society
The one reveals a subject and the other reveals an algorithm
We live in the aftermath
From consumption to production
Management and manipulation of fear
To create noblemen and kings
Cupcakes and froyo
Consumption
The proponents of technology in the 1840s were very enthusiastic about replacing workers with machines. But somehow I find no indication that they realized that while production could be carried out with few workers and still run to high outputs, buyers would be needed for those outputs. The realization that though the need for workers decreased, the need for purchasers could increase, did not seem to be part of the discourse on the machinery question. Since then, however, technology and its promoters have had to create a social institution – the consumer – in order to deal with the increasingly tricky problem that machines can produce but it is usually people who consume.
Millennials and Gen. Z
I made a prediction on Twitter on February 6th: If Millennials (b. 1980 – 2000) were the premium mediocre generation, Gen Z (b. 2000 – 2020) is going to be the domestic cozy generation.
Premium Mediocre vs. Domestic Cozy
Premium mediocre seeks to control its narrative. Domestic cozy is indifferent both to being misunderstood and being ignored.
Instagram, Tinder, kale salads, and Urban Outfitters are premium mediocre. Minecraft, YouTube, cooking at home, and knitting are domestic cozy. Steve Jobs represented the premium that premium mediocrity aspired towards. Elon Musk represents the relaxed-playfulness-amidst-weirdness at the heart of domestic cozy.
Premium mediocre looks outward with a salesman affect, edgy anxiety bubbling just below the surface. Domestic cozy looks inward with a relaxed affect. A preternaturally relaxed affect bordering on creepy. One best embodied by the rise of the ASMR-like sensory modality (which even the NYT has noticed) that has come to be known as oddly satisfying.
Premium mediocrity is the same everywhere, every patch of domestic cozy is domestic cozy in its own way.
We infantilize ourselves
Here in the US, we expect government and law to be our conscience. Our superego, you could say. It has something to do with liberal individualism, and something to do with capitalism, but I don't understand much of the theoretical aspect—what I see is what I live in. Americans are in a way crazy. We infantilize ourselves. We don't think of ourselves as citizens—parts of something larger to which we have profound responsibilities. We think of ourselves as citizens when it comes to our rights and privileges, but not our responsibilities. We abdicate our civic responsibilities to the government and expect the government, in effect, to legislate morality.
The Real World of Technology
A Lecture by Ursula M. FranklinThis is Water
A Speech by David Foster WallaceMan in the Middle: The Designer
A Book by C. Wright MillsThe Waste Land
A Poem by T.S. EliotBuilder Brain
An Essay by Charlie WarzelThe Builder mindset often eschews policy completely and focuses on the macro issues, rather than the micro complexities. It is a mindset that seeks to find very elaborate, hypothetical-but-definitely-paradigm-shifting, futuristic technology to fix current problems, instead of focusing on a series of boring-sounding and modest reforms that might help people now.
…The worst version of Builder mentality is that their dreams become reality, but instead of maintaining their creations, they simply move onto the next Big Thing, leaving others to deal with the mess they’ve made.
evermore, and other beautiful things
An Article by Linus the SephistIf all evidence of civilization on Earth was destroyed, and humans had to re-build society from the ground up, what would be different? Feynman reckons that pivotal scientific moments, like the discovery of the atom, will still happen in the same way. Perhaps mathematics will be similarly rediscovered.
Someone told me once in response to this question, no artwork would ever be recreated. The art we create – music, stories, dance, film – isn’t a fundamental element of the universe, or even of humanity. It’s unique to each artist. If you choose to create art, you leave something in the world that has never had a chance to exist before, and will never again have a chance to exist. There will never be another Beatles or Studio Ghibli or Picasso. Art, in its infinite variations of originality, is cosmically unique in a way the sciences will never be. Art immortalizes human experiences that would otherwise vanish in time.
The Third Way
An Article by Kevin KellyBut all the civilized cities of the world were also filled with third places that people loved. Not quite private, not quite public, these third places were intimate but open to anyone. Like settling down at a table at a cafe. It felt like your space, but you were not the landlord. They were public, open spaces that you could “own” for a while.
…We need a new third category of work — something between “employee” and “not an employee”—that encompasses digital gig laborers. AirBnB is neither a hotel, nor a private resident. It is a third thing, and we need to create a new category to deal with it…This is the era of the third way.
Class 1 / Class 2 Problems
An Article by Kevin KellyThere are two classes of problems caused by new technology. Class 1 problems are due to it not working perfectly. Class 2 problems are due to it working perfectly.
...Class 1 problems arise early and they are easy to imagine. Usually market forces will solve them. You could say, most Class 1 problems are solved along the way as they rush to become Class 2 problems. Class 2 problems are much harder to solve because they require more than just the invisible hand of the market to overcome them.
...Class 1 problems are caused by technology that is not perfect, and are solved by the marketplace. Class 2 problems are caused by technology that is perfect, and must be solved by extra-market forces such as cultural norms, regulation, and social imagination.
Stepping out of the firehose
An Article by Benedict EvansIn 1800, if you’d said that you wanted something ‘made by hand’, that would be meaningless - everything was handmade. But half a century later, it could be a reaction against the age of the machine - of steam and coal-smoke and ‘dark satanic mills.’ The Arts and Crafts movement proposed slow, hand-made, imperfect craft in reaction to mass-produced ‘perfection’ (and a lot of other things besides). A century later this is one reason I’m fascinated by the new luxury goods platforms LVMH and Kering, or indeed Supreme. How do you mass-manufacture, mass-market and mass-retail things whose entire nature is supposedly that they’re individual?
...we keep building tools, but also we let go. That’s part of the progression - Arts and Crafts was a reaction against what became the machine age, but Bauhaus and futurism embraced it. If the ‘metaverse’ means anything, it reflects that we have all grown up with this now, and we’re looking at ways to absorb it, internalise it and reflect it in our lives and in popular culture - to take ownership of it. When software eats the world, it’s not software anymore.
The Cycle of Goodness
An Idea by Tadao YoshidaThe CYCLE OF GOODNESS® is the corporate philosophy established by YKK’s founder, Tadao Yoshida, who believed that “no one prospers without rendering benefit to others.” It expresses the basic belief of the YKK Group. Tadao Yoshida firmly believed that business belongs to society. As an important member of society, a company survives through coexistence. When the benefits are shared, the value of the company’s existence will be recognized by society. When pursuing his business, Mr. Yoshida was most concerned with that aspect and would find a path leading to mutual prosperity. He believed that using ingenuity and inventiveness in business activities and constantly creating new value would lead to the success of clients and business partners and make it possible to contribute to society. This type of reasoning is referred to as the CYCLE OF GOODNESS® and has always served as the foundation of our business activities.
Life as Protest
A Fragment by Craig ModI’ve written this before but I constantly need to remind myself of it, so, once again: A certain kind of work, lifestyle, mode of living — in and of itself — is protest. That is, work that is curious and rigorous is implicitly an antipode to didactic, shallow bombastity. It is inherently an archetype against bullshit. That to be committed to this work or life of rigor (be it rigor focused on “art” or, as they say in Japanese, sakuhin, or family or athleticism or whatever), and to share it with the world is to opt-out of being paralyzed by idiocy, and help others who may be paralyzed find a path back to whatever fecundity of life it is that they deserve.
Premium Mediocre
An Article from Ribbonfarm by Venkatesh Rao
The Shape of Design
Near and far
The creative process, in essence, is an individual in dialogue with themselves and the work. The painter, when at a distance from the easel, can assess and analyze the whole of the work from this vantage. He scrutinizes and listens, chooses the next stroke to make, then approaches the canvas to do it. Then, he steps back again to see what he’s done in relation to the whole. It is a dance of switching contexts, a pitter-patter pacing across the studio floor that produces a tight feedback loop between mark-making and mark-assessing. The artist, when near, is concerned with production; when far, he enters a mode of criticism where he judges the degree of benefit (or detriment) the previous choice has had on the full arrangement.
Painting’s near and far states are akin to How and Why: the artist, when close to the canvas, is asking How questions related to craft; when he steps back, he raises Why questions concerned with the whole of the work and its purpose. Near and Far may be rephrased as Craft and Analysis, which describe the kinds of questions the artist asks while in each mode. This relationship can be restated in many different ways, each addressing a necessary balance:
- How and Why
- Near and Far
- Making and Thinking
- Execution and Strategy
- Craft and Analysis
Why we should read
Unfortunately, the program met its end because the show’s approach opposed the contemporary standard format of children’s television: teaching kids how to read, rather than Reading Rainbow’s objective, which was to teach kids about why they should read.
Reading Rainbow had a long run, lasting twenty-three years, but its cancellation feels like a symbolic blow. Education, just like climbing the ladder, must be balanced between How and Why. We so quickly forget that people, especially children, will not willingly do what we teach them unless they are shown the joys of doing so. The things we don’t do out of necessity or responsibility we do for pleasure or love; if we wish children to read, they must know why.
We hear a voice whisper
The Shakers have a proverb that says, “Do not make something unless it is both necessary and useful; but if it is both, do not hesitate to make it beautiful.” We all believe that design’s primary job is to be useful. Our minds say that so long as the design works well, the work’s appearance does not necessarily matter. And yet, our hearts say otherwise. No matter how rational our thinking, we hear a voice whisper that beauty has an important role to play.
Needs more love
He held the phone to his chest, looked at me, and simply said, “Needs more love.” He pushed the portfolio back across his desk, smiled warmly, and shooed me out of his office.
I still think about this advice, and what exactly he might have meant when he said my work needed more love. At the time, I took it to mean that I should improve my craft, but I’ve come to realize that he was speaking of something more fundamental and vital. My work was flat, because it was missing the spark that comes from creating something you believe in for someone you care about. This is the source of the highest craft, because an affection for the audience produces the care necessary to make the work well.
One candle can light another
Lighting one candle
with another candle—
spring evening.Buson is saying that we accept the light contained in the work of others without darkening their efforts. One candle can light another, and the light may spread without its source being diminished.
A great leap of lightness
The first step of any process should be to define the objectives of the work with Why-based questions. The second step, however, should be to put those objectives in a drawer. Objectives guide the process toward an effective end, but they don’t do much to help one get going. In fact, the weight of the objectives can crush the seeds of thought necessary to begin down an adventurous path.
The creative process, like a good story, needs to start with a great leap of lightness, and that is only attainable through a suspension of disbelief. The objectives shouldn’t be ignored forever, but they should be defined ahead of time, set aside, and then deployed at the appropriate moment so that we may be audacious with our ideas.
Going evil
To begin, we must build momentum and then reintroduce the objectives to steer the motion. I find the best way to gain momentum is to think of the worst possible way to tackle the project. Quality may be elusive, but stupidity is always easily accessible; absurdity is fine, maybe even desired. If the project is a business card for an optician, perhaps you imagine it is illegible. (This is in the spirit, but you can do better.) If it is a brochure for an insurance agency, imagine otters on the cover and deranged handwriting on the inside for the copy. (Further!) If it is design for an exhibition of Ming Dynasty vases, brand it as an interactive show for kids, and put the vases on precariously balanced pedestals made of a shiny metal that asks to be touched. (Yes!)
The important realization to have from this fun—though fruitless–exercise is that every idea you have after these will be better. Your ideas must improve, because there is no conceivable way that you could come up with anything worse.
The momentum of making
Limitations narrow a big process into a smaller, more understandable space to explore. It’s the difference between swimming in a pool and being dropped off in the middle of the ocean with no land in sight. Those limitations also become the basis for the crucial first steps in improvisation. After those, the momentum of making accelerates as ideas are quickly generated without judgment.
Let the body wander
If the mind needs to wander, best let the body do the same. A short walk is more effective in coming up with an idea than pouring all the coffee in the world down your gullet.
Message, tone, format
All design work seems to have three common traits: there is a message to the work, the tone of that message, and the format that the work takes. Successful design has all three elements working in co-dependence to achieve a whole greater than the sum of the individual parts.
Asking why
Most inventions are recombinations of existing things, but where do the sparks for those combinations come from? What instigates that magic to make hybrids, to use them for unimagined purposes, and to inspire new settings for the three levers? Certain advancements seem logical and inevitable—smaller cellphones, faster computers, more reliable medical technology—while others seem to come out of nowhere. Turning avocado into caviar, for example, is not a logical conclusion in the kitchen. That choice is an inspired one. You can always spot these brilliant inventions as instances of magic, because our reaction, much like Achatz’s first meal at elBulli, is always disbelief.
Henry Ford famously said that if he had asked his customers what they wanted, they would have said a faster horse. Of course, we know that the faster horse is a testament to the limited imagination of customers, but I’d suggest that it’s more representational of not reassessing the objectives of the work in light of new opportunities. The faster horse is a recombination of the three levers in a predictable way: the customer’s answer is staunchly loyal to the horse, the already established format of transportation. They are inside of the adjacent possible, and ask a How question: How can horses be better?
Asking a Why question leads us to a different conclusion: Why are horses important? Because they quickly and reliably get us from one place to another. A Why question defines our need and uses an objective to create a satisfactory outcome for the work. This type of question is specific enough to be observable, but flexible enough to be approached in a variety of different ways. It’s easy to think that the way to improve life is to iterate on the things that we already have, but that is a trap of limited imagination. We should be iterating on how we answer our needs, and not necessarily on the way our old solutions have taken shape. The root of our practice is located in the usefulness of the work, not the form that it takes.
Outcomes and consequences
The primary purpose of the design is to have it do something particular, not be any particular thing. All of this implies that design is a field of outcomes and consequences more than one of artifacts. The forms that designers produce are flexible, so long as the results serve the need.
The source of delight
Design doesn’t need to be delightful for it to work, but that’s like saying food doesn’t need to be tasty to keep us alive. The pedigree of great design isn’t solely based on aesthetics or utility, but also the sensation it creates when it is seen or used. It’s a bit like food: plating a dish adds beauty to the experience, but the testament to the quality of the cooking is in its taste. It’s the same for design, in that the source of a delightful experience comes from the design’s use.
Every exit is an entrance somewhere
At the Ace Hotel in New York, a required exit sign over a door was an eyesore, and a stark contrast from the considered, detailed wall where it was mounted. Rather than accept the wart as it was, the sign was embraced as a chance to create an experience for the hotel’s guests by integrating the exit sign into the space. Now, surrounding the sign are other letters painted on the wall in a similar condensed style.
Every requirement is an opportunity for delight, even the ugly ones. Sometimes the creative treatment of these warts are the most enjoyable parts of a design.