#15 How different am I, making clock number 15, from the process of natural selection laboring under changing conditions to generate the biological constructs? That ancient evolutionary system works on the basis of trial and error repeated in huge numbers over immense spans of time, with the failures discarded and the successes retained. At times it seems to me that my clock making is quite similar, as my mind, just barely thinking, sorts through huge numbers of possibilities and discards them as failures before even trying them, so the few that are made have a pretty good chance of success. Is this foresight some form of understanding? I think not. No revelation here, just enough thinking to spur the maker on to cut some piece of metal which, once made, might fail or succeed. Yet — in either case — the thing made and its creation remains the sole root of any real understanding that takes place. The clock is crude but gets built, and even in its base simplicity teaches its maker how to understand what must be understood for something to be made. — Richard Benson Richard Saul Wurman, Understanding Understanding chance
A constant dialogue Have you ever seen Gerhard Richter painting? It is phenomenal to watch. He might start one of his large, abstract paintings by carefully applying oil paint to the canvas with a thick brush. Then, he begins to scrape, smear, or add new layers of paint with a large, home-made squeegee. After each change, Richter pauses, takes a step back, and looks at the result: What did just happen with the picture? What composition has come about? Where have interesting parts emerged? What is the next move that might bring the piece one step closer to completion? And which action would be a mistake? There is a lot of intention and carefulness in this process, yet Richter equally respects the results of accident and chance. He lets go of a certain kind of control to let things happen that are surprising and exciting. But at the same time, Richter always exerts enough control to influence the result. He decides what to keep and what to destroy. It is the ultimate creative process: a constant dialogue. Matthias Ott, Painting With the Web matthiasott.com chance
The gods who live beneath names Sometimes different cities follow one another on the same site and under the same name, born and dying without knowing one another, without communication among themselves. At times even the names of the inhabitants remain the same, and their voices’ accent, and also the features of the faces; but the gods who live beneath names and above places have gone off without a word and outsiders have settled in their place. It is pointless to ask whether the new ones are better or worse than the old, since there is no connection between them, just as the old post cards do not depict Maurilia as it was, but a different city which, by chance, was called Maurilia, like this one. Italo Calvino, Invisible Cities connectionchance
Possible lives Watching Alice talk, light a candle that had blown out, rush into the kitchen with the plates, or brush a strand of blonde hair from her face, I found myself falling victim to romantic nostalgia, which descends whenever we are faced with those who might have been our lovers, but whom chance has decreed we will never properly know. The possibility of an alternative love story is a reminder that the life we are leading is only one of a myriad of possible lives, and it is the impossibility of leading them all that plunges us into sadness. Alain de Botton, On Love melancholychance
In Defense of Browsing An Essay by Leanne Shapton www.curbed.com The feeling of fortuitous gratitude at coming across unexpected information is something most of us who’ve done any research, have experienced — that kismet of finding the perfect book, one spine away from the one that was sought. In the field of art and image research, this sparking of transmission, of sequence and connection, happens on a subconscious level. …Why is the vernacular image still being dismissed as ephemera? Why is its study not being prioritized? All languages are alive, but visual language is galactic. Keywords are not eyeballs, and creating rutted pathways to follow is the antithesis of study. A century of visual language, knowledge, and connectivity is marching toward a narrow, parsimonious basement of nomenclature. The NYPL takes a step backward if it models its shelves and research on a search engine. Spontaneity is learning. Browsing is research. The art of finding what you didn’t know you were looking forMarginalia Search connectionresearchlanguageserendipitychance
Stepping stones in possibility space An Article by Gordon Brander subconscious.substack.com If we try to cross this lake by following only the stepping stones that lead toward our objective, we’ll soon get stuck. But what if we let go of our objectives? What if we focused on trying to find new stepping stones instead? This is novelty search. Instead of looking for something specific, you look for something new. Novelty search isn’t just random, it’s chance plus memory. Together, these ingredients do something interesting. ...Stepping stones are also combinatorial. Each new stepping stone we discover expands our potential to find even more stepping stones. Collecting stepping stones is a luck maximization algorithm. By collecting and combining stepping stones, we might arrive at our destination by accident, or somewhere more interesting! chanceknowledgeprogressnoveltyevolutioninvention
A few things that could be poetry An Article by Wesley Aptekar-Cassels notebook.wesleyac.com The right combination of street signs, viewed from a artful vantage point Words on bit of packaging, torn to reveal and conceal as needed The output of a command line tool, perhaps unexpectedly Overheard words, drifting along, liberated from their initial context A form, at first appearing bureaucratic, revealing humanity on deeper reflection An idea, if you consider it divine enough poetrychancewordseuphony
The art of finding what you didn’t know you were looking for An Article by Austin Kleon austinkleon.com In the terrific documentary about his work, The Secret Life of Lance Letscher, the collage artist points out that he doesn’t want his file boxes of source material organized too much, that he specifically avoids organizing them, so that he can find unexpected things when he starts searching. “He depends upon that chaos of stuff, of things lying around.” / There are several paragraphs in Murch’s book about the importance of fighting against the touted “features” of digital tools, such as speed. “The real issue with speed,” he says, “Is not just how fast can you go, but where are you going so fast? It doesn’t help to arrive quickly if you wind up in the wrong place.” / If I was simply able to execute a full-text search on my notebooks, and pull up exactly what I was looking for, that’s all I’d find: exactly what I was looking for. And the real art is in finding what I didn’t know I was looking for. In Defense of BrowsingMarginalia Search chancediscovery
A brief foray into vectorial semantics An Article by James Somers jsomers.net One of the best (and easiest) ways to start making sense of a document is to highlight its “important” words, or the words that appear within that document more often than chance would predict. That’s the idea behind Amazon.com’s “Statistically Improbable Phrases”: Amazon.com’s Statistically Improbable Phrases, or “SIPs”, are the most distinctive phrases in the text of books in the Search Inside!™ program. To identify SIPs, our computers scan the text of all books in the Search Inside! program. If they find a phrase that occurs a large number of times in a particular book relative to all Search Inside! books, that phrase is a SIP in that book. mathmeaningwordsnotetakingsearchchance
Micromorts A Definition by Matt Webb interconnected.org There’s a standard way to understand the relative danger of any activity. A micromort is "a unit of risk defined as one-in-a-million chance of death." For example: skydiving is 8 micromorts per jump running a marathon: 26 micromorts 1 micromort: walking 17 miles, or driving 230 miles Generally being alive averages out at 24 micromorts/day. deathchance
Chance favors the prepared mind A Quote by Louis Pasteur The Art of Doing Science and Engineering: Learning to LearnPreparing for problems creativitychance
What Good Means An Article by Dan Klyn medium.com The center of the waySeductionWhat the material wants to beAsking yourself some questionsLosing meaning+1 More
The center of the way The advice I’ve received from those who are close to the center of this timeless way of building is to start small. Like with a piece of tile, or a tea tray. And to then imagine along with Christopher Alexander: What it would be like to live in a mental world where one’s reasons for making something functionally and one’s reasons for making something a certain shape, or in a certain ornamental way are coming from precisely the same place in you . functionmaking
Seduction “The classic pervasive seduction to designers is finding a solution instead of the truth.” — Richard Saul Wurman
What the material wants to be Part of how Lou Kahn made things be good was to ask the material what it wanted to do and be. He asked brick what it liked, and would get a different answer depending on the context for the building. In Dacca, the capital of Bangladesh, brick said it liked an arch. For the Korman House in Philadelphia, brick said it liked two giant fireplaces with a lintel between them for a doorway beneath and a balcony above. The material finds the right objectWe are working against the grain of the woodThe joy of the humble brick material
Asking yourself some questions All of the moves that we make in space will tend toward being in accord with this phenomenon of wholeness / beauty / life if we’re willing to bring the requisite level of care to the doing of our work. Alexander says that each of us possess the means for accessing this order within ourselves and — here’s where he loses most other architects and many in the so-called sciences in academia — he contends that what we’re connecting with inside of ourselves is an objective criterion for what good means. Applying the criterion is easy: you ask yourself some questions: With any action you might take with regard to placement, and with regard to the situatedness of things in space you ask yourself: does this move increase wholeness / beauty / life? Does the intervention you’re taking intensify the feelings of wholeness in you as the maker when you are performing the work? How does your work on this one part enhance what’s going on among wholes at the system level? goodnessmaking
Losing meaning The people who’ve proven that they can make very good individual products with the radical focus of a spotlight seem to be pushed ever further from making good ecosystems. Products are being made “consistent” with the application of so-called “design patterns,” and rather than bringing coherence to these various touch-points, the painting-on of interface standards and interaction patterns did something far less valuable. Rote consistency, in the way many seem to be going about it (Material Design being just one example), is at odds with making things be good. It simplifies what needs to remain complex. Always, when simplification is underway, meaning is being lost. complexitysoftware
Two coffee trays Show image 0 Show image 1 We speculate that the shop owners designed and built an initial quantity of these remarkable coffee trays, replete with what Alexander considers to be the fifteen geometric properties that correlate with wholeness / beauty / life. Then they got busy. And then they got successful. They needed more coffee trays, and our hypothesis is that somebody decided to simplify the trays to ensure they could be produced in the quantities and at the price that worked for their budget, within an urgent food-service timeline. The simplified tray fulfills every function the more complex tray does, with less fuss in manufacturing on account of having standardized its geometry. The simplified tray works, but isn’t alive. It lacks the gradients, local symmetries, levels of scale, contrast, and boundaries that are all present and accounted for in the tray that’s got wholeness / beauty / life. The tray with wholeness isn’t necessarily better than the simpler one. But it is good.