- Co-founder of Hi
- Founder of PRE/POST Publishing
- Mentor at 500 Startups
- Mentor & LP at The Designer Fund
- Advisor for Yale Publishing Course
- Co-author of Art Space Tokyo
Honors & Fellowships
My writing has appeared in New Scientist, The New Yorker, Virgina Quarterly Review, The New York Times, CNN.com, Codex: A Journal of Typography, A List Apart, and other publications.
I speak frequently about digital books, publishing, and startups. My speaking schedule is updated regularly (in theory).
Favorite Cities (unordered)
- New York (US)
- Hanoi (Vietnam)
- Kyoto (Japan)
- Asheville (North Carolina)
- Barcelona (Spain)
- Lhasa (Tibet)
- Tokyo (of course!)
- Pokara (Nepal)
- New Orleans (US)
- Kamakura (Japan)
I'm an independent writer and designer usually in Tokyo, San Francisco or New York, depending on the people I'm working with or the type of work I'm doing.
April - December 2014 note: I'm currently finishing a book project which is consuming all of my time. Apologies for not being able to meet / respond to all requests for mentorship or interviews. Thanks for understanding. I hope to have more time in 2015! (I know, that sounds crazy but … books are long, hard, stupid, wonderful things.)
I love the culture of startups: the optimism, the naiveté, the confusion, the chaos, the compression. I regularly mentor and consult with "publishing related" (a vast and growing category if there ever was one) startups and try to nurture connections where connections should be.
For a little over a year, I was privileged to work at Flipboard as a product designer. My main focus was Flipboard for iPhone. I am indebted to the great opportunity Mike, Evan, Marcos, and the rest of the company extended to me. So much so, I made them a love letter.
Tokyo has been my base — in one way or another, physical or spiritual — for over a decade. My experiences there are so deeply layered that I consider the city a hometown. All that time in Japan pushed my cultural expectations into strange territories; something I enjoy. Much of my design work is inspired by time spent there.
PRE/POST is a publishing umbrella I founded in 2010. It's largely dormant, now, but served its purpose well for the four or so years it was active. It kicked off when we republished Art Space Tokyo via Kickstarter. In 2012, we published Japanese poet Bin Sugawara. He's quite a lot of fun. We also helped jumpstart the Designer Founders book from The Designer Fund. And it served as the place from which I published a number of my essays as Kindle and iBooks books.
PRE/POST was there to help get made books that should be made, and made well. No excuses. We averaged a book a year, which felt just about right.
I'm adopted. So, naturally, I'm fascinated by provenance. Provenance and mythologies. Particularly the myths we create around ourselves and the boundaries which define 'family.'
I bounce between San Francisco, New York, and Tokyo. Sometimes, people have a hard time understanding why. They tilt their heads. To me, it's simple: stay sharp. Each time the plane lands I can hear the crisp scrape of my senses pushed across a whetstone.
Silicon Valley gets foolish dreaming and technology.
New York gets content and process.
Tokyo gets objects and procession.
I strive to be a technology optimist. Optimism is a meditation requiring constant application. I believe technological change is like a freight train of a certain unstoppable momentum, and we have two broad choices:
- Stubbornly stand in front of the train and try to push it back
- Accept the train and be a force laying railroad ties which place it on a nourishing course
I choose the second option, and that choice informs the way I look at how digital infrastructure is affecting books, publishing, and education. I like that we're irrationally emotional about the loss of physicality in books. We're explorers, and the first rule of the Explorer's Club is: always choose a disrupted space filled with intense emotion.
I believe there is an emerging confluence of simple technologies around books, publishing, networks, and education that can be leveraged to change the way we think about learning and information accessibility. If you're working in this space, I'd love to chat.
I think of the liminal space publishing now occupies as the pre/post era of publishing. We're post- the formality, complexity, and physicality that so defined publishing following Gutenberg (and Aldus Manutius and Walter Benjamin and …). But yet we're still pre- substantive alternatives.
The old guard is crumbling. A new guard is awkwardly emerging. Together, we can affect the shape of the new guard. Isn't that exciting?