Agile Design and Development
So that you can get feedback on it and make it better
The most rewarding iterations
Building is never a straight line
Product owner vs. product manager
A Product Owner is focused on output i.e. how quickly can we build these features?
Product Management, on the other hand, is focused on outcomes i.e. why are we building these features in the first place?
Good design is redesign
Good design is redesign. It's rare to get things right the first time. Experts expect to throw away some early work. They plan for plans to change.
It helps to have a medium that makes change easy. When oil paint replaced tempera in the fifteenth century, it helped painters to deal with difficult subjects like the human figure because, unlike tempera, oil can be blended and overpainted.
Finish designing as close to the end of a sprint as possible
The traditional process of delivering design, vs. delivering design just in time.
Designers are often working at least one sprint ahead of engineers. While one sprint might not seem like much of a lag, a typical product team learns a lot after the design hand-off. ...Instead of working ahead, we should finish designing as close to the end of a sprint as possible: just-in-time design.
We optimize what we measure
Scrum does not say âonly focus on outputâ, but, unfortunately, humans will optimize for what they measure.
If you worry about story points & hitting your estimations, thatâs what is going to consume your attention. That is what you and your team will optimize for.
And that is the core critique of Scrum as it is practiced: That it focuses a product teamâs attention so heavily on delivery â on building lots of features quickly & efficiently â that teams fail to focus on spending time to discover what the right thing to build is.
How we can do better
It actually doesn't matter whether you actually have a formal retrospective. It doesn't matter whether you have four or five labels of things on your retro board, or exactly how you do the retro. What does matter is the notion of thinking about what we're doing and how we can do better, and it is the team that's doing the work that does this, that is the central thing.
The 'date scrum' anti-pattern
Date Scrum is an R&D pattern where developers are asked to estimate software project requirements upfront for the entirety of the project. After the project is green lighted and the budget is set based on the final estimates, the team then holds daily scrums to status and manage risk as they âiterateâ the solution toward the release date. To some, this approach is described as doing Waterfall in sprints.
The fundamental problem with Date Scrum is that the team is de-focused from discovering the best solution. Instead they are heavily focused on delivering Something⢠by the Dateâ˘. Engineers are problem solvers, and if the primary problem becomes delivering Something⢠that will pass QA by the Dateâ˘, they will, with enough pressure, solve that exact problem.
That which requires caring
Today's real world of technology is characterized by the dominance of prescriptive technologies.
The temptation to design more or less everything according to prescriptive and broken-up technologies is so strong that it is even applied to those tasks that should be conducted in a holistic way. Any tasks that require caring, whether for people or nature, any tasks that require immediate feedback and adjustment, are best done holistically. Such tasks cannot be planed, coordinated, and controlled the way prescriptive tasks must be.
Prescriptive technologies eliminate the occasions for decision-making and judgment in general and especially for the making of principled decisions. Any goal of the technology is incorporated a priori in the design and is not negotiable.
Manifesto for Agile Software Development
AÂ DefinitionWe are uncovering better ways of developing software by doing it and helping others do it. Through this work we have come to value:
- Individuals and interactions over processes and tools
- Working software over comprehensive documentation
- Customer collaboration over contract negotiation
- Responding to change over following a plan
That is, while there is value in the items on the right, we value the items on the left more.
Agile Scrum is not working
The Agile founders had it right, one size doesn't fit all. What the founders perhaps didnât foresee, or couldnât agree on, is that in order for the world to scale and consume their wisdom, it had to be packaged as concrete practices, not as abstract classes with virtual methods to be defined in context. And to the proponents of Agile Scrum, give them their due, for their part, they made it concrete â Agile Scrum has been packaged and delivered. Yet much work remains to realize the promise of Agile, which in summary is, the realization of wise use of lightweight development practices and workflows that flexibly adapt to the changing and evolving needs of customers.
Driving engineers to an arbitrary date is a value destroying mistake
An Article by Gandalf HudlowWhat happens when you apply date pressure to software engineers working on high value software projects? The engineers will focus on delivering Something⢠by the Dateâ˘! This fatal flaw results in delivery of a Something⢠full of chaos and features that nobody really wants or needs.
Beware SAFe, an Unholy Incarnation of Darkness
An Article by Sean DexterThe Lean Portfolio Management function that controls funding, are given sole authority to approve which Portfolio Epics move into each stream. Epics are not explanations about a problem that needs to be solved. They are pre-formed ideas about how best to solve those problems.
Right away we can see signs of the old-school mindset of viewing teams as a âdeliveryâ function instead of a strategic one. The high level thinkers come up with ideas, and the low level doers execute on those ideas. Ignored is the possibility that those closest to the work might be best equipped to make decisions about it. Escaping from this misguided mindset is a core goal of Agile thinking that SAFe fails to remotely accomplish.
Why Scrum is killing your product
An Article by Henry LathamDesign Systems, Agile, and Industrialization
An Article by Brad FrostIâve come to the conclusion that âenterprise web developmentâ is just regular web development, only stripped of any joy or creativity or autonomy. Itâs plugging a bunch of smart people into the matrix and forcing them to crank out widgets and move the little cards to the right.
In these structures, people are stripped of their humanity as theyâre fed into the machine. It becomes âa developer resource is neededâ rather than âOh, Samantha would be a great fit for this project.â And the effect of all this on individuals is depressing. When peopleâs primary motivation is to move tickets over a column, their ability to be creative or serve a higher purpose are almost completely quashed. Interaction with other humans seems to be relegated to yelling at others to tell them theyâre blocked.
Reading âAS PER THE REQUIREMENTSâ in tickets makes me dry heave. How did such sterile, shitty language seep into my everyday work?
The value-destroying effect of arbitrary date pressure on code
An Article by Gandalf HudlowThe mandate from above is clear, just get it done! Avoid everything that's in the way: all advice, all expertise, all discovery efforts that detract from hitting the Dateâ˘!
What these organizations don't realize is that all software change can be modeled as three components: Value, Filler and Chaos. Chaos destroys Value and Filler is just functionality that nobody wants. When date pressure is applied to software projects, the work needed to remove Chaos is subtly placed on the chopping block. Work like error handling, clear logging, chaos & load testing and other quality work is quietly deferred in favor of hitting the Dateâ˘.
Agile is Dead (Long Live Agility)
An Article by Dave ThomasThe word âagileâ has been subverted to the point where it is effectively meaningless, and what passes for an agile community seems to be largely an arena for consultants and vendors to hawk services and products.
âŚLetâs abandon the word agile to the people who donât do things. Instead, letâs use a word that describes what we do. Letâs develop with agility.
- You arenât an agile programmerâyouâre a programmer who programs with agility.
- You donât work on an agile teamâyour team exhibits agility.
- You donât use agile toolsâyou use tools that enhance your agility.
/
Individuals and Interactions over Processes and Tools
Working Software over Comprehensive Documentation
Customer Collaboration over Contract Negotiation, and
Responding to Change over Following a PlanTraditional companies are losing because they mismanage software engineers
An Article by Emma WattersonInnovation is messy, and frankly Anti-Steve [Jobs] canât figure out why you wouldnât just tell people the right thing to build and skip all the trial and error that comes with innovation. Anti-Steve and his board of directors that keep him in place fundamentally believe that they know what needs to be built. Or at least that they can hire the messiah that will come down off the mountain and tell everyone what to build. There is no such messiah.
- ââSteve Jobsââ
Why we stopped breaking down stories into tasks
An Article by Adam SilverThe Scrum process says to break down stories into tasks to make estimation easier, encourage collaboration and to be able to show more granular progress during a sprint.
But after a few sprints, we decided to do the next sprint without creating tasks. As a result we drastically increased our velocity and never went back. Here I'll jot down some of the reasons we decided to do this:
- Breaking down stories into tasks is time consuming
- The tasks we came up with invariably would change as we worked on the stories
- Tasks are repetitive
- Tasks were often carried out in parallel
- Our estimates didn't improve
- It decluttered our task board
- It encouraged collaboration throughout the sprint
While we started our process by following Scrum to the letter, we soon realised that breaking down stories into tasks was something that wasnât worthwhile for us. In the end we realised that it was overplanning and poor use of our time. In the end we used that time to get on with the work and deliver at a significantly faster pace.
Why We Don't Do Daily Stand-Ups at Supercede
An Article by Jezen ThomasYesterday I worked on the widget.
Today I will work on the widget.
I have no blockers.Are you asleep yet? The developers are. You promise them an intellectually stimulating work environment and what they end up with is drudgery.
What value can be had from these meetings anyway? Using âalignmentâ for justification is so nebulous that it is essentially meaningless. Engineers align themselves. They talk. Especially if you hire good ones (which, you know, youâll struggle to if you have a culture of coercing them into this kind of busywork). Where does the real discussion happen? Itâs written down.
Software that nobody wants
An Article by Gandalf HudlowFinding value is the result of enabling individual and group-level discovery attempts. It's not the result of everyone following one leader's gut.
What just happened is a new software product/feature was created that no customer wanted. This happens way too often. In fact, most hyper important software projects that must be done by date certain or else, have deep flaws that cause some variation of this phenomenon, flaws that include:
- Not wanted - Company specified a solution to a problem that customers don't actually have
- No Rarity - Company is pursuing an iKnockoff of existing products. The market already has two scaled competitors with working solutions, customers naturally spend budget on products that are already successful to avoid risk
- Incorrect Packaging - Customers need a website, but the company created an iOS app instead
- Incorrect Pricing - Customers need SaaS pricing, but the company created a shrink wrapped, on-premise solution with CapEx and maintenance agreements instead
Making sense of MVP
An ArticleHenrik Kniberg:
The top scenario (delivering a front tire) sucks because we keep delivering stuff that the customer canât use at all. If you know what youâre doing â your product has very little complexity and risk, perhaps youâve built that type of thing hundreds of times before â then go ahead and just do big bang. Build the thing and deliver it when done.
Doing It Right
An Article by Brad FrostDoing it right requires a different pace of working and a much broader thought process than âok, letâs get this thing out the door.â Which is super tough because most workplaces place a huge emphasis on getting things out the door, and fast. Little agile tickets that are expected to be completed in micro sprints to me seem to be antithetical to doing it right.
Planning doesn't make for better software
AÂ Fragment by Robin RendleMy own time in a Silicon Valley startup has proved this much to be true; planning doesnât make for better software. In fact today our design systems team doesnât have sprints, we donât have tickets or a daily standup. Each day we come to work, figure out whatâs the most important thing that we could be doing, and then weâgasp!âactually do it.
Watching so many other teams slowly flail about whilst they plan for quarter 3.2 of subplan A, whilst our team produces more work in a week than they all do combined in a quarter has been shocking to me.
After four years of working in a large startup, I know what I always assumed was true: you donât need a plan to make a beautiful thing. You really donât. In fact, thereâs a point where overplanning can be a signal of inexperience and fear and bullshit. The scrum board and the sprints and the inane meetings each and every day are not how you build another Super Mario 64.
Instead all you have to do is hire smart people, trust them to do their best work, and then get the hell out of their way.
Agile as Trauma
An Essay by Dorian TaylorThe Agile Manifesto is an immune response on the part of programmers to bad management.
Yagni
AÂ Definition by Martin FowlerYagni originally is an acronym that stands for "You Aren't Gonna Need It". It is a mantra from Extreme Programming that's often used generally in agile software teams. It's a statement that some capability we presume our software needs in the future should not be built now because "you aren't gonna need it".
The State of Agile Software in 2018
AÂ Talk by Martin FowlerOn the surface, the world of agile software development is bright, since it is now mainstream. But the reality is troubling, because much of what is done is faux-agile, disregarding agile's values and principles. The three main challenges we should focus on are: fighting the Agile Industrial Complex and its habit of imposing process upon teams, raising the importance of technical excellence, and organizing our teams around products (rather than projects).
Product vs. Feature Teams
An Article by Marty CaganThis article is certain to upset many people.
The Mind of the Maker
Looking at man, [the author of Genesis] sees in him something essentially divine, but when we turn back to see what he says about the original upon which the âimageâ of God was modelled, we find only the single assertion, âGod createdâ. The characteristic common to God and man is apparently that: the desire and the ability to make things.
Only in terms of other things
No legislation could prevent the making of verbal pictures: God walks in the garden, He stretches out His arm, His voice shakes the cedars, His eyelids try the children of men. To forbid the making of pictures about God would be to forbid thinking about God at all, for man is so made that he has no way to think except in pictures. But continually, throughout the history of the Jewish-Christian Church, the voice of warning has been raised against the power of the picture-makers: âGod is a spiritâ, âwithout body, parts or passionsâ; He is pure being, âI AM THAT I AMâ.
The fact is, that all language about everything is analogical; we think in a series of metaphors. We can explain nothing in terms of itself, but only in terms of other things.
I mix it with two in my thought
It is the artist who, more than other men, is able to create something out of nothing. A whole artistic work is immeasurably more than the sum of its parts.
âI mix it with two in my thoughtâ; this is the statement of the fact of universal experience that the work of art has real existence apart from its translation into material form.
- ââThe design conceptââ
Towards a synthesis of experience
The artist does not recognise that the phrases of the creeds purport to be observations of fact about the creative mind as such, including his own; while the theologian, limiting the application of the phrases to the divine Maker, neglects to inquire of the artist what light he can throw upon them from his own immediate apprehension of truth. The confusion is as though two men were to argue fiercely whether there was a river in a certain district or whether, on the contrary, there was a measurable volume of H2O moving in a particular direction with an ascertainable velocity; neither having any suspicion that they were describing the same phenomenon.
Our minds are not infinite; and as the volume of the worldâs knowledge increases, we tend more and more to confine ourselves, each to his special sphere of interest and to the specialised metaphor belonging to it. The analytic bias of the last three centuries has immensely encouraged this tendency, and it is now very difficult for the artist to speak the language of the theologian, or the scientist the language of either. But the attempt must be made; and there are signs everywhere that the human mind is once more beginning to move towards a synthesis of experience.
And these three are one
For every work [or act] of creation is threefold, an earthly trinity to match the heavenly.
First, [not in time, but merely in order of enumeration] there is the Creative Idea, passionless, timeless, beholding the whole work complete at once, the end in the beginning: and this is the image of the Father.
Second, there is the Creative Energy [or Activity] begotten of that idea, working in time from the beginning to the end, with sweat and passion, being incarnate in the bonds of matter: and this is the image of the Word.
Third, there is the Creative Power, the meaning of the work and its response in the lively soul: and this is the image of the indwelling Spirit.
And these three are one, each equally in itself the whole work, whereof none can exist without other: and this is the image of the Trinity.
"The right phrase"
How can we know that the Idea itself has any real existence apart from the Energy? Very strangely; by the fact that the Energy itself is conscious of referring all its acts to an existing and complete whole.
Quite simply, every choice of an episode, or a phrase, or a word is made to conform to a pattern of the entire book, which is revealed by that choice as already existing. This truth, which is difficult to convey in explanation, is quite clear and obvious in experience. It manifests itself plainly enough when the writer says or thinks: âThat is, or is not, the right phraseââmeaning that it is a phrase which does or does not correspond to the reality of the Idea.
The argument carried on in a sphere
We need not allow ourselves to be abashed by any suggestion that the old metaphors are out of date and ought to be superseded. We have only to remember that they are, and always were, metaphors, and that they are still âlivingâ metaphors so long as we use them to interpret direct experience. Metaphors only become dead when the metaphor is substituted for the experience, and the argument carried on in a sphere of abstraction without being at every point related to life.
A diversity within its unity
The vital power of an imaginative work demands a diversity within its unity; and the stronger the diversity, the more massive the unity.
The work is what it means
It is desirable to bear in mindâwhen dealing with the human maker at any rateâthat his chosen way of revelation is through his works. To persist in asking, as so many of us do, âWhat did you mean by this book?â is to invite bafflement: the book itself is what the writer means.
Writing for the stage
From experience I am inclined to think that one reason why writing for the stage is so much more interesting than writing for publication is the very fact that, when the play is acted, the free will of the actor is incorporated into the written character.
In conformity with its proper nature
If the characters and the situation are rightly conceived together, as integral parts of the same unity, then there will be no need to force them to the right solution of that situation. If each is allowed to develop in conformity with its proper nature, they will arrive of their own accord at a point of unity, which will be the same unity that pre-existed in the original idea.
This is my clamhood
It was said, sneeringly, by someone that if a clam could conceive of God, it would conceive of Him in the shape of a great, big clam. Naturally. And if God has revealed Himself to clams, it could only be under conditions of perfect clamhood, since any other manifestation would be wholly irrelevant to clam nature. By incarnation, the creator says in effect: âSee! this is what my eternal Idea looks like in terms of my own creation; this is my manhood, this is my clamhood.
Only so much of the mind
Though the autobiography âisâ the author in a sense in which his other works are not, it can never be the whole of the author. It is still a formal expression and bound by the limitations of all material form, so that though it is a true revelation it is only a partial revelation: it incorporates only so much of the mind as matter is capable of containing.
To know evil
For to know evil, for them, was to know it not by pure intelligence by by experience.
A time when time was not
Darkness cannot say: âI precede the coming lightâ, but there is a sense in which light can say, âDarkness preceded meâ.
Doubtless there is an event, X, in the future, by reference to which we may say that we are at present in a category of Not-X, but until X occurs, the category of Not-X is without reality. Only X can give reality to Not-X; that is to say, Not-Being depends for its reality upon Being. In this way we may faintly see how the creation of Time may be said automatically to create a time when Time was not, and how the Being of God can be said to create a Not-Being that is not God.
These alien wills
Unfortunately his creation is only safe from the interference of other wills so long as it remains in his head. By materialising his poemâthat is, by writing it down and publishing it, he subjects it to the impact of alien wills. These alien wills can, if they like, become actively aware of all the possible wrong words and call them into positive being. They can, for example, misquote, misinterpret, or deliberately alter the poem. This evil is contingent upon the poetâs original good: you cannot misquote a poem that is not there, and the poet is (in that sense) responsible for all subsequent misquotations of his work. But one can scarcely hold him guilty of them.
When we say we know Hamlet
When we say we âknow Hamletâ, we do not mean merely that we can memorise the whole succession of words and events in Hamlet. We mean that we have in our minds an awareness of Hamlet as a complete wholeââthe end in the beginningâ. We can prove this by observing how differently we feel when seeing a performance of Hamlet on the one hand and an entirely new play on the other.
A fresh focus of power
The demand for âoriginalityââwith the implication that the reminiscence of other writers is a sin against originality and a defect in the workâis a recent one and would have seemed quite ludicrous to poets of the Augustan Age, or of Shakespeareâs time. The traditional view is that each new work should be a fresh focus of power through which former streams of beauty, emotion, and reflection are directed. This view is adopted, and perhaps carried to excess, by writers like T. S. Eliot, some of whose poems are a close web of quotations and adaptations, chosen for their associative value, or like James Joyce, who makes great use of the associative value of sounds and syllables.
- ââOn Theftââ
- ââThe signatureââ
Some secret stirring in the world
There is some secret stirring in the world,
A thought that seeks impatiently its word.To stand independent of himself
The creatorâs love for his work is not a greedy possessiveness; he never desires to subdue his work to himself but always to subdue himself to his work. The more genuinely creative he is, the more he will want his work to develop in accordance with its own nature, and to stand independent of himself.
What can be called a response
With living, though unconscious, matter, the creator must still adapt the work to the material, though here he experiences something that can without undue anthropomorphism be called a âresponseâ; plants ârespondâ to cultivation and cross-fertilization in a sense rather different from that in which iron may be said to ârespondâ to hammering.
A passive beauty of right structure
The human maker, working in unself-conscious matter, receives no worship from his creatures, since their will is no part of his material; he can only receive the response of their nature, and he is alone in fault if that response is not forthcoming. If he tortures his material, if the stone looks unhappy when he has wrought it into a pattern alien to its own nature, if his writing is an abuse of language, his music a succession of unmeaning intervals, the helpless discomfort of his material universe is a reproach to him alone; similarly, if he respects and interprets the integrity of his material, the seemliness of the ordered work proclaims his praise, and his only, without will, but in a passive beauty of right structure.
- ââThe Web's Grainââ
Father-, son-, and ghost-ridden
We may properly and profitably amuse ourselves by distinguishing those writers who are respectively âfather-riddenâ, âson-riddenâ, and âghost-riddenâ.
It is the mark of the father-ridden that they endeavour to impose the Idea directly upon the mind and senses, believing that this is the whole of the work.
Among the son-ridden, we may place such writers as Swinburne, in whom the immense ingenuity and sensuous loveliness of the manner is developed out of all proportion to the tenuity of the ruling idea.
The ghost-ridden writer, on the other hand, conceives that the emotion which he feels is in itself sufficient to awaken response, without undergoing discipline of a thorough incarnation, and without the coherence that derives from reference to a controlling idea. Such a man may write with the tears streaming down his cheeks, and yet produce nothing but turgid rhetoric, flat insipidity, or the absurdities of an Amanda Ros.
Running into the sand
His whole creative history is that of great rivers running into the sand
Not as the scribblers
What writer whose trinity was strongly co-ordinated would even dream of revising his work to conform with the majority report of a committee? Those whose Idea is in full control are especially obstinate and impervious to criticism; for in speaking for the father they speak with authority and not as the scribblers.
Failure in the ghost
Whereas failure in the father may be roughly summed up as a failure in Thought and failure in the son as a failure in Action, failure in the ghost is a failure in Wisdomânot the wisdom of the brain, but the more intimate and instinctive wisdom of the heart and bowels.
The unghosted are not unintelligent, nor yet idle or unskilled; it is simply that there are certain things which they do not know and seem incapable of knowing. Under the terms of our analogy, failure in the ghost is the characteristic failure of the unliterary writer and the inartistic artist.
A distressing trait of the unghosted is their complacency; they walk and talk, and do not know that they are dead. Neither, of course, are they alive to the deadness of their own creation. How should they be? Only the living can draw any distinction between death and life.
Violence to the very structure of our being
If we conclude that creative mind is in fact the very grain of the spiritual universe, we cannot arbitrarily stop our investigations with the man who happens to work in stone, or paint, or music, or letters. We shall have to ask ourselves whether the same pattern is not also exhibited in the spiritual structure of every man and woman. And, if it is, whether, by confining the average man and woman to uncreative activities and an uncreative outlook, we are not doing violence to the very structure of our being. If so, it is a serious matter, since we have seen already the unhappy results of handling any material in a way that runs counter to the natural law of its structure.
It will revenge itself in judgment
To the average man, life presents itself, not as material malleable to his hand, but as a series of problems of extreme difficulty, which he has to solve with the means at his disposal. And he is distressed to find that the more means he can dispose ofâsuch as machine-power, rapid transport, and general civilised amenities, the more his problems grow in hardness and complexity. This is particularly disconcerting to him, because he has been frequently told that the increase of scientific knowledge would give him âthe mastery over natureââwhich ought, surely, to imply mastery over life.
Perhaps the first thing that he can learn from the artist is that the only way of âmasteringâ oneâs material is to abandon the whole conception of mastery and to co-operate with it in love: whosoever will be a lord of life, let him be its servant. If he tries to wrest life out of its true nature, it will revenge itself in judgment, as the work revenges itself upon the domineering artist.
The solution of the age
The concept of âproblem and solutionâ is as meaningless, applied to the act of creation, as it is when applied to the act of procreation. To add John to Mary in a procreative process does not produce a âsolutionâ of Johnâs and Maryâs combined problem; it produces George or Susan, who (in addition to being a complicating factor in the life of his or her parents) possesses an independent personality with an entirely new set of problems.
...there is no strictly mathematical or detective-story sense in which it can be said that the works of a poet are the âsolutionâ of the age in which he lived...The artist does not see life as a problem to be solved, but as a medium for creation.
That anything in this world should be inevitable
We do not so much fear the pains of dying, as feel affronted by the notion that anything in this world should be inevitable.
In a day and hour which we know not
âWe are at work now upon various devicesâ, says some harassed spokesman; and the imagination sees âusâ industriously assembling the device, as though it had been delivered in parts from a celestial workshop, and had only to be fitted together according to the book of instructions and put into use the same evening. That is not creationâs way. There is the wayward, the unpredictable, the not-to-be-commanded Idea, which may make its presence felt in the mind after long hours of fruitless thought and work, or suddenly after no thought at all, or after a long fallow period of unconsciousness, during which the conscious has been otherwise employed, but always in a day and an hour which we know not.
In terms which must be altered
[Life] frequently sets its problems in terms which must be altered if the problem is to be solved at all.
The unending labour of creation
Now the artist does not behave like this. He may finish a book, as we may finish a war or set up the machinery of a League, and he may think it is very good and allow his Energy a brief sabbath of repose. But he knows very well that this is only a pause in the unending labour of creation.
Each chapter concluded is only a dayâs end in the course of the book; each book concluded is only a yearâs end in the course of a lifeâs pilgrimage. Or, if you like the metaphor better, it is a âstillâ cut out and thrown off from the endless living picture which his creative mind reels out. It is a picture in itself, but it only leads from the picture behind it to the picture in front of it, as part of a connected process.
To see the fulfillment of the work
It is true that [the artist], like everybody else, derives remuneration from his work (though not, strictly speaking, profit in the financial sense, of the word, since what he invests in his work is not money but time and skill, whose returns cannot be calculated in percentages). The remuneration is frequently beyond the amount necessary to enable him to go on working. What is remarkable about him is the way in which he commonly employs the escape-from-work which the extra remuneration allows him. If he is genuinely an artist, you will find him using his escape-from-work in order to do what he calls âmy own workâ, and nine times out of ten, this means the same work (i.e. the exercise of his art) that he does for money. The peculiar charm of his escape is that he is relieved, not from the work but from the money.
What distinguishes him here from the man who works to live is, I think, his desire to see the fulfilment of the work.
- ââFor its own sakeââ
- ââThe saddest designerââ