The getaway to end all getaways Any attempt to track down the perfect getaway is made all the more complex because almost everything we know about burglary—including how they did (or did not) get away—comes from the burglars we’ve caught. As sociologist R. I. Mawby pithily phrases this dilemma, “Known burglars are unrepresentative of burglars in general.” Great methodological despair is hidden in such a comment. Studying burglary is thus a strangely Heisenbergian undertaking, riddled with uncertainty and distorted by moving data points. The getaway to end all getaways—the one that leaves us all scratching our heads—to no small extent remains impossible to study. Geoff Manaugh, A Burglar's Guide to the City failure
The Evolution of Useful Things A Book by Henry Petroski Here, then, is the central idea: the form of made things is always subject to change in response to their real or perceived shortcomings, their failures to function properly. This principle governs all invention, innovation, ingenuity. Spike and sponShaped and reshapedForm follows failureTheir wrongness is somehow more immediateA small corner of the world of things+23 More The evolution of devices formfunctioninventionprogressfailure
My Anti-Resumé An Article by Monica Byrne monicacatherine.com A couple years ago I was having dinner with a playwright, Bekah Brunstetter, and her director David Shmidt Chapman. We talked about how rejection is just part of the landscape for all beginning artists, no matter how talented or hardworking they might be or how successful they might appear. David said he’d love to publish his “anti-résumé” someday—a list of all the things he didn’t get. Spreadsheet Portfolios for UX Designers workfailure
But what do you want to say? An Article by Ralph Ammer ralphammer.com Pablo Picasso famously said: “The world doesn’t make sense, so why should I paint pictures that do?” A sensible approach to something that can’t be explained is to express it. Rather than giving you explanations or “saying something”, most artists are concerned with what I like to call “room for interpretation”. They create platforms that trigger thoughts, feelings, emotions, and ideas. Instead of trying to explain the inexplicable artists express their view of it. They don’t want to tell you what to think, they invite you to respond. Making sense artemotion