imperfections
The monotonous perfection
The mathematical physicist must simplify in order to get a manageable model, and although his concepts are of great beauty, they are austere in the extreme, and the more complicated crystal patterns observed by the metallurgist or geologist, being based on partly imperfect reality, often have a richer aesthetic content. Those who are concerned with structure on a super atomic scale find that there is more significance and interest in the imperfections in crystals than in the monotonous perfection of the crystal lattice itself.
The aesthetic potential of flaws
The archaeological quality of this section of exposed wall provides an example of the aesthetic potential of that which is flawed or broken.
A Painted Karatsu as Food for Thought
Recently there is a tendency to pursue distortion in art, but in the case of this jar, natural deformation has raised distortion to the level of spontaneous beauty.
The Japanese Perspective
An Essay from The Beauty of Everyday Things by Yanagi SōetsuGenerally speaking, the Western perception of art has its roots in Greece. For a long time its goal was perfection, which is particularly noticeable in Greek sculpture. This was in keeping with Western scientific thinking; there are no painters like Andrea Mantegna in the East. I am tempted to call such art ‘the art of even numbers’.
In contrast to this, what the Japanese eye sought was the beauty of imperfection, which I would call ‘the art of odd numbers’. No other country has pursued the art of imperfection as eagerly as Japan.
Is perfection boring?
An Article by Ralph AmmerWe love to see the process, not just the result. The imperfections in your work can be beautiful if they show your struggle for perfection, not a lack of care.
Craft and Material in Digital Design
A little bit more about the stone
In the documentary Rivers and Tides, artist Andy Goldsworthy repeatedly struggles to stack stones into a sculptural cairn. Over and over the stones fall. Each time, Andy’s sculpture stands a little taller before the moment of failure. At a penultimate moment in the episode, the ever-patient Goldsworthy begins to look exasperated. He’s just staring at the rocks scattered on the ground, studying them intently. A curious passerby has watched him fail a few times, and Andy tells the man, “Every time, I learn a little bit more about the stone. I’m learning how it works.”
It is how we come to understand our medium
There is such a unique quality to experiential learning, through direct experience with a material. It cannot be substituted through lectures or books. It must be felt. It must be earned through time well spent, through making and failing and re-making. It is how we come to understand our medium.
If you’re a digital designer who doesn’t understand basic principles of computer science, or has never written a bit of code, or has never built a website, what are you doing? What can you say about the material you shape?
The idea that designers in the information age shouldn’t waste their time with this skill baffles me. It is woefully misguided advice.
A digital designer who has not learned the nature of their medium is a designer unprepared to argue for their vision. This is a designer who is unable to push back against the criticism of skeptical engineers. This is a designer who risks offering opinions instead of solutions.
If you are crafting experiences in the digital space, you should know what’s required to implement your ideas. You should try implementing it yourself, (if only to build empathy with your developers!)