-2000 Lines Of Code An Article by Andy Hertzfeld www.folklore.org Bill Atkinson...who was by far the most important Lisa implementor, thought that lines of code was a silly measure of software productivity. He thought his goal was to write as small and fast a program as possible, and that the lines of code metric only encouraged writing sloppy, bloated, broken code. ...He was just putting the finishing touches on the optimization when it was time to fill out the management form for the first time. When he got to the lines of code part, he thought about it for a second, and then wrote in the number: -2,000. I'm not sure how the managers reacted to that, but I do know that after a couple more weeks, they stopped asking Bill to fill out the form, and he gladly complied. The amount of work not done metricscodemanagementproductivity
Baumol’s cost disease Baumol's cost disease (or the Baumol effect) is the rise of salaries in jobs that have experienced no or low increase of labor productivity, in response to rising salaries in other jobs that have experienced higher labor productivity growth. The rise of wages in jobs without productivity gains derives from the requirement to compete for employees with jobs that have experienced gains and so can naturally pay higher salaries, just as classical economics predicts. For instance, if the retail sector pays its managers 19th-century-style salaries, the managers may decide to quit to get a job at an automobile factory, where salaries are higher because of high labor productivity. Thus, managers' salaries are increased not by labor productivity increases in the retail sector but by productivity and corresponding wage increases in other industries. Wikipedia en.wikipedia.org economicsproductivitywork
Parkinson's Law Work expands so as to fill the time available for its completion. Wikipedia en.wikipedia.org Hofstadter's Law worktimeproductivity
The urge to be done "Flow" is often a synonym for ignorance and laziness. It's also a sign of haste, the urge to be done. Verlyn Klinkenborg, Several Short Sentences About Writing productivity
The absent-minded professor There are three variants of procrastination, depending on what you do instead of working on something: you could work on (a) nothing, (b) something less important, or (c) something more important. That last type, I'd argue, is good procrastination. That's the "absent-minded professor," who forgets to shave, or eat, or even perhaps look where he's going while he's thinking about some interesting question. His mind is absent from the everyday world because it's hard at work in another. Paul Graham, Good and bad procrastination procrastinationproductivity
Always produce "Always produce" is also a heuristic for finding the work you love. If you subject yourself to that constraint, it will automatically push you away from things you think you're supposed to work on, toward things you actually like. "Always produce" will discover your life's work the way water, with the aid of gravity, finds the hole in your roof. Paul Graham, How to do what you love Flow interesting (The Meander) productivity
Background textures of work An Article by Lucy Keer lucykeer.com One thing I've been enjoying about working as a technical writer is that the minute-by-minute texture of the work feels right. Something about formatting text, faffing about with SVGs, trying to rewrite a sentence more clearly... it's just enjoyable in itself, and I feel at home with it. ...Working as a programmer was very much not like that. There's something in the rough vicinity of professional dev work that I do like, which I could probably label as 'iterative hobbyist tinkering with websites'. I like working on something with a strong visual component, and I like to be inside of a fast feedback loop, and I'm mostly interested in just somehow bodging through until it works. I'm not very interested in either the computer-sciencey side of programming — data structures, algorithms — or the software-engineerey side of making things run reliably at scale in a maintainable way. So maybe it's not surprising that the minute-by-minute texture of professional programming was just... kind of bad. Occasional fun bits when I got into something, but the background experience was not fun. workproductivitymaking
Efficiency is the Enemy An Article fs.blog Many of us have come to expect work to involve no slack time because of the negative way we perceive it. In a world of manic efficiency, slack often comes across as laziness or a lack of initiative. Without slack time, however, we know we won’t be able to get through new tasks straight away, and if someone insists we should, we have to drop whatever we were previously doing. One way or another, something gets delayed. The increase in busyness may well be futile. It’s Time to Embrace Slow Productivity efficiencyproductivitywork
It’s Time to Embrace Slow Productivity An Article by Cal Newport www.newyorker.com The central goal of Slow Productivity is to keep an individual worker’s volume at a sustainable level. A natural fear is that by reducing the amount of work each employee tackles at any given time, it might reduce the total amount of work an organization is able to complete, making it less competitive. This fear is unfounded. As argued, when an individual’s work volume increases, so does the accompanying overhead and stress, reducing both the time remaining to actually execute the tasks and the quality of the results. If you instead enable the individual to work more sequentially, focussing on a small number of things at a time, waiting until she is done before bringing on new obligations, the rate at which she completes tasks might actually increase. Efficiency is the Enemy productivity
Beyond 10× An Article by Matthew Ström matthewstrom.com Forget 10×. With a focus on outcomes and an eye towards the border between net-positive and net-negative work, any team can push their productivity beyond their previous limits. ...If you can perform one task better than most people, you might be a 10× designer or developer or product manager (or whatever you are). But if your team can find small ways to make many of their tasks net-positive, 10× is just the start. productivity
Touch the keys An Article by Rach Smith rachsmith.com In his course Being Productive: Simple Steps to Calm Focus, Kourosh Dini emphasises the importance of taking a moment to “be with” the work every day (or however frequently you need to tackle a project). “Being with” your work is to be fully present and intentional about that activity and doing nothing else. This idea was inspired by Dini’s piano teacher, who encouraged him to sit at his piano and touch the keys every day. Even on the days that he felt he had no time or inclination to practice. Sometimes touching the keys would lead to a good practice session, even when he didn’t feel like it would before he actually gave it a go. Just like Dini, I find that once I give the task my full attention and be present, the actual doing of it turns out to be much easier and more enjoyable than my mind had been expecting. As usual, the resistance to getting started is far more uncomfortable than actually doing the thing. To pick up my pen productivityworkcreativitypractice
Nobody gives a hoot about groupthink An Article by Baldur Bjarnason www.baldurbjarnason.com Two relatively common ‘fashions’ today are real-time collaboration and shared data repositories of one kind or another. Both increase productivity in the naive sense. We work more; everybody is more active; the group feels more cohesive. The downside is that they also both tend to reduce the quality of the work and increase busywork. On that of the highest authorityPersonal Information Management (PIM) productivitycollaborationinformation
The Architecture of Happiness A Book by Alain de Botton www.alaindebotton.com A few millimeters apartTragic colorsClassical absurdityIdeas of a good lifeThe people we love+13 More architecturehappinesslife
A few millimeters apart Aesthetes force us to consider whether happiness may not sometimes turn on the presence or absence of a fingerprint, whether in certain situations beauty and ugliness may not lie only a few millimeters apart, whether a single mark might not wreck a wall or an errant brush stroke undo a landscape painting. details
Tragic colors Life may have to show itself to us in some of its authentically tragic colors before we can begin to grow properly visually responsive to its subtler offerings. melancholy
Classical absurdity Corbusier observed that the requirements of flight of necessity rid airplanes of all superfluous decoration and so unwittingly transformed them into successful pieces of architecture. To place a Classical statue atop a house was as absurd as to add one to a plane, he noted, but at least by crashing in response to this addition, the plane had the advantage of rendering its absurdity starkly manifest. Shorten the wingsTowards a New ArchitectureForm follows function function
Ideas of a good life In essence, what works of design and architecture talk to us about is the kind of life that would most appropriately unfold within and around them. They tell us of certain moods that they seek to encourage and sustain in their inhabitants. While keeping us warm and helping us in mechanical ways, they simultaneously hold out an invitation for us to be specific sorts of people. They speak of visions of happiness. To describe a building as beautiful therefore suggests more than a mere aesthetic fondness; it implies an attraction to the particular way of life this structure is promoting through its roof, door handles, window frames, staircase, and furnishings. A feeling of beauty is a sign that we have come upon a material articulation of certain of our ideas of a good life. architecturebeauty
The people we love The objects we describe as beautiful are versions of the people we love. loveobjects
The search for happiness If the search for happiness is the underlying quest of our lives, it seems only natural that it should simultaneously be the essential theme to which beauty alludes. happiness
An equivalence In both early Christianity and Islam, theologians made a claim about architecture likely to sound so peculiar to modern ears as to be worth of sustained examination: they proposed that beautiful buildings had the power to improve us morally and spiritually. They believed that, rather than corrupting us, rather than being an idle indulgence for the decadent, exquisite surroundings could edge us towards perfection. A beautiful building could reinforce our resolve to be good. Behind this distinctive claim lay another astonishing belief: that of an equivalence between the visual and ethical realms. ethicsaestheticsgoodness
Inwardly to resemble What we want, at the deepest level, is inwardly to resemble, rather than physically to possess, the objects and places that touch us through their beauty. We can conclude from this that we are drawn to call something beautiful whenever we detect that it contains in a concentrated form those qualities which we personally, or our societies more generally, are deficient. beauty
The gathering darkness of a Sunday evening Our jobs make relentless calls on a narrow band of our faculties, reducing our chances of achieving rounded personalities and leaving us to suspect (often in the gathering darkness of a Sunday evening) that much of who we are, or could be, has gone unexplored. work
What we don't like A grasp of the psychological mechanism behind taste may not change our sense of what we find beautiful, but it can prevent us from reacting to what we don’t like with simple disbelief. Our understanding of the psychology of taste can in turn help us to escape from the two great dogmas of aesthetics: the view that there is only one acceptable visual style or (even more implausibly) that all styles are equally valid. taste
Over-imagination An architect intent on being different may in the end prove as troubling as an over-imaginative pilot or doctor. However important originality may be in some fields, restraint and adherence to procedure emerge as the more significant virtues in a great many others. We rarely wish to be surprised by novelty as we round street corners. We require consistency in our buildings, for we are ourselves frequently close to disorientation and frenzy. The signature designnovelty
The extremes of order and complexity Such works emphasize the truth of the ancient maxim that beauty lies between the extremes of order and complexity. It follows that the balance we approve of in architecture, and which we anoint with the word ‘beautiful’, alludes to a state that, on a psychological level, we can describe as mental health or happiness. Like buildings, we, too, contain opposites which can be more or less successfully handled. beauty
Beauty and strength Yet the bridge testifies to how closely a certain kind of beauty is bound up with our admiration for strength, for man-made objects which can withstand the life-destroying forces of heat, cold, gravity or wind. We respond with emotion to creations which transport us across distances we could never walk, which shelter us during storms we could not weather, which pick up signals we could never hear with our own ears and which hang daintily off cliffs from which we would fall instantly to our deaths. beauty
With grace and economy Both bridges accomplish daring feats, but Maillart’s possesses the added virtue of making its achievement look effortless - and because we sense it isn’t, we wonder at it and admire it all the more. The bridge is endowed with a subcategory of beauty we can refer to as elegance, a quality present whenever a work of architecture succeeds in carrying out an act of resistance - holding, spanning, sheltering - with grace and economy as well as strength; when it has the modesty not to draw attention to the difficulties it has surmounted. beauty
The dignity of age Wood and stone, and now concrete and wood, age slowly and with dignity. They do not shatter hysterically like glass, or tear like paper, but discolor with a melancholy, noble air. Things that shine and glitter time
Apportioning value Contrary to the Romantic belief that we each settle naturally on a fitting idea of beauty, it seems that our visual and emotional faculties in fact need constant external guidance to help them decide what they should take note of and appreciate. ‘Culture’ is the word we have assigned to the force that assists us in identifying which of our many sensations we should focus on and apportion value to. aesthetics
There was no fog in London It is books, poems and paintings which often give us the confidence to take seriously feelings in ourselves that we might otherwise never have thought to acknowledge. Oscar Wilde referred to this phenomenon when he quipped that there was no fog in London before Whistler started painting the Thames. Likewise, there must have been little beauty in old stones before Japanese priests and poets began writing about them.
To the worms and the trees We owe it to the fields that our houses will not be the inferiors of the virgin land they have replaced. We owe it to the worms and the trees that the buildings we cover them with will stand as promises of the highest and most intelligent kinds of happiness. architecture