AI-driven "Design"? An Article by Jorge Arango jarango.com Like a programming language interpreter, GPT-3 translates the designer’s intent from a language they’re already familiar with (English) to one they need to learn (Figma’s information architecture, as manifested in its UI.) This can be easier for a new/busy designer, much like Python is easier and faster to work with than assembly language. But that’s not “designing” — at least not any more than compiling Python code is “programming.” In both cases, all the system does is translate human intent into a lower level of abstraction. Sure, the process saves time — but the key is getting the intent part right. I’ll be convinced the system is “designing” when it can produce a meaningful output to a directive like “change the product page’s layout to increase conversions.” aidesignintentabstraction
Two types of work An Article by Jorge Arango jarango.com There are two types of work: growth work and maintenance work. Growth work involves making new things. It can be something big or small. In either case, growth work often follows a loose process. Maintenance work is different. Maintenance work involves caring for the resources and instruments that make growth work possible. This includes tools, but also body and mind. Maintenance is ultimately in service to growth. But effective growth can’t happen without maintenance. As with so many things, the ideal is a healthy balance — and it doesn’t come without struggle. organizationinformationmakingwork
Internal design teams and thought leadership An Article by Jorge Arango jarango.com The design industry is an ecosystem. External design teams provide critical functions beyond augmenting internal design resources. Thought leadership — pushing the field’s boundaries — is indeed one of them. Many practices and tools we take for granted — journey maps, personas, conceptual frameworks — were pioneered and/or popularized by ‘outies.’ Most of the field’s foundational books and blogs are by people outside ‘client’ organizations. This isn’t because internal designers aren’t as clever or dedicated as their external colleagues. (Many ‘innies’ are former ‘outies.’) It’s because internal design roles are structurally misaligned with public thought leadership. designux
Not Just a New Feature; a New Compact A Fragment by Jorge Arango jarango.com My sense is that Slack’s teams think of themselves as adding ‘features’ to a ‘product,’ instead of as stewards of a place where people work. featuresplace
The Interpretation of Microstructures of Metallic Artifacts An Essay from A Search for Structure by Cyril Stanley Smith The meaning of objectsSomething akin to styleFrom the head of JoveThe objects themselves speak loudlyThe way it has been made+1 More
Something akin to style My own attitude toward the microstructure of metals is not unlike that of an art historian regarding a painting or sculpture. There is something akin to style even in a photomicrograph. There are aspects of structure that are not immediately apparent to the untrained eye, and quite minor features may be clues to a deep meaning. style
From the head of Jove A complex structure is a result of, and to a large extent a record of, its past. Though a proton and an electron may, as a pair, be able to spring full-panoplied from the head of Jove, more complex things cannot, or at least do not. Everything complicated must have had a history, and its internal structural features arise from its history and provide a specific record of it. One might call these structural details of memory “funeous,” after the unfortunate character in Borge’s story “Funes the Memorious” who remembered everything. What the advancing interface leaves behind memorytimestructurematerial
The objects themselves speak loudly The written record is very little help in determining the techniques used by ancient metalworkers, though the objects themselves speak loudly to an educated ear.
The way it has been made The internal structure of a work of art in metal can often throw as much, or more, light on its origin as can be derived from stylistic analysis. Moreover, the techniques employed can provide clues to the habits of mind of the people who originated them. …Perhaps the most important reason for structural studies of museum objects is that the intimate knowledge so derived as to the way in which an object has been made adds so greatly to the aesthetic enjoyment of it. Very often some detail and sometimes the whole of an effective design arises directly in the exploitation of the merits and the overcoming of the difficulties of a specific technique, in the reaction between the artist’s fingers and his material. historytechniquemakingobjects
Aesthetically motivated curiosity It seems that the first and most imaginative use of practically every material was, before quite modern times, in making something decorative. People are experimentally minded when looking for decorative effects, but they can’t experiment with the established techniques on which their livelihood depends. / It is of basic significance for human history that, from the cave paintings on, almost all inorganic materials and treatments of them to modify their structure appear first in decorative objects rather than in tools or weapons necessary for survival. Aesthetically motivated curiosity, or perhaps just play, seems to have been the most important stimulus to discovery. materialexperiments