Learning to walk through walls An Article by David R. MacIver drmaciver.substack.com I have a running joke that one of the most useful things I do when coaching or consulting is to say to people “Yes, that does sound like a problem. Have you tried solving it?” Part of why this is a joke is that actually most of the useful work happens prior to the point - the hard part is actually articulating what is going wrong well enough that it seems like a soluble problem - but there is genuinely something useful about this, because often it feels people are looking for permission. Without the external prompt, solving their problem is not something they noticed that they were allowed to do. A Burglar's Guide to the City problemsgames
Delight in the imperfect An Article by David R. MacIver drmaciver.substack.com I think part of the difficulty in allowing ourselves to properly delight in the imperfect, comes from conflating delighting in something with wanting it to happen. This isn’t the case. You can appreciate something as it exists while acknowledging its problems. You can see that a fire is beautiful without becoming a pyromaniac, and you can appreciate the absurdity of your political situation without thinking it’s good. Even if a delight in the imperfect causes you to want more imperfection in your life (and it should), there is no shortage of imperfection to seek out. The imperfect is not scarce, it’s abundant. If you find imperfection delightful, you will never be short of things that delight you, even if you fix any given problem. Solving problems and smoothing out imperfections doesn’t remove the source of delight, it merely opens up new vistas for it. You could give yourself over totally to delight in the imperfect and never run out of things to explore, even without creating your own. flawshumorproblems
We are surrounded by ghosts An Article by David R. MacIver notebook.drmaciver.com I'd like to call the more general phenomenon that this is a specific instance of "ghost knowledge": It is knowledge that is present somewhere in the epistemic community, and is perhaps readily accessible to some central member of that community, but it is not really written down anywhere and it's not clear how to access it. Roughly what makes something ghost knowledge is two things: It is readily discoverable if you have trusted access to expert members of the community. It is almost completely inaccessible if you are not. In this sense, most knowledge is ghost, particularly if you take an expansive view of what counts as an epistemic community. knowledge
Trust beyond reason An Article by David R. MacIver notebook.drmaciver.com In this sense, trust is a polarizing strategy, and it's one that is important to apply early on in the relationship before someone becomes important to you. If you trust someone excessively and it goes badly, but they don't matter to you, you can just kick them to the curb. In general, trusting someone at a level that seems slightly excessive for their level of importance to you will help you sort people in your life who you want to be more important to you than they are from those who you want to be less important than they are. And it does need to be excessive. It needs to be trust beyond reason. Not beyond all reason, but somewhat beyond what currently seems reasonable. If it is not, then unless they are prepared to take the first move, you will never find the signs you need to move to a higher level of mutual trust. Sometimes this will go badly, but you need to be able to try bad things. trustlovefriendship
The fastest way to learn something is to do something An Article by David R. MacIver notebook.drmaciver.com Suppose you have a problem to solve. What do you do? Well, you sit down and think real hard, and after extensive and careful planning you try the well thought out and rigorous solution that you have thought up. Right? No, wrong! Bad. The correct thing to do when you have a problem is: Think for a short amount of time. Make sure it is safe to try things. Try something you think will work. Observe the result. If you succeeded, yay you solved the problem! If it didn't work, think about what that means for the nature of the problem and try again. The Feynman Algorithm problemsprototypesfeedback
Coevolution and the bad take machine An Article by David R. MacIver notebook.drmaciver.com So when you have a bad take machine, you get the following processes: They make a bad take. People are outraged and talk about it. The bad take machine likes it and does more of that behaviour in future. If, on the other hand, they make a take and nobody cares, they do not get reward and the behaviour is selected against. The behaviours drove the spread of the outrage replicator, and the outrage replicator provides the selection mechanism for the behaviours. Thus, via the spread of our outrage on Twitter, we have operant conditioned the bad take machine into producing worse takes. Which is to say, it's bad on purpose to make you replicate it. How to write a high-engagement tweetA bad tweet is like a deepfake of an idea mediaanger
Notes on the Legibility War An Article by David R. MacIver notebook.drmaciver.com The basic idea of legibility is that the act of making something comprehensible enough to control is itself an act that shapes the thing to be controlled, often with far greater consequences than the control itself. This is because it removes complexity that is deemed as irrelevant that makes it harder to control, and that complexity may be in some way essential to the health of the system. controlsystemscomplexitylegibility
Things you didn't know you can be bad at An Article by David R. MacIver notebook.drmaciver.com I wonder how many things we're all going around doing badly because the idea of not knowing how to do them well seems too ridiculous to admit to. ...You've probably never been taught to have a conversation. I've had exactly one class on it and it was in the last six months. I know damn well that many people have not self-taught this well... In general there's this entire class of implicit skills that we mostly don't think of as skills, that we're entirely self-taught on, and that we practice sufficiently non-demonstratively that we can't easily watch what other people do. The result is a very personal skill idiolect. Idiolect skilllearningpractice
A Search for Structure A Book by Cyril Stanley Smith mitpress.mit.edu ApologiaGrain Shapes and Other Metallurgical Applications of TopologyStructure, Substructure, and SuperstructureThe Interpretation of Microstructures of Metallic ArtifactsMatter versus Materials: A Historical View+18 More Results of a search makingmaterialcraftstyle
Apologia A Chapter If the features of many are comparedPebbles on the beachHalf-formed perceptionInterdisciplinary
Grain Shapes and Other Metallurgical Applications of Topology An Essay The boundary can tell much about what is inside topologymetal
Structure, Substructure, and Superstructure An Essay The monotonous perfectionOn beauty bareIn a mass of large bubblesThe role of history in structuresA kind of moiré pattern+1 More
The Interpretation of Microstructures of Metallic Artifacts An Essay The meaning of objectsSomething akin to styleFrom the head of JoveThe objects themselves speak loudlyThe way it has been made+1 More
Matter versus Materials: A Historical View An Essay Atoms and aggregatesAesthetically motivated curiosityWhose eyes had seen and whose fingers had feltThe alchemists in their mixingsA holograph of itself+3 More
Iconography It is understandable that those students who must work from reproductions of works of art are usually more interested in iconography than in the more subtle questions of technique and quality, but it is regrettable that technical ignorance should so frequently prevent art historians from considering the whole experience of the artist. artexperiencetechnique
Understanding technique Technique is an essential aspect of any work of art from a trivial trinket to the greatest painting, and some specialized study of it is essential to full appreciation. Though museum labels and catalogs refer to materials and processes — “bronze,” “fresco,” “parcel gilt,” “tempera,” “lacquer on wood,” and so on — they usually display only superficial attention to the essential details of the artist’s technique. technique
Bells Most Japanese bells when hung still have on them one or more rough lines obviously arising in horizontal mold joints. These lines are not removed in fettling the bell, and they seem to be regarded not as defects but rather as a reminder of the reality of the founder’s interaction with his materials. One is reminded of the ceramics that are most treasured in Japan which usually have some unexpected tool marks or irregularity resulting from a kiln mishap. Chapel of St. Ignatius, Seattle, 1995–7 flawswabi-sabi
Nearer to the surface If in the following I overemphasize the Orient, this is simply because in the Far East the properties of materials are a little nearer to the surface, a little more consciously a part of what the artist is trying to show. The naturalistic aspects of Oriental philosophy encourage a sensitivity to the quality of materials — or is it the inverse, that an early enjoyment of stone, wood, clay, and fiber gave rise to the philosopher’s perception of the soul in all natural things comparable to man himself? Westerners tend to override materials, usually in ignorance, but sometimes proudly as a tour de force. materialsoul
The drop press The virtue of thin sheet metal in giving the greatest glitter for a grain of gold was exploited in the earliest days of metallurgy. However, before the days of rolled sheet and drawn wire, most metal objects were made by hammering and were basically three-dimensional in form. [In contrast] look at the simple drop press — it’s unmodulated blow striking in a single direction symbolizes much of nineteenth-century mechanized production. To make multiple stampings, stacks of very thin metal sheets were superimposed under the hammer, and the final profile with moderately high relief was gradually achieved as finished sheets were removed from the bottom and new ones added at the top. When the drop press was used to shape large areas of thin sheet metal, the aesthetic qualities of the surface became divorced from the underlying substance, and decoration became independent of the body needed to support it. In any object there is a natural relationship between the surface and the bulk, that is, between its one-, two-, and three-dimensional aspects. The fakery involved in applying gold or silver playing on a solid copper object is quite different from the deception of an ornately stamped piece of thin sheet brass. Compare a magnificent ormolu furniture fitting or even a gilded plaster picture frame with a cheap lamp base embossed in thin sheet brass. In the former, the surface is simply and honestly applied for its optical effect alone; in the latter the fakery is fundamental for it is dimensionally misleading. Separation of surface and structure
Big things and little things It is hardly possible that human beings could have decided logically that they needed to develop language in order to communicate with each other before they had experienced pleasurable interactive communal activities like singing and dancing. Aesthetic curiosity has been central to both genetic and cultural evolution. All big things grow from little things, but new little things will be destroyed by their environment unless they are cherished for reasons more like love than purpose. aestheticsevolutionwords
What's the difference? I well remember an occasion in 1962 when in a remote Iranian village I asked a blacksmith famous for his superior penknives to tell me the difference between iron and steel. “What’s the difference?” he replied. “What’s the difference between an oak tree and a willow — they have different natures and one must adapt to them.” He did not accept the suggestion that some material absorbed from the fire’s charcoal might have something to do with it, and he would not have understood a word of any lecture I could have given him on diffusion, crystal structure, and phase transformations; yet he could make a good knife and I could not. making
The scale of human experience It is the scale of human experience, from which thought and imagination take off, and to which they must return. creativityexperience
The edifice from which they came A list of types of bricks used in the Hagia Sophia may help one to build an interesting brick wall, but it poorly suggests the great edifice from which they came. Atoms and aggregates knowledgecollections
The interplay of pattern and texture Some of the more enjoyable surfaces (for example, the grain of a fine mahogany table top or a Japanese sword) have an interplay between pattern and texture which, though two-dimensional, suggests the unseen internal three-dimensional array. texture
Resonances The resonances arising in workmanship are often very subtle. The fact that the material itself guides the tool differently in different processes of working introduces changes in the overall relationship of curvatures. The smooth curves of surfaces approaching the edge of a jade axe that come about from innumerable abrasive particles moving against a slightly yielding and mechanically unconstrained backing would seem incongruous if other surfaces or outlines were present that had come from cleavage or from the geometric motions of a machine. These could be produced easily enough, but the eye would not establish larger resonances among them. toolstechniquecraft
Fine arts and decorative arts The fine arts are conscious and essentially individual in tradition. The quantitative and economic aspects of the decorative arts, on the other hand, make them intrinsically repetitive. Because of this, their aesthetic qualities have a very intimate relationship to the technology of materials, and their design is thereby basically affected. In addition to the qualitative need for repetitive detail in design, the decorative arts have a quantitative requirement, namely the imperative of covering large areas or making large numbers of individual objects. artornament
Replication Consider also the development of mass-production methods involving the casting of molten metals. Though the finest castings were made individually by the lost-wax process, the majority of casting from the earliest days have been designed expressly to facilitate molding. As with punches and dies, most foundry processes have the characteristic that the careful work of the master designer is involved only once, whereafter replication takes over.
Reproduction The success of a mechanic’s, or a machine’s, reproduction of a thing depends on his, or its, sensitivity to whatever qualities are important, just as the skill of the designer lies in the proper appreciation of surface qualities in terms of structure and shape variation that come from the intended means of production. making
The inner nature of material The work of an artist in getting the details that he wants is greatly facilitated if he selects a material whose inner nature makes it want to take the desired shape. A state of energetic repose materialdetails
The idea grows as they work As they work, the experience of the material under the artist's fingers subtly interacts with the idea in their mind to give the finished work some quality that was rarely fully anticipated. A few artists seem to have such a feeling for their materials that the prevision needs little modification; most say that the idea grows as they work experimentally. On GreatnessThe situation talks backThe discoveries you make in the makingWhen I was 22 craftmaterialart
True artistry The best of all examples of a satisfactory art form based upon the inner nature of a metal is provided by Japanese swords. Our perception of beauty seems to involve the interaction of several patterns having origin and significance at many different levels of space, time, matter, and spirit. In the Japanese sword blade there is heterogeneity in both the macrostructure and the microstructure. The manner of forging, the heat treatment, and the final polishing operation are all uniquely Japanese techniques, and all make necessary contributions to the final quality of the blades. The shape along would be simplistic form; the forged texture of the steel without heat treatment would at best faintly echo the beauty of grained wood; the outlines of the quench-hardened zone at the edge would be sharp and uninteresting if it depended only on the control of cooling rate during quenching; and the polish would be uniform glitter if the metal were homogeneous. With true artistry all these are made to interact. beautycraft
Simple variations of the parts Symmetry, indeed, has been grossly overemphasized in both art and science: its main value is in giving meaning to its absence, dissymmetry, without which there could be no hierarchy. The eye is repulsed by complexity if no order is detected, but it can be delighted by repetition, translation, rotation, reflection, magnification, and other simple variations of the parts. geometrypatterns