Gifts of knowledge to humanity There are many commonalities we can admire in these endeavors: the dazzling leap of imagination, the broad scope of applicability, the founding of a new paradigm. But let’s focus here on their form of distribution. These are all things that are taught. To “use” them means to learn them, understand them, internalize them, perform them with one’s own hands. They are free to any open mind. In Hamming’s world, great achievements are gifts of knowledge to humanity. Bret Victor, The Art of Doing Science and Engineering: Learning to Learn knowledge
Hamming-greatness Hamming-greatness is tied, inseparably, with the conception of science and engineering as public service. This school of thought is not extinct today, but it is rare, and doing such work is not impossible, but fights a nearly overwhelming current. Bret Victor, The Art of Doing Science and Engineering: Learning to Learn
Up and Down the Ladder of Abstraction An Essay by Bret Victor worrydream.com The most powerful way to gain insight into a system is by moving between levels of abstraction. Many designers do this instinctively. But it's easy to get stuck on the ground, experiencing concrete systems with no higher-level view. It's also easy to get stuck in the clouds, working entirely with abstract equations or aggregate statistics. This interactive essay presents the ladder of abstraction, a technique for thinking explicitly about these levels, so a designer can move among them consciously and confidently. From a roving viewpoint abstractionunderstandinginteraction
The Ladder of Abstraction An Essay by Bret Victor worrydream.com Collaborative Information Architecture at Scale informationthinkingcommunicationabstraction
A Brief Rant An Essay by Bret Victor worrydream.com Like, just a post complaining that screens should be better designtechnologywwwinteractionbody
The Future of Programming A Talk by Bret Victor worrydream.com programmingcodetechnologyinteractionsoftware
You're Probably Using the Wrong Dictionary An Essay by James Somers jsomers.net As if a word were no more than coordinatesAnother mind as alive as yoursA soft and fitful lusterPathosAn affection for words Webster's Dictionary, 1913 Edition languagewriting
As if a word were no more than coordinates The New Oxford American dictionary, by the way, is not like singularly bad. Google’s dictionary, the modern Merriam-Webster, the dictionary at dictionary.com: they’re all like this. They’re all a chore to read. There’s no play, no delight in the language. The definitions are these desiccated little husks of technocratic meaningese, as if a word were no more than its coordinates in semantic space. words
Another mind as alive as yours In 1807, Webster started writing a dictionary, which he called, boldly, An American Dictionary of the English Language. He wanted it to be comprehensive, authoritative. Think of that: a man sits down, aiming to capture his language whole. Dictionaries today are not written this way. In fact it’d be strange even to say that they’re written. They are built by a large team, less a work of art than of engineering. When you read an entry you don’t get the sense that a person labored at his desk, alone, trying to put the essence of that word into words. That is, you don’t get a sense, the way you do from a good novel, that there was another mind as alive as yours on the other side of the page. Webster’s dictionary took him 26 years to finish. It ended up having 70,000 words. He wrote it all himself, including the etymologies, which required that he learn 28 languages, including Old English, Gothic, German, Greek, Latin, Italian, Spanish, Dutch, Welsh, Russian, Aramaic, Persian, Arabic, and Sanskrit. He was plagued by debt to fund the project; he had to mortgage his home.
A soft and fitful luster Who decided that the American public couldn’t handle “a soft and fitful luster”? I can’t help but think something has been lost. “A soft sparkle from a wet or oily surface” doesn’t just sound worse, it actually describes the phenomenon with less precision. In particular it misses the shimmeriness, the micro movement and action, “the fitful luster,” of, for example, an eye full of tears — which is by the way far more intense and interesting an image than “a wet sidewalk.” It’s as if someone decided that dictionaries these days had to sound like they were written by a Xerox machine, not a person, certainly not a person with a poet’s ear, a man capable of high and mighty English, who set out to write the secular American equivalent of the King James Bible and pulled it off. meaningwords
Pathos With its blunt authority the New Oxford definition of “pathos” — “a quality that evokes pity or sadness” — shuts down the conversation, it shuts down your thinking about the word, while the Webster’s version gets your wheels turning: it seems so much more provisional — “that which awakens tender emotions, such as pity, sorrow, and the like; contagious warmth of feeling, action, or expression; pathetic quality; as, the pathos of a picture, of a poem, or of a cry” — and therefore alive. Most important, it describes a word worth using: a mere six letters that have come to stand for something huge, for a complex meta-emotion with mythic roots. Such is the power of actual English.
An affection for words There’s an amazing thing that happens when you start using the right dictionary. Knowing that it’s there for you, you start looking up more words, including words you already know. And you develop an affection for even those, the plainest most everyday words, because you see them treated with the same respect awarded to the rare ones, the high-sounding ones. Which is to say you get a feeling about English that Calvin once got with his pet tiger on a day of fresh-fallen snow: “It’s a magical world, Hobbes. Let’s go exploring!” It's a Magical World wordsknowledgecuriosity