How to blog An Article by Tom MacWright macwright.com Own your domain and use simple technology Never change the technology Write something on a schedule Never change the technology Things Learned Blogging blogging
Hacking is the opposite of marketing An Article by Tom MacWright macwright.com One of my favorite definitions of “hacking” is the creative reuse of tools for new and unexpected purposes. Hacking is using your email account as a hard drive, using your bicycle seat to open a beer, using Minecraft’s red bricks to create a calculator in the game. The opposite of hacking is marketing. Marketing tells you that this particular non-stick pan is the pan you’ll use to make omelettes, and you’ll do it in the morning dressed in fashionable clothing in a nice kitchen. It includes a photo and inspirational copywriting to drive this home. Marketing dictates a style, context, and purpose for even the most general-purpose products. This narrative needs to be specific so that you can readily imagine it: it’s you, in an Airbnb, laughing with friends. All sorts of ways to use the machineIn ways you didn't anticipateStretching the product toolsadvertisingcreativityutility
The return of fancy tools An Article by Tom MacWright macwright.com Technology is seeing a little return to complexity. Dreamweaver gave way to hand-coding websites, which is now leading into Webflow, which is a lot like Dreamweaver. Evernote give way to minimal Markdown notes, which are now becoming Notion, Coda, or Craft. Visual Studio was “disrupted” by Sublime Text and TextMate, which are now getting replaced by Visual Studio Code. JIRA was replaced by GitHub issues, which is getting outmoded by Linear. The pendulum swings back and forth, which isn’t a bad thing complexitysimplicitytoolssoftwaretechnologynotetaking
Picking better names for variables, functions, and projects An Article by Tom MacWright macwright.com Avoid weasel words Follow patterns religiously Don’t cheap out on characters Call things the same thing Don’t name internal projects When things change, change their names namescode
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