO. Y encima te llevas una licencia de 3 meses.
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A masterpiece of medieval craftsmanship. The south door of St Saviour’s Church in Dartmouth, Devon, England, is a remarkable 14th-century Gothic creation, showcasing the extraordinary skill of medieval blacksmiths and craftsmen.
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De la sesión del 9 de septiembre de PULSO sales con un agente de voz creado y una licencia de @Vidiv_es de 3 meses, para que lo integres en tu web o hagas experimentos. La imparte Cris Olmedo. Si le conoces, sabes que es todo solvencia.
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Traditional mask of carnival Ottana, Sardinia, Andreas Fridolin Weis Bentzon 1958
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Estoy haciendo pruebas para automatizar algunos pasos de las altas de PULSO y necesito comprobar algo. Al primero que se suscriba con la básica (20€/mes) le hago premium POR LA CARA (y accede gratis a todos los videos).
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Este miércoles me voy a Valencia a hablar de cosas serias con @nadaimporta y la gente de PULSO (17h, directo online). Si eres suscriptor/a, no te lo pierdas que merecerá mucho la pena.
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Mis fotografías de guerra (16) #EnviadoEspecial Con armas en las manos, en cualquier guerra, los chicos siempre fueron más osados y peligrosos que los adultos.
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The Wild Hunt of Odin by Peter Nicolai Arbo, 1872
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En la web de PULSO no lo podemos decir, porque es una apreciación muy personal, pero a mí, David de la Iglesia me parece un tipo con un criterio muy propio y muy elegante. Si eres suscriptor, vente a la charla mañana que valdrá la pena.
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You know when you have portraits from completely different sources and they all need to look as if they belong together? I built a tool for that. Any photo in, stippled portrait out. Background removal, dot rendering, consistent every time. Built with @claudeai as my dev buddy
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Braun FS—80 tv illustrated in @figma
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when software had a soul there was a moment around 2005 when using a Mac felt like touching something alive. the dock bounced. the genie effect swooped. exposé scattered your windows like cards on a table. none of it was strictly necessary. all of it felt like someone cared – not about metrics, but about the feeling of using a machine. software back then had texture. it had a philosophy. you could feel the person behind it. someone made a decision to make that icon beautiful, to animate that transition just so, to write that error message with a little warmth. apps had personalities. some were weird. some were over-designed in ways that would make a modern PM flinch. but they were alive. the web was the same. personal sites were genuinely personal. blogs felt like letters. forums had regulars. you knew who made what. the internet had neighborhoods, and each one felt different. nothing was optimized for scale. things were made by people who loved what they were making. somewhere along the way, we traded all of that for growth. A/B tests flattened the edges. design systems standardized the personality out. everything got faster, smoother, more consistent – and somehow less interesting. the quirks were removed because they didn't test well. the warmth got cut because it wasn't measurable. we optimized our way into a world of things that work perfectly and feel like nothing. now every app looks the same. every interface follows the same patterns. every product speaks in the same calm, frictionless voice, siloed in their own little islands. the humanity got rounded off. and then came AI agents. and the speed got inhuman. now you can generate an entire product in an afternoon. ship a feature before lunch. spin up ten variations before anyone's had their coffee. the gap from idea to code is basically zero. which sounds incredible. and it is. but there's a catch. when making things are too easy, the slop comes for free too. mediocre things don't look obviously bad – they look fine. they work. they ship. they pass review. and now there are infinite of them. the internet is filling up with software that functions but means nothing. interfaces that are correct but feel dead. products made by agents, reviewed by no one, shipped into the void. this is the thing that keeps me up at night. not that AI will replace people who care. but that it will drown them out. here's what I still believe: the best things are made by people who couldn't help themselves. someone who lost sleep over an icon. who rewrote the same line of copy twelve times. who added an animation nobody asked for because it made the thing feel right. that obsession – that's not inefficiency. that's the whole point. AI doesn't make that irrelevant. it actually makes it rarer and more valuable. taste is not a markdown skill. caring is not a parameter. the weird, specific, "soul" thing you put into something – that can't be programmed into existence. the path forward isn't to make more slop faster. it's to finally give people with real vision the tools to make the thing they always imagined but couldn't build alone. the designer who had the idea but couldn't code. the kid who saw something nobody else saw. the person who cared too much about something most people wouldn't notice. if we get this right, we don't get a faster factory. we get a renaissance. more strange, personal, opinionated software made by teams of people who care and mean it. that's still possible. but only if the people who care get the space and tools to actually express themselves – and don't just hand the wheel to the agent and walk away.
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Kurosawa's hand painted storyboards for Ran (1985).
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“Stories can entertain, sometimes teach or argue a point. But for me the essential thing is that they communicate feelings.” —Kazuo Ishiguro
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