In a mass of large bubbles The froth, therefore, though lacking long-range symmetry, nevertheless has very definite rules as to its composition. It is pleasing in appearance because the eye senses this interplay between regularity and irregularity. Structure, Substructure, and Superstructure symmetry
We wonder which is real, he of the picture or he who talks? In the tea room the fear of repetition is a constant presence. The various objects for the decoration of a room should be so selected that no color or design shall be repeated. If you have a living flower, a painting of flowers is not allowable. If you are using a round kettle, the water pitcher should be angular. A cup with a black glaze should not be associated with a tea-caddy of black lacquer. In placing a vase or an incense burner on the tokonoma, care should be taken not to put it in the exact center, lest it divide the space into equal halves. The pillar of the tokonoma should be of a different kind of wood from the other pillars, in order to break any suggestion of monotony in the room. Here again the Japanese method of interior decoration differs from that of the Occident, where we see objects arrayed symmetrically on mantelpieces and elsewhere. In Western houses we are often confronted with what appears to us useless reiteration. We find it trying to talk to a man while his full-length portrait stares at us from behind his back. We wonder which is real, he of the picture or he who talks, and feel a curious conviction that one of them must be fraud. Okakura Kakuzō, The Book of Tea repetitionsymmetry
v0.crap I couldn’t seem to convince my writers that I was genuinely ok working with a super rough first draft — i.e., that I’d harbor no hidden judgment about their intelligence, commitment, or excellence at their craft. So I came up with a new word. “Just give me a v0.crap.” (Pronounced “version zero dot crap”.) v.0.crap works because it’s attuned to the psychology of the situation. It’s punching through our innate desire not to “look bad”, plus years of corporate conditioning that tells us not to share less-than-polished work. It’s easier for people used to delivering exceptional work to feel they’ve exceeded the goal of “crap”; they can sit comfortably in “good enough for the current purpose.” Courtney Hohne, The monkey, the tiger beetle and the language of innovation blog.x.company Writing, Briefly qualityideaswritingmaking