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
Seeing Is Forgetting the Name of the Thing One Sees A Book by Lawrence Wechler & Robert Irwin lawrenceweschler.com Sonorisms IMore than just a machine that runs alongNobody was doing anythingNYLAAggressively Zen+31 More The Small GroupInfinite varieties of contextsYour only language is visionTo see is to forget the name of the thing one seesRobert Irwin: A Conditional ArtThe Finish Fetish ArtistsPhenomenal: California Light, Space, Surface artlifecraftseeing
Sonorisms I the authenticity of the gesture as if the air had taken on substance representation and re-presentation a first order of presence this painterly game of pick-up sticks Irwin's "fetish finish" questions all of whose possible answers would never exhaust them the art is what has happened to the viewer an art of things not looked at a dialogue of immanence the information that takes place between things your house is the last before the infinite his "project of general peripatetic availability" that shiver of perception perceiving itself a desert of pure feeling PhonaestheticsArchitectural dark matter wordseuphony
More than just a machine that runs along "As far as I'm concerned, a folk art is when you take a utilitarian object, something you use every day, and you give it overlays of your own personality, what it is you feel and so forth. You enhance it with your life. And a folk art in the current period of time would more appropriately be in the area of something like a motorcycle. I mean, a motorcycle can be a lot more than just a machine that runs along; it can be a whole description of a personality and an aesthetic." identityart
Nobody was doing anything "The thing that amazed me is that they had these drawing classes, and I'd be in there drawing like a son of a bitch, and then I'd go around and look at everybody else's drawing boards to see what was going on, and there wouldn't be anything on them! They were all talking and going through these weighty things, and nobody was doing anything." learning
NYLA "See, what I've always liked about Los Angeles is that it's one of the least restrictive towns in the world. You can pretty much live any way you want to here. And part of that is because the place has no tradition and no history in that sense. It doesn't have any image of itself, which is exactly its loss and gain. That's why it's such a great place to do art and to build your ideas about culture. In New York, it's like an echo chamber: its overwhelming sense of itself, of its past and its present and its mission, becomes utterly restricting." citieshistoryurbanism
Aggressively Zen "He was dealing with Zen in the most aggressive way Zen has ever been dealt with." — Irving Blum zen
Flurry and lapse "The process in creating that kind of canvas was like—what?—10 percent action and 90 percent ass scratching. First you prepared yourself, cleaning up and arranging your palette and tools, sweeping the floors, and then finally, when you were ready, you faced the empty white expanse of white canvas and made your first stroke." intentcreativitymaking
No reason for being "A lot of what I had been doing in those large gestural paintings seemed to me afterwards as being not very controlled, in the sense that a lot of stuff that was going on in them had no reason for being there. There were just too many things that were accidental, too much incidental, too many contradictions." Controlled!
Oil Irwin even disdained artificial products when polishing the wood frame, confining himself solely to the natural oils of his hands, his forehead, the sides of his nose, and so forth. making
All the way through "There's a consistency to physical objects that somehow reads all the way through, so that when you make a physical object, if it lacks the proper amount of weight or if it lacks a certain density...I mean, if its outside says, 'I weigh so much and I have such-and-such a density,' and when you pick it up, you discover an inconsistency there, then you can sense that, you can see it, even without picking it up. It's absolutely essential that everything be done all the way through." Invisible substanceA great painting has to be better than it has to beFinished on the insideSigning partyWhy YKK zippers are the brown M&Ms of product designYou'll know it's there objectscraft
Over and over again "I found a certain strength in sustaining over a period of time my attention on a single point...Like you paint a painting, and then you paint another painting, but each time you take on a whole other mouthful, and you're only able to chew each one just so finely. So anyway, I did just the opposite." Which is to say, over the next two years Irwin did nothing but paint the same painting over and over again. attention
What the painting was not about That is why for many years Irwin declined to allow his work to be photographed, because the image of the canvas was precisely what the painting was not about. Indeed, the problem is even more complicated than that. For in a very real sense the achievement of these paintings was in their making, and the finished canvas at one level is only an incidental relic, a fossil of that original process of discovery: not only do you have to be present before these paintings in order to experience them, it may be that you have to have made them as well. Only a mind opened to the quality of things photographyimages
Attention over focus "When I look at the world now, my posture is not one of focus but rather of attention." attention
Three or more "One and one don't make two, but maybe five or eight or ten, depending on the number of interactions you can get going in a situation." perceptionseeing
Finished on the inside "Those stretcher bars were finished on the inside in ways no one will ever know; I spent days, weeks, months finishing things no one is ever going to see. But it had much more to do with the fact that I couldn't leave them unfinished. I just had this conviction that in the sense of tactile awareness, if all those things were consistent, then the sum total would be greater, even though that might not be definable in any causal, connected way." All the way throughInvisible substanceCompleting work properly in unseen areas craft
Grace Grace: you work and you work and you work at something that then happens of its own accord. It would not have happened without all that work, but the result cannot be accounted for as the product of the work in the sense that an effect is said to be the product of its causes. There is all that preparation—preparation for receptivity—and then there is something else beyond that, which is gratis, for free. beauty
Object and environment "The marriage of figure and ground—which is how they always term the cubist achievement—of necessity leads to the marriage between painting and environment; essentially they are the same thing, just taking it one step further. When I married the painting to the environment, suddenly it had to deal with the environment around it as being equal to the figure and having as much meaning." context
There and not there For what Bob was trying to capture in these efforts was the incidental, the transitory, the peripheral—that aspect of our experience that is both there and not there, the object and not the object of our sensations, perceived but seldom attended to. experienceperception
A gesture "With the lines I'd been trying to paint a painting without the means of painting, but I didn't know how to do that, so I ended up using the means of painting. They made a gesture toward where I was going, but still, finally, they were very much tied to where I was."
Ambitions for someone else's mind "One of the first things I learned about teaching is that you have to respond to each student individually. You don't start with any idea of what they should be doing, who they're supposed to be, or what their performance level is, and you don't compare them to one another. You simply start with each one of them wherever they are and develop the process from there. "...I would think that the most immoral thing one can do is have ambitions for someone else's mind." Student's future, not teacher's pastI can only conceive for you teaching
Technical viruosity "You have to develop students' confidence and prove to them in their own performance that there isn't anything they won't be able to accomplish technically, eventually, given a lot of application, before you can begin to convince them that that kind of technical virtuosity doesn't deserve the focus they have been led to believe it does by a performance-oriented culture." teachingskill
Learning how to learn "Once you learn how to make your own assignments instead of relying on someone else, then you have learned the only thing you really need to get out of school, that is, you've learned how to learn. You've become your own teacher." learningteaching
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." sciencedecisionschoice
Off to the races "You get to the point where you're about to place your wager; the race is about to be run. You evaluate the sum total of the information, which has to do with how the money has been bet, what the horses looked like on the track, all this information—and it's like you run your hand over the race—I've had this happen so many times, it's the only way to explain it—you run your hand over the race. All the information is logically there, but there's something wrong. You don't know why something is wrong, but something is not correct. Then I have to reevaluate everything in terms of this feeling I have about the thing, which is derived from information, but which is so complex and so intricate and so subtle that there's no way you can put a tag on it." informationintuition
Interlocking "The art world is highly invested in the idea that you can take an object and set it in a room, and the internal relationships will be so strong and so meaningful that all the kinds of change that take place on the object as a result of its being in a new environment will not critically affect our perception of the object. If that is the given assumption, then the object can be moved from one environment to another without its being critically altered, which then gives rise to the illusion that it can be moved from culture to culture, that it has the ability to transcend its cultural specificity, which in turn gives rise to the ultimate illusion that the object can transcend time. Because what is being claimed is that there exist certain objects isolated and meaningful enough to be transcendent, that they have the power to go on and on, that they are, as it were, timeless. "Well, one of the things that I was becoming involved in at that point in playing artist was the growing suspicion that this breaking down of the edge, the idea of the painting's moving into its environment, was putting the whole heightened rationale of the art object into doubt. There is simply no real separation line, only an intellectual one, between the object and its time environment. They are completely interlocking: nothing can exist in the world independent of all the other things in the world." Deep Interlock contextchangeenvironmentobjects
Overlays The awkwardness of the room itself forced Irwin toward the next phase of his endeavor: each installation from there on would have to arise out of the unique configurations of each new site. As Irwin put it, "Instead of my overlaying my ideas onto that space, that space overlaid itself on me." contextspace
Pointing "Originally I marked these places, quite literally. I laid a small concrete block flush to the ground at the place where I was standing and stretched a stainless steel piano wire out toward the horizon. It might go off a mile; it simply pointed in a direction. And that was the piece." Pointing at things place
Don't mistake my finger for the moon Many people mistook the string itself for the work of art ("When I point my finger at the moon, don't mistake my finger for the moon" is a Zen aphorism that Irwin is fond of citing). By mid-1976 Irwin himself was prepared to Jettison—along with figure, line, focus, permanence, and signature—the very requirement of any overt activity of making as a necessary prerequisite for artistic viability. zen
The core assertion Sitting there in the Whitney's coffee shop, Irwin pointed through the glass wall up at the play of shadows on a building facade across the street. "That the light strikes a certain wall at a particular time of day in a particular way and it's beautiful," he commented, "that, as far as I'm concerned, now fits all my criteria for art." At the terminus of Irwin's trajectory, when all the nonessentials had been stripped away, came the core assertion that aesthetic perception itself was the pure subject of art. Art existed not in objects but in a way of seeing. The Gifted Listener: Composer Aaron Copland on Honing Your Talent for Listening to Music beautyart
Waiting there to be experienced "Paintings are like what you can barely make out through a keyhole compared with the richness of perception that's just waiting there in the world to be experienced all the time. It's strange. With food, for instance, people seem able to understand what's involved: you savor the taste rather than just feed the body. But people have a hard time understanding that it should be the same way with visual experience." perceptionfood
It passes by the river "Artists need to be in there from the start, making the argument for quality. The key to this thing is, for example, if you give an engineer a set of criteria which does not include a quality quotient, as it were—that is, if this sense of the quality, the character of the place, is not a part of his original motivation—he will then basically put the road straight down the middle. He has no reason to curve it. But if I can convince him that quality is absolutely a worthwhile thing and we can work out a way in which the road can be efficient and also wander down by the river, then we essentially have both: he provides his sort of expertise in that the road works, I provide quality in that it passes by the river. In that way, art gets built into the criteria from the beginning rather than being added on afterward." We want you to work with an artistThe problem with ornament qualitydesignfunctioncollaboration
Rapport "Bob's rapport with the workers is extraordinary. Reminds me of something Noguchi once pointed out about Bernini during the days he was building St. Peter's in Rome: how what made him so special, aside from his own obvious gifts, was his ability to extend himself through the work of others, to get them on his side and working in his direction." leadershipteamwork
The palette of nature "What nature does with its colors is invariably—the palette of nature is twice as complicated, at least twice as sophisticated, as anything any artist can ever come up with. On a couple levels. To start with, there are these amazing combinations of colors, filled with surprises and almost never wrong. I don't know how Nature ever conceived to put, say, those together. But, boy, are they right on the money!" Colors in natureHues subdued naturecolor
Screening out the world "The point is to get people to peel those visors off their faces, to remove the goggles, to abandon the screens. Those screens whose very purpose is to screen the actual world out. Who cares about virtuality when there's all this reality—this incredible, inexhaustible, insatiable, astonishing reality—present all around!" realitytechnology
The human reality of perception "The great misinterpretation of twentieth-century art is the claim advanced that many people, especially critics, that cubism of necessity led to abstraction. But on the contrary, cubism was about the real world. It was an attempt to reclaim a territory for figuration, for depiction. Faced with the claim that photography had made figurative painting obsolete, the cubists performed an exquisite critique of photography; they showed that there were certain aspects of looking—basically the human reality of perception—that photography couldn't convey, and that you still needed the painter's hand and eye to convey them." — David Hockney artperceptionseeing