Towards a crap decision You have a thing. You would like to improve said thing. So, you ask a bunch of people what they think, giving more weight to those with relevant expertise. It’s a time-tested strategy. The pitfall here is that if the participants are aware of each other’s contributions, they will almost always automatically switch to consensus-building instead of providing their honest feedback. Worst case scenario: the bandwagon effect gathers steam and drives you toward a crap decision. Baldur Bjarnason, On online collaboration and our obligations as makers of software collaborationdecisions
Adding up to hair-brained I have for myself come to the point where I say that people or groups or governments make the decisions that make sense to them, even if they look totally hair-brained to me. My task then is to figure out the constellation of forces, the pushes and pulls, that in fact do add up to that hair-brained decision-making. Then we can go into the next iteration and say, "What can we do about the balance of the push and the pull that seems to result in totally non-constructive decisions?" Ursula M. Franklin, Every Tool Shapes the Task decisionsrationality
It was all change until the very last second Every work of literature is the result of thousands and thousands of decisions. Intricate, minute decisions—this word or that, here or where, now or later, again and again. It's the living tissue of a writer's choices, Not the fossil record of an ancient, inspired race. Verlyn Klinkenborg, Several Short Sentences About Writing A concept of style decisionscraft
Tracing the answer back I submit that the materials that form the precursors to a product’s implementation have considerable value on their own. My vision is that I will be able to ask a question as mundane as one about the wording of a single button, and trace the answer all the way back to the overarching business strategy to see that it makes sense. Dorian Taylor, Skeleton, Organs, Circulation, Sinew, Skin decisions
Art and science "What the artist does is essentially the same as the scientist. In other words, what you do when you start to do a painting is that you begin with a basic idea, a hypothesis of what you're setting out to do. Then it's just a million yes-no decisions. You try something in the painting, you look at it, and you say, 'N-n-no.' You sort of erase it out, and you move it around a little bit, put in a new line; you go through a million weighings. It's the same thing in science, the only difference in the character of the product." Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees sciencedecisionschoice
The complexity and the gray One thing I assume of age is weariness. Damned if I don’t get more tired every day. Tired of what I do, following arcs like lobbed rocks — the inevitability of truth. But the complexity and the gray lie not in the truth, but in what you do with the truth once you have it. Rian Johnson, Knives Out truthlifeagedecisions
The management strategy that saved Apollo 11 An Article by Matthew Ström matthewstrom.com In 1969, the people in charge of Apollo 11 trusted a 23-year-old engineer in a back room of mission control to make one of the most consequential decisions of this decade-defining mission. And they did so in seconds, without deliberating or debating. Next time you’re faced with a decision, ask yourself: how can this decision be made on the lowest level? Have you given your team the authority to decide? If you haven’t, why not? If they’re not able to make good decisions, you’ve missed an opportunity to be a leader. Empower, enable, and entrust them. Take it from NASA: the ability to delegate quickly and decisively was the key to landing men on the moon. Central planning gives poor resultsBeware SAFe, an Unholy Incarnation of Darkness managementdecisionstrust
Goodbye, Google An Article by Douglas Bowman stopdesign.com Without a person at (or near) the helm who thoroughly understands the principles and elements of Design, a company eventually runs out of reasons for design decisions. With every new design decision, critics cry foul. Without conviction, doubt creeps in. Instincts fail. “Is this the right move?” When a company is filled with engineers, it turns to engineering to solve problems. Reduce each decision to a simple logic problem. Remove all subjectivity and just look at the data. Data in your favor? Ok, launch it. Data shows negative effects? Back to the drawing board. And that data eventually becomes a crutch for every decision, paralyzing the company and preventing it from making any daring design decisions. Yes, it’s true that a team at Google couldn’t decide between two blues, so they’re testing 41 shades between each blue to see which one performs better. I had a recent debate over whether a border should be 3, 4 or 5 pixels wide, and was asked to prove my case. I can’t operate in an environment like that. I’ve grown tired of debating such minuscule design decisions. There are more exciting design problems in this world to tackle. designdecisionsdata
Collaborative Information Architecture at Scale An Article by Brandon Dorn www.viget.com Here I describe an approach for defining new information architectures for large organizational websites managed by many stakeholder groups. Broadly speaking, there are four general phases to the approach: Auditing. Begin by immersing yourself in existing content and encourage stakeholders to adopt a critical, audience-minded perspective of their content. Diagramming. Work with stakeholders to develop new conceptual categories that better serve audiences and organizational direction. Elaborating. Think through content in detail and test new categories against specific instances and edge cases. Producing. Prepare content teams for production using a shared database of new sitemap pages and editorial considerations that you’ve developed incrementally. Half of design is facilitation The Ladder of AbstractionA Pattern Language decisionsorganizationpatternsanalytics
Design System as Style Manual With Web Characteristics An Article by Dorian Taylor doriantaylor.com In my opinion, what makes a designer competent is precisely their ability to credibly justify their conclusions. If you can’t do this as a designer—no matter how successful your results are—then neither I nor anybody else can tell if you aren’t just picking things at random. What I am proposing, then, is no less than to make a designer’s entire line of reasoning a matter of permanent record. On the surface is the familiar set of prescriptions, components, examples and tutorials, like you would expect out of any such artifact. Attached to every element, though, is a little button that says Why? You click it, and it tells you. The proximate explanation will probably not be very satisfying, so you click on the next Why? until you get to the end, at which point you are either satisfied with the explanation, or you aren’t. The Design of Design decisionsdesignsystemsstyle
Gods of the Word A Book by Margaret Magnus www.amazon.com Imagine that we had no voice and no tongueMy nameReference and Is-nessIt flows out and fillsNo less than a Zeus+6 More PhonaestheticsThe arbitrariness of the signThe body image
Imagine that we had no voice and no tongue Socrates: Imagine that we have no voice and no tongue, but want to communicate with one another. Wouldn’t we like the deaf and the dumb make signs with the hands and the head and the rest of the body? Hermogenes: There would be no choice, Socrates. Socrates: We would imitate the nature of the thing: lifting the hands to heaven would mean lightness and upwardness. Heaviness and downwardness would be expressed by letting them drop toward the ground... Hermogenes: I don’t see that we could do anything else. Socrates: And when we want to express ourselves with the voice or tongue or mouth, the expression is simply their imitation of what we want to express? Hermogenes: I think, it must be so. communication
My name “I am the utterance of my name.” — Thunder, Perfect Mind, The Nag Hammadi Library To call each thing by its right name identitynames
Reference and Is-ness There are at least two aspects to what we have traditionally called the meaning of a word. One aspect is reference, and the other is something I will call ‘inherent meaning’ following Ullman (1963). Inherent meaning is ‘Is-ness’ meaning. Inherent meaning is a word’s identity, and reference merely its resumé, where it has gone and what it has done, an itemization of its contexts. ‘Is-ness’ is unifying. Each word has a single pronunciation, a single inherent meaning. But reference is divisive. It makes what was one thing – the word – appear to be many things – its senses. It is inherent meaning which gives all those multifarious senses the power of being a single word. meaningwords
It flows out and fills This deeper meaning of a word isn’t confined to what we think of as a dictionary definition. Rather it flows out and fills all the space available to it. Although a basic sense does affect the dynamics of a word, it has no power over its essence. Like the captain of a ship, it can control the crew’s actions, but not their minds. Each word has an aspect of meaning which lies deeper than any of its senses, and it is fundamentally on this meaning that all the senses depend. wordsidentity
No less than a Zeus I too am a true believer in the autonomy of the archetype. A /t/ or an /h/ is no less than a Zeus. The consonants are not essentially physical, but they live, evolve and influence human affairs. We overlook something essential if we deny that they can get up and walk around. This is not to say that their existence is independent of the human psyche. But then everything depends on everything.
Like a prism When you look at phonemes, you look through the perspective of morphemes, which are one linguistic level higher. The higher level is like a prism that splits the light in two. What was one thing, like ‘length’ at the phoneme level, looks like two opposite things ‘long’ and ‘short’ from the perspective of the morphemes. In practice, when you find both a word and its opposite, then the phoneme is not about either of these two things, but about what is common to them. information
Fracturing If we step back and view from afar this process of One-ness and Is-ness to fracturing and interpretation – of inherent meaning to reference, it follows that what lies at the foundation of language is simply what it is – sound – free of reference and interpretation. What makes what we know as language from its sound is fracturing and interpretation or using a word for a function other than what it simply is.
To evolve the language itself So in the process of talking, we might say we are putting words in slightly new contexts, and then testing them against our peers to see if our experiment in juxtaposition had ‘meaning. If we succeed, we have introduced new contexts for the words we use. These contexts will be taken up by our listeners, and will gradually become clearly enough defined to be thought of as referents. Once our words gain new referents, they start affecting the underlying phonosemantic structure of the language, the clustering patterns, the network of semantic relations. That is, the purpose of talking in the long run is to evolve the language itself. evolution
Scooting over There is at this point no evidence that acquired characteristics can be inherited. It is held that all changes to a genome are random, and cannot be subject to any higher principle. However, when a word is used in a new context, as it is whenever we say something new, a new sense is permitted. This does affect the phonosemantic structure, the linguistic DNA. Words in the vicinity of this word ‘scoot over’ to make room and allow themselves to be influenced by its philosophy. The language itself is now different. language
The element becomes a sign Each unit can be seen purely as form, as what it is. Or it can be viewed as having a function. Its function is only understandable within the next higher level of organization. And in every case, function must succumb to the constraints of form. Once this worldly function is assigned, the element becomes a ‘sign’. It falls into the realm of concept. There is a mapping from one thought system to another. Form follows function formfunction
The demand of a new word Why are these phonosemantic classes enough, and we need neither more nor less? Why are these consonants enough, and we need neither more nor less? What determines the need for a new word? How is this demand ‘felt’ by a language? How did the metabolic pathways of American English recognize that ‘jerk’ and ‘twerp’ and ‘punk’ and ‘nitwit’ and ‘dork’ and ‘ass’ and ‘goon’ and ‘twit’ and ‘dodo’ and ‘bum’ and ‘nerd’ and ‘dunce’ and ‘turd’ and ‘boob’ and ‘chump’ and ‘bitch’ and ‘bastard’ and ‘prude’ and so on and so forth simply were not equal to the task? We had to add ‘turkey’ and ‘squirrel’ as well? wordslanguagemeaning