order
Excursus: Homage to the Square^3
I know the deep night ballet and its seasons best
This order is all composed of movement and change, and although it is life, not art, we may fancifully call it the art form of the city and liken it to the dance—not to a simple-minded precision dance with everyone kicking up at the same time, twirling in unison and bowing off en masse, but to an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. The ballet of the good city sidewalk never repeats itself from place to place, and in any one place is always replete with new improvisations.
Same name in the same basket
Does a concert hall ask to be next to an opera house? Can the two feed on one another? Will anybody ever visit them both, gluttonously, in a single evening, or even buy tickets from one after going to a performance in the other?
In Vienna, London, Paris, each of the performing arts has found its own place, because all are not mixed randomly. The only reason that these functions have all been brought together in Lincoln Center is that the concept of performing art links them to one another. The organization is born of the mania every simple-minded person has for putting things with the same name into the same basket.
Complex systems of functional order
To see complex systems of functional order as order, and not as chaos, takes understanding. The leaves dropping from the trees in the autumn, the interior of an airplane engine, the entrails of a dissected rabbit, the city desk of a newspaper, all appear to be chaos if they are seen without comprehension. Once they are understood as systems of order, they actually look different.
The order of life
Like the housers who face a blank if they try to think what to do besides income-sorting projects, or the highwaymen who face a blank if they try to think what to do besides accommodate more cars, just so, architects who venture into city design often face a blank in trying to create visual order in cities except by substituting the order of art for the very different order of life.
The dishonest mask of pretended order
There is a quality even meaner than outright ugliness or disorder, and this meaner quality is the dishonest mask of pretended order, achieved by ignoring or suppressing the real order that is struggling to exist and to be served.
The Sense of Order
A Book by E. H. GombrichTendrils of Mess in our Brains
An Essay by Sarah PerryA ruin and a mess.
Watts observes that elements of the natural world – clouds, foam on water, the stars, human beings – are not messes, though the nature of their order remains inscrutable, and Watts doesn’t try to pin down its precise nature. Mess seems to be somehow a property perceptible only in the presence of human artifacts. Is this the result of some kind of aesthetic original sin on the part of humans, uncanny beings severed from the holiness of Nature? I hope not. “Humans are bad” is a boring answer.
How am I doing, wonder?
A Quote by Louis KahnForm comes from wonder. Wonder stems from our 'in touchness' with how we were made. One senses that nature records the process of what it makes, so that in what it makes there is also the records of how it was made. In touch with this record we are in wonder. This wonder gives rise to knowledge. But knowledge is related to other knowledge and this relation gives a sense of order, a sense of how they inter-relate in a harmony that makes all things exist. From knowledge to sense of order we then wink at wonder and say How am I doing, wonder?
Open Transclude for Networked Writing
Not an accumulation of facts
Knowledge is not an accumulation of facts, nor is it even a set of facts and their relations. Facts are only rendered meaningful within narratives, and the single-page document is a format very conducive to narrative structure. The hypertext books that have gained popularity (I’m thinking here of Meaningness.com) have largely conformed to this in two ways: 1) there is an intended reading order, and 2) the longer essays within the project do most of the heavy lifting in terms of imparting the author’s perspective to readers.
On the other hand, the notion of the “document” that is intrinsic to web development today is overdetermined by the legacy of print media. The web document is a static, finished artifact that does not bring in dynamic data. This is strange because it lives on a medium that is alive, networked, and dynamic, a medium which we increasingly understand more as a space than a thing.
More that can be done
The web is still a very young medium, and it has been influenced more than anything else by print media design. There is so much more that can be done with text on a screen than is being done today. Citations, drawing, chat, speech-to-text. There are opportunities everywhere, and the bar is low! If we are serious about unlocking the value of knowledge we should consider how to improve every part of the knowledge production stack, and that includes reading. As Laurel Schwulst says:
Imaginative functionality is important, even if it’s only a trace of what was, as it’s still a sketch for a more ideal world.
Open Transclude
What you are looking at is an scroll-locked iframe that links to a quote I picked out of my blog post “Notes on Comparative Psychology.” You can use Open Transclude anywhere you can drop an
<a>
tag on your own site.Open Transclude:
- Works anywhere on your own domain
- Compatible with most static site generators / templating engines
- 12 lines of HTML, 80 lines of SCSS, 22 lines of JS (4.5 kb total)
- Has 0 dependencies — this is native web technology
Open Transclude is extremely simple, and the heaviest part of the code is the CSS, which you can simplify at your whim. That’s why I am referring to it as a UX pattern. This is not a protocol. The code is really a commodity. What’s interesting about it is the idea and the design, and this is just one viable implementation! Feel free to adapt it however you like.
The principal improvement over a block quotation is sense of context.