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Fluid identities foster progressive societies?

I’m under­tak­ing an intro­duc­tory course into gender studies for one my classes in my ‘arts’ (read human­i­ties) degree. Largely the reading thus far has focused on the terms of the dis­ci­pline and some of the waging debates, but there are a few sec­tions that dive some­what deeper and develop some inter­est­ing ideas.

I came across the fol­low­ing quote the other day on the subject of iden­tity in a section that focused on a post­mod­ern re-​evaluation of the concept that needs to accom­mo­date for flu­id­ity in and evo­lu­tion thereof rather than con­sid­er­ing it a a fixed form that is created purely through social­i­sa­tion. The concern was that this new def­i­n­i­tion looses its polit­i­cal power by a wider spread of com­mon­al­i­ties in dif­fer­ing iden­ti­ties. It was addressed thus:

If iden­tity is seen as fluid, rather than fixed, but as capable of points of (tem­po­rary or con­di­tional) stasis, then its polit­i­cal force is not lost but enhanced. So, for example, a working-​class Anglo gay man might be able to form a tem­po­rary or con­di­tional iden­ti­fi­ca­tion with a middle-​class Asian gay man on the grounds of shared sexual iden­tity (and despite dif­fer­ences of class and eth­nic­ity) for the purpose of shared social, cul­tural and/or polit­i­cal com­mu­ni­ca­tion and activ­ity. The iden­tity here is con­di­tional, in that both indi­vid­u­als will be aware of their dif­fer­ences (of class and eth­nic­ity), yet it enables kinds of sharing and activ­ity which less flex­i­ble notions of iden­tity would tend to devalue. In the post­mod­ern sce­nario, iden­tity is not an essen­tial­ist attribute of an indi­vid­ual but a strat­egy which indi­vid­ual (complex, mul­ti­ple) sub­jects can use to create new and varied alliances.

Although the author prob­a­bly in no way intended to make a spe­cific case for pro­gres­sive soci­eties I think this alone bril­liantly illustrates—although not in great detail; you may need to let your mind run a bit—the poten­tial of new inter­re­la­tion­ships between people who have shared com­mon­al­i­ties that stem from a more open and fluid view of per­sonal iden­tity. A society who prac­tice this view would help remove bar­ri­ers of neg­a­tive stereo­typ­ing and rejec­tion by cre­at­ing new links between people that could well foster pos­i­tive rela­tion­ships.

We see this played out par­tic­u­larly in online communities—early in news­nets and IRC and now in forums, blog comment dis­course et al—which got its foot in the door early because the inter­ac­tion is held in non-​physical terms (at least to some degree) whereby issues of phys­i­cal prox­im­ity (e.g. body lan­guage, stresses and alter­ations in verbal com­mu­ni­ca­tion) don’t (or to a lesser degree) come into play. It could be said the Inter­net has helped teach us that earlier judg­ments based on sex, gender, race, eth­nic­ity and so on—really iden­tity—are largely biased and unfounded as neti­zens engage in online dis­cus­sions where these details may not be revealed.

What also caught my eye was a line in a later piece of reading that noted the link between move­ments to rein­state and protect con­ser­v­a­tive values and the inher­ent insta­bil­ity of these values:

There are whole social move­ments ded­i­cated to re-​establishing ‘the tra­di­tional family’, ‘true femininity’ or ‘real masculinity’. These move­ments are them­selves clear evi­dence that the bound­aries they defend are none too stable. But the effort to sustain the gender cat­e­gories also sustain the rela­tions between them — and there­fore sus­tains the inequal­i­ties they produce, and the harm they do.

I love the further links that can be created between this and other strug­gles induced by con­ser­v­a­tive move­ments that in a stub­born response to newer pro­gres­sive ideas aim to retain their values and control. From the top of my head: States and the human rights activists; media stake­hold­ers, mil­lions of teenagers, and the free culture move­ment; pro­pri­etary soft­ware pro­duc­ers and the free (libre) soft­ware com­mu­nity; and so on.

I think it is inevitable that there will always be forces that will want to protect their values against change, often in destruc­tive responses that hinder devel­op­ment, but I think we’ve made sizable leaps in over­com­ing some of the most destruc­tive responses in the last few hundred years, and as we develop in soci­eties that are only more inter­con­nected, our iden­ti­ties will only further help the cause of over­com­ing prej­u­dices and mis­un­der­stand­ing whilst fos­ter­ing a vast range of pos­si­ble and prob­a­ble pro­duc­tive rela­tion­ships. As such it is vital that efforts to demo­nize through iden­tity, par­tic­u­larly as illus­trated polit­i­cally in the last eight years are rejected and harmful acts made in accor­dance are con­demned.

My philo­sophic 0.2¢. Now hor­i­zon­tal inac­tion fol­lowed (too shortly) by Social Media Club break­fast at 08:00 at Cream Café Bar, Civic. Toodles.

Open Baskerville

“Letters and fonts have two char­ac­ter­is­tics: On the one hand they are basic ele­ments of com­mu­ni­ca­tion and fun­da­men­tal to our culture, on the other hand they are cul­tural goods and an artis­tic work. You are able to see just the first aspect, but when it comes to soft­ware you’ll see copy­rights and patents even on the most ele­men­tary fonts. There­fore we want to give you a free alter­na­tive: This is why we founded the Lib­er­tine Open Fonts Project.”

The written word is a fun­da­men­tal com­po­nent of com­mu­ni­ca­tion, and it is type and typog­ra­phy that are vital to pro­vid­ing aes­thetic harmony and leg­i­bil­ity to textual works. Type and typog­ra­phy have come a long way since their incep­tion; however, while there are thou­sands of fonts avail­able only a small number are useful for setting vast quan­ti­ties of text. An even smaller number are avail­able to be freely dis­trib­uted and built upon. That sucks.

Free… as in?

Free… what sort of free? It’s worth dis­tin­guish­ing between getting some­thing for zero charge (gratis) and the free­doms asso­ci­ated with what you’re getting (libre). I’m talking about the com­bin­ing both sorts of ‘free’. So aside from getting some­thing for no cost (which we all love), why would anyone want to have the freedom to edit a font?—isn’t the ability to down­load it without paying enough? I guess the most appro­pri­ate answer really is “it depends”, and it does.

If you’re a type designer having access to good free fonts is quite handy. For one, it gives you the chance to correct prob­lems in the font, such as edits to the kerning tables and sec­ondly, having the ability to look at the finer work­ings of a font can be very educational—just think about how auto-​mechanics learn about the guts of a car).

However truth be told, chances are you won’t be a type designer (type designer or not, please do keep reading!), so having the freedom to edit the font is quite useless? Well, prob­a­bly, but there will be those afore­men­tioned type design­ers who are bound to make cor­rec­tions to the font that travel back ‘upstream’ for you to benefit from. Pro­vided there’s a some form of organ­i­sa­tion (e.g. a project) edits can be coor­di­nated and new ver­sions of the font can be made—a process not all too dis­sim­i­lar to what foundries undergo when they release updated ver­sions of their fonts.

The status of free fonts

A common ques­tion I get when giving pre­sen­ta­tions on typog­ra­phy is what fonts I use. It’s a mix between Free fonts (gratis & libre), free-​of-​charge fonts, and the ones that I pur­chased as part of the soft­ware I use (at least for my presentations—Mac OS X). So before going on, cov­er­ing what’s already avail­able and passing well-​deserved kudos to those that have made their work avail­able is in order.

Linux Libertine

Linux Lib­er­tine is a a project started by Philipp Poll to create a com­pre­hen­sive serif and sanserif family com­plete with various styles aes­thet­i­cally falling into the tran­si­tional group of type­faces. It is an apt and beau­ti­ful replace­ment for the ubiq­ui­tous font of our age: Times/Times New Roman. The family is dual-​licensed under the licensed under the GNU GPL and the SIL OFL and avail­able in OpenType-​goodness and FontForge’s native SFD file.

Bitstream Vera/DejaVu families

Bit­stream Vera family was designed by Jim Lyles from Bit­stream and licensed in a way that per­mit­ted edits. DejaVu is a deriv­a­tive of Vera pro­vid­ing more styles and very exten­sive Unicode cov­er­age. The serif is a slab serif and the family has become the general “super” family, ‘shipping’ with most free desk­tops. With Vera under Bit­stream copy­right, DejaVu is licensed under numer­ous terms though most of the addi­tions since are in the public domain and avail­able in True­Type.

DejaVu sans ultralight example
DejaVu sans ultra­light

Liberation family

The Lib­er­a­tion family is com­posed of a serif, sanserif and mono­space by Steve Mat­te­son of Ascen­der Corp. licensed by Redhat. The metrics are com­pat­i­ble with Monotype’s Arial, Times New Roman and Courier New respec­tively (and could be con­sid­ered freely licensed replace­ments thereof) yet the Lib­er­a­tion serif is a beau­ti­ful slab serif and quite dis­tinct from Times New Roman. The Lib­er­a­tion fonts are licensed under the GNU GPL with a font embed­ding excep­tion (embed­ded, the fonts don’t auto­mat­i­cally fall under the GPL) and avail­able in True­Type.

Liberation serif regular romanexample
Lib­er­a­tion serif regular roman

Gentium

Gentium is an exten­sive serif type­face by Victor Gault­ney cov­er­ing almost all of Latin as well as monot­o­nic and poly­tonic Greek (which look just lovely). Cyril­lic and the bold weight are under devel­op­ment. The font is licensed under the SIL OFL and avail­able in a variety of opti­mised formats and and FontForge’s native SFD file.

Gentium serif regular roman example
Gentium serif regular roman
Gentium serif regular italic
Gentium serif regular italic

Iconsolata et al

Raph Levien has created a number of beau­ti­ful type­faces, of which most com­plete and popular would be his human­ist sanserif mono­space by the name of Icon­so­lata. Check out the others on his fonts in progress page.

Others

There are others too, includ­ing Caslon Roman (a Caslon revival by George Williams released under the BSD license and SIL OFL), Beteckna (a geo­met­ric sanserif inspired by Paul Renner’s Futura by Johan Matts­son), Juni­code (a medieval-​inspired Unicode font by Peter S. Baker of the Uni­ver­sity of Vir­ginia), the many Greek poly­tonic revivals by the Greek Font Society and more.

Open Baskerville

I’d like to add another to the above list. Some of you may already know about this idea and where it sprung from but I don’t want to go into detail here, because there’s an entire page ded­i­cated just for that. So, briefly in a nut­shell: a fellow typophile released a Baskervil­lian revival he had been working on into the public domain which a bunch of us thought might be a great start­ing point for an open font project.

I’ll leave the above-​linked page to fill in the rest for I want to cover how things have pro­gressed since. I’ve set up a page for the project on light​house​app.com to provide issue track­ing and grouped mes­sag­ing, and have com­mit­ted the UFO font ‘source’ files and best spec­i­mens to a git repos­i­tory on github.com. Why UFO? It’s XML-based, works like a charm with revi­sion control systems and each glyph has its own file which makes both edits and merging much simpler.

The main project page is going to feature a quick guide on using git to branch the files and for those inter­ested in making edits—should be up some­time late tomor­row. I’m also inter­ested on making the mes­sag­ing threads on light­house­app open for every­one to read; it doesn’t cur­rently seem pos­si­ble with their system but have lodged a ques­tion on their support dis­cus­sions.

Either way: if you’re inter­ested, zip to the Open Baskerville page, grab an account on light​house​app.com to get involved in the dis­cus­sions and issue our first ticket and/or branch the current UFO font files and spec­i­mens to start con­tribut­ing.

If you have any ques­tions just add them in the com­ments below or shoot me an email. Happy weekend oth­er­wise.

Meme: Reflections 2008

Copying Nathanael who stole if from Fiona, here’s a quick rundown of 2008, ques­tion and answer style:

Q: What did you do in 2008 that you’d never done before?
A: Left the country and moved over­seas for half a year back to Germany to touch up my German, started free­lanc­ing prop­erly, co-(un)organised Canberra’s very first BarCamp.

Q: Did you keep your new year’s res­o­lu­tions, and will you make more for next year?
A: Much like Nat, I can’t remem­ber any of my new year’s res­o­lu­tions from last year.

Q: Did anyone close to you give birth?
 No.

Q: Did anyone close to you die?
During this past year not, but Blacky passing away on Christ­mas Day last year is still fresh in our mem­o­ries. We all miss the furry, barking bugger.

Q: What countries/states did you visit?
A: In Aus­tralia: Vic­to­ria for LCA, NSW a number of times for work; abroad: Germany (Frank­furt am Main, Mainz and Berlin), Turkey (Istan­bul for GUADEC) and the UK for LugRa­dio Live.

Q: What would you like to have in 2009 that you lacked in 2008?
A: To have have attended a number of more con­fer­ences, or rather, not missed the ones with par­tic­u­lar speak­ers, notably WDS.

Q: What was your biggest achieve­ment of the year?
A: Becom­ing more inde­pen­dent as a result of my time in Europe and sum­mon­ing the courage to get my most recent two pierc­ings.

Q: What was your biggest failure?
A: Not man­ag­ing to organ­ise a more thor­ough trip through­out Europe alone through youth hostels and the like, partly due to money, partly due to time and partly due to my own neg­a­tive mis­con­cep­tions.

Q: Did you suffer illness or injury?
Nothing serious thank­fully.

Q: What was the best thing you bought?
A: The AUD $1,800 return air ticket to Germany includ­ing health insur­ance, closely fol­lowed by my beloved black MacBook, Leno.

Q: Whose behav­iour merited cel­e­bra­tion?
A: Both Mum and Andy for over­com­ing more per­sonal crap than any one person should put up with.

Q: Whose behav­iour made you appalled and depressed?
A: Appalled and depressed are strong words, and I’m pretty laid back, so nothing really gets on my nerves much—and more impor­tantly I try not to let some­thing bother me for more than half a year. So, with this in mind, the name that rises to the top of the bad people cesspool in recent memory prob­a­bly include Senator Stephen Conroy for his pathetic Aus­tralian manda­tory clean feed idea.

Q: Where did most of your money go?
A: Travel costs and design books, most of which were typog­ra­phy books, nat­u­rally.

Q: What did you get really, really, really excited about?
A: My Europe trip, conferences—notably Canberra’s first BarCamp—and attend­ing Kitty in Berlin. Oh, and cur­rently still inter­nally raving about the pos­si­bil­ity of landing an excit­ing job (and thus stop­ping free­lanc­ing).

Q: What song will always remind you of 2008?
A: Kri­latie Kacheli by Evgeniy Kri­la­tov, this amazing Russian tune that was over­laid on video on a ModBlog (NSFW) video of the Russian Pain Theatre gang doing some awesome multi-​tiered suicide sus­pen­sions.

Q: Com­pared to this time last year, are you:

  • happier or sadder?—happy as a clam at the time of writing;
  • thinner or fatter?—went up a kilo or two but still thin as usual;
  • richer or poorer?—my bank state­ments would indi­cate little change, but I’ve accu­mu­lated new assets (books mostly).

Q: What do you wish you’d done more of?
A: Parkour, rock climb­ing, and trav­el­ing.

Q: What do you wish you’d done less of?
A: Nothing really… maybe sleep a little less?

Q: How did you spend Christ­mas?
A: With my Opa in Buden­heim, near Mainz (Germany).

Q: Did you fall in love in 2008?
A: Big fat nega­tory.

Q: How many one-​night stands?
A: Two.

Q: What was your favourite TV program?
A: The West Wing.

Q: Did you make a friend with anyone that you didn’t know this time last year?
A: Yes, after entirely coin­ci­den­tally meeting both Söda and his girl­friend, Eugenie from Can­berra all the way in Frank­furt. And to think in all the time I had known Söda he never men­tioned his girl­friend!

Q: What was the best book you read?
A: The Ele­ments of Typo­graphic Style by Robert Bringhurst.

Q: What was your great­est musical dis­cov­ery?
A: Vibra­s­phere, an amazing pro­gres­sive psy­trance group from Sweden.

Q: What did you want and get?
A: To improve my German and a MacBook.

Q: What did you want and not get?
A: An iPhone that wouldn’t become a paper weight when I were to take it home to Oz, and pos­si­bly a roman­tic rela­tion­ship. The iPhone is being taken care of hope­fully this week.

Q: What was your favourite film of this year?
A: Death Proof, part of the Grind­house double set by Quentin Taran­tino.

Q: What did you do on your birth­day, and how old were you?
A: Cel­e­brated it in Buden­heim with my Mum, Opa, and German friends. Age: undis­closed.

Q: What one thing would have made your year immea­sur­ably more sat­is­fy­ing?
A: To be with the many friends I left behind in Oz during my time in Europe.

Q: How would you describe your per­sonal fashion concept in 2008?
A: Alter­na­tive whilst approach­able and friendly? Just some­thing dif­fer­ent I guess.

Q: What kept you sane?
A: Mum and sleep.

Q: Which celebrity/public figure did you fancy the most?
A: I don’t really roman­ti­cally fancy any celebri­ties, but was quite hot for seeing Obama get into the White House.

Q: What polit­i­cal issue stirred you the most?
A: The thought that even still in my life­time the bol­locks that’s going on in the Middle East prob­a­bly won’t be solved. That, and the afore­men­tioned pro­posed Aus­tralian Inter­net filter bol­locks.

Q: Who did you miss?
A: Chewie our aging, barking furball of a lady, close friends from Can­berra and Mum.

Q: Who was the best new person you met?
A: Eugenie Edquist, Mr. Söda’s lovely girl­friend.

Q: Tell us a valu­able life lesson you learned in 2008.
A: It goes like this:

Find your obses­sion;
Every day, explain it to one person you respect;
Edit every­thing, skip short­cuts;
And try not to be a dick.
Get better at the above.

I’ve decided to skip the last ques­tion of which song lyric most sums up my year (I don’t know nor have the time right now to figure it out).


That’s it for ’08. What about you?

Evaluating fonts: kerning

There are thou­sands of fonts avail­able and iden­ti­fy­ing the cream of the crop is not just an exer­cise of picking the most aes­thet­i­cally pleas­ing. I con­stantly drool over new type­faces I come across; there’s usually a weekly dosage of five to ten that catch my eye, thanks of course to sites like I Love Typog​ra​phy.com. This has already caused a number of impulse-​buys. That, and the review of a draft article I was peering over this evening got me think­ing, what makes a good type­face?, or rather, what makes a good font? I’m dis­tin­guish­ing fonts from type­faces as the ‘physical’ (e.g. metal) or digital (e.g. font file) embod­i­ment of the design; whilst type­faces are the design of the font, the ‘face’. Here are some rough eval­u­a­tions, besides aes­thetic merit:

Unicode character support

  • Lan­guage support: how broad and faith­ful is it? (e.g. the correct glyphs for the right char­ac­ters and avail­abil­ity of the type­face in other lan­guages, such as Arabic or Cyril­lic);
  • Alter­nate char­ac­ters: lig­a­tures and styl­is­tic vari­ants (e.g. italic swash ver­sions of z aren’t uncom­mon);
  • Small cap­i­tals includ­ing small-​cap figures (rare);
  • Figures: hanging or “old-style” figures (for use in running text), lining figures, mono­spaced figures (for tabular work), supe­rior and infe­rior figures, frac­tion figures;
  • Math­e­mat­i­cal oper­a­tors and Greek letters (latter is also com­monly used in applied sci­ences);
  • And more, such as the Inter­na­tional Pho­netic Alphabet….

Format

The format the type­face is made avail­able in should also be put up to con­sid­er­a­tion. It’s a subject I’m not as famil­iar with, but general advice reads opting for Open­Type over other formats like
True­Type. As I under­stand it, many advanced fea­tures like auto­matic inser­tion of lig­a­tures (e.g. fi to fi), styl­is­tic vari­ants of char­ac­ters and more are only acces­si­ble in Open­Type (pro­vided of course the program you’re using sup­ports the advanced Open­Type typog­ra­phy fea­tures).

Kerning table

Kerning is the hor­i­zon­tal adjust­ment of glyphs in a com­bi­na­tion of glyphs (e.g. words) to ensure an opti­cally correct fit, elim­i­nat­ing large gaps or tight col­li­sions that occur with some com­po­si­tions. Notably, f is fre­quently kerned to the right, as is W and V to remove unde­sired spaces that would appear on the bottom half of the glyph between common char­ac­ters that follow it, such as the vowels.

Kerning tables are con­tained within font files and vary from non-​existent to exten­sive. It’s impor­tant to note that good kerning tables should ideally accom­mo­date for glyph com­po­si­tions that occur in other lan­guages.

Besides the drool­ing over the aes­thet­ics, kerning is usually the other aspect I pay the next most atten­tion to and if pos­si­ble test. Most sea­soned type design­ers and foundries will supply spec­i­men sheets for their typefaces—often down­load­able PDF files—with texts of various lan­guages set in the fonts of the face, at various sizes, styles and so forth. As boring as it might be, it’s impor­tant to have a look over these, native speaker or not—you don’t have to under­stand the gob­bledy­gook: just look out for large gaps between glyphs or ones that lie too close to one another. You might never write actively in more than one or two of the sup­ported lan­guages but nouns like places and people will almost cer­tainly require setting.

If there aren’t various lan­guage spec­i­mens to check over or a spec­i­men is lacking to begin with, ask to the sup­plier to throw the font(s) at a kerning test sheet and see how they do. A fun and handy exer­cise is to go through the fonts in your col­lec­tion and see how they stack up; here are some of the blatant short­com­ings of Lino­type AG’s Times and Monotype’s Times New Roman, widely dis­trib­uted on Mac OS X and Windows respec­tively:

Times kerning problems outlined.
Times kerning prob­lems (view full size).

Times New Roman kerning problems outlined.
Times New Roman kerning prob­lems (view full size).

As you can see Linotype’s Times has fewer kerning issues which is why I prefer listing it before and in addi­tion to Times New Roman in my CSS font-family stacks.

That’s it. I’d be inter­ested in seeing any kerning issues you find, par­tic­u­larly on wide­spread fonts, such as the web core fonts. Other than that, wish you a smash­ing Sunday.