Ralph Ammer
Don't think big
An Article by Ralph AmmerOne of the biggest mistakes you can make in your creative project is to pick a topic which is too big. Big topics often lead to small results, small topics foster great results.
And here is why: Your project is limited by the time and energy you have.
These are the boundaries of your project. If you pick a huge topic then there is not much room for your creative efforts. On the other hand, if you pick a small topic you have time and energy to make a great creative contribution.
Is perfection boring?
An Article by Ralph AmmerWe love to see the process, not just the result. The imperfections in your work can be beautiful if they show your struggle for perfection, not a lack of care.
Now I get it
An Article by Ralph AmmerTo design a system means to orchestrate the interplay of its elements.
Such a system is considered “interactive” if it is open, which means that there are ways to engage with the processes that are happening inside of it. There is of course a range of interactivities which spans from very basic reactive behaviour to highly complex conversational interactions.
But what do you want to say?
An Article by Ralph AmmerPablo Picasso famously said:
“The world doesn’t make sense, so why should I paint pictures that do?”
A sensible approach to something that can’t be explained is to express it.
Rather than giving you explanations or “saying something”, most artists are concerned with what I like to call “room for interpretation”. They create platforms that trigger thoughts, feelings, emotions, and ideas.
Instead of trying to explain the inexplicable artists express their view of it. They don’t want to tell you what to think, they invite you to respond.
A lightbulb is not an idea
An Article by Ralph AmmerWith conventional placeholders, such as words, we can describe patterns for a large number of situations. On the other hand it is easy to fool yourself (and others) with words, since you can avoid to be specific. Any business meeting can confirm this.
When you draw something you are forced to be specific — and honest.
Our illustration of an “idea” from above is unconventional in the sense that it conveys specific original thoughts of what an idea is. It adds value to the words.
And that is the catch: The drawing must be unconventional to support the conventional words. We have to make sure not to use “words in disguise”. Take a common illustration for “idea” for example, which haunts flip charts all over the world: the lightbulb.
The lightbulb image works on a purely symbolic level, it only replaces the word “idea”. This image of a household item contains no original thought about what an idea is. While symbols like these work well as international replacements for words or icons to indicate a light switch for instance, they convey no nutritional value as illustrations — they are empty.
The Right Tools for the Job
Tool-building is an essential but poorly incentivized component of academic geography and social science more broadly. To conduct better science, we need to
build better tools.
A representational tension
Do I need to know the precise polygonal geometries of Los Angeles and the University of Southern California to assert that the latter is within the former? No. My mind contains no such precise geometric model of points and lines, yet I know that USC is in Los Angeles. When humans reason with the real world, they focus on its objects, relations, and processes—rather than starting with geometry—because these are the keys to understanding and explaining the real world. Our GIS tools, however, usually do the opposite. Built from the geometry-up around the legacy logic of traditional cartography (geometries and layers), most GIS tools today are restricted by that legacy’s limited ability to model objects, relations, and processes. A representational tension thus exists in GIScience between being a geometric information science versus an ontological, relational, and processual information science.
The teleology of tool-building
The teleology of tool-building suggests that the real value lies in the end use of the tool, rather than in its origins
Urban form and grain
One square mile of different cities' street networks, held at the same scale to compare the urban form and grain.
Software often feels inevitable
Software often feels inevitable because its backstory is often invisible. We click a download link, run an installer, and suddenly have a new tool to use. Yet this conceals years of human decisions, experiences, and constraints shaping software outcomes that are in no way pre-destined.