innovation
My job is simply to design gadgets that I like
To read things that are not yet on the page
A new gestalt
Upstream, Downstream
I choose a world with pyramids
Which would you choose: a world with pyramids? Or without?
Humanity has always dreamt of flight, but the dream is cursed. My aircraft are destined to become tools for slaughter and destruction. But still, I choose a world with pyramids in it. Which world will you choose?
The Innovation Funnel
A Comic by Tom FishburneMost organizations use some version of an innovation funnel to bring ideas to life. It starts with lots of ideas at the front end and then launches whatever survives all the way to the back end.
Yet this Darwinian process of bringing ideas to life doesn’t necessarily lead to survival of the fittest ideas. If we’re not careful, the innovation funnel leads to survival of the safest ideas.
Organizations are good at spotting risks. In an effort to improve success rates, organizations tend to put sharper teeth in the funnel.
As ideas run the organizational gauntlet, they can get pruned, sheared, shaped, and watered down beyond recognition. On the way, they can lose the essence of the idea. They may lose their point of difference and reason for being.
Celebrating Steve
A Video by Steve JobsWhen you grow up, you tend to get told that the world is the way it is, and you're meant to just live your life inside the world and try not to bash into the walls too much...but life can be much broader, once you discover one simple fact – and that is, that everything around you that you call life was made up by people that were no smarter than you. And you can change it. You can influence it. You can build your own things that other people can use.
Traditional companies are losing because they mismanage software engineers
An Article by Emma WattersonInnovation is messy, and frankly Anti-Steve [Jobs] can’t figure out why you wouldn’t 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.
Withered or seasoned?
An Article by Robin SloanThe Nintendo way of adapting technology is not to look for the state of the art but to utilize mature technology that can be mass-produced cheaply.
This is the reason a Nintendo console never has the fastest chips or the beefiest specs of its generation; instead, its remixes components in an interesting and generative way. Think of the Gameboy’s monochrome screen, the Wii’s motion controller, the Switch’s smartphone form.
[Gunpei Yokoi] is talking about reliability and predictability, in performance and supply alike. He wants the components to be boring, so their application can be daring.
Who Becomes an Inventor in America? The Importance of Exposure to Innovation
A Research PaperWe directly establish the importance of environment by showing that exposure to innovation during childhood has significant causal effects on children's propensities to invent. Children whose families move to a high-innovation area when they are young are more likely to become inventors. These exposure effects are technology-class and gender specific.
Age of Invention
A Series by Anton HowesI’m a historian of innovation. I write mostly about the causes of Britain’s Industrial Revolution, focusing on the lives of the individual innovators who made it happen. I’m interested in everything from the exploits of sixteenth-century alchemists to the schemes of Victorian engineers. My research explores why they became innovators, and the institutions they created to promote innovation even further.
The monkey, the tiger beetle and the language of innovation
An Article by Courtney HohneWhat we’ve learned from 10 years of moonshot taking about choosing your words wisely — and the many benefits of doing so:
- v0.crap
- Tiger Beetle Moments
- Killing our projects
- In the fog
- The Altimeter
- The Icebergs
- Headwinds & Tailwinds
- Chaos Pilots
- Patiently impatient, responsibly irresponsible, passionately dispassionate
Ancient magicians as innovation consultants
An Article by Matt WebbThe Codex Justinianus (534 AD), being the book of law for ancient Rome at that time, banned magicians and, in doing so, itemised the types:
- A haruspex is one who prognosticates from sacrificed animals and their internal organs;
- a mathematicus, one who reads the course of the stars;
- a hariolus, a soothsayer, inhaling vapors, as at Delphi;
- augurs, who read the future by the flight and sound of birds;
- a vates, an inspired person - prophet;
- chaldeans and magus are general names for magicians;
- maleficus means an enchanter or poisoner.
I happen to have spent my career in a number of fields that promise to have some kind of claim to supernatural powers: design, innovation, startups…
It’s not hard to run through a few archetypes of the people in those worlds, and map them onto types of ancient magician.
- Those like Steve Jobs (with his famous Reality Distortion Field) who can convincingly tell a story of the future, and by doing so, bring it about by getting others to follow them – prophets.
- Inhaling the vapours and pronouncing gnomic truths? You’ll find all the thought leaders you want in Delphi, sorry, on LinkedIn.
- Those with a good intuition about the future who bring it to life with theatre, and putting people in a state of great excitement so they respond – ad planners. Haruspex.
- Those who have the golden mane of charisma: enchanters. Startup founders.
- People with a great aptitude for systems and numbers, who can tell by intuition what will happen, from systems that stump the rest of us. We call them analysts now. MBAs. Perhaps the same aptitude drew them to read the stars before? Mathematicus.
The Small Group
An Article by James MulhollandLying somewhere between a club and a loosely defined set of friends, the SMALL GROUP is a repeated theme in the lives of the successful. Benjamin Franklin had the Junto Club, Tolkien and C.S. Lewis had The Inklings, Jobs and Wozniak had Homebrew.
Around a dozen members is the sweet spot of social motivation: small enough to know everyone, yet large enough that the group won’t collapse if one or two members’ enthusiasm wanes; small enough that you are not daunted by competing with the whole world, yet large enough that you still need to be on your toes to keep up.
Contrasting Concepts of Harmony in Architecture
The realm of feeling
Alexander: If you say: "Well, look, you're a feeling type, and I'm a thinking type, so let's not discuss that because we are always going to be on different sides", then it removes from this discussion what I feel to be the absolute heart and soul of the matter when it comes to buildings. Now I don't want to deny at all what you are saying about personalities. But I really cannot conceive of a properly formed attitude towards buildings, as an artist or a builder, or in any way, if it doesn't ultimately confront the fact that buildings work in the realm of feeling.
Panic
Alexander: It never occurred to me that someone could so explicitly reject the core experience of something like Chartres. It's very interesting to have this conversation. If this weren't a public situation, I'd be tempted to get into this on a psychiatric level. I'm actually quite serious about this. What I'm saying is that I understand how one could be very panicked by these kinds of feelings. Actually, it's been my impression that a large part of the history of modern architecture has been a kind of panicked withdrawal from these kinds of feelings, which have governed the formation of buildings over the last 2000 years or so.
Why that panicked withdrawal occurred, I'm still trying to find out. It's not clear to me. But I've never heard somebody say, until a few moments ago, someone say explicitly: "Yes, I find that stuff freaky. I don't like to deal with feelings. I like to deal with ideas.”
The pitched roof
Eisenman: I would argue that the pitched roof is – as Gaston Bachelard points out – one of the essential characteristics of "houseness". It was the extension of the vertebrate structure which sheltered and enclosed man. Michel Foucault has said that when man began to study man in the 19th century, there was a displacement of man from the center. The representation of the fact that man was no longer the center of the world, no longer the arbiter, and, therefore, no longer controlling artifacts, was reflected in a change from the vertebrate-center type of structure to the center-as-void.
The trick of little machines
Alexander: Up until about 1600, most of the world views that existed in different cultures did see man and the universe as more or less intertwined and inseparable ... either through the medium of what they called God or in some other way. But all that was understood. The particular intellectual game that led us to discover all the wonders of science forced us to abandon temporarily that idea. In other words, in order to do physics, to do biology, we were actually taught to pretend that things were like little machines because only then could you tinker with them and find out what makes them tick. That's all fine. It was a tremendous endeavor, and it paid off.
But it may have been factually wrong. That is, the constitution of the universe may be such that the human self and the substance that things made out of, the spatial matter or whatever you call it, are much more inextricably related than we realized. Now, I am not talking about some kind of aboriginal primitivism. I am saying that it may actually be a matter of fact that those things are more related than we realize. And that we have been trained to play a trick on ourselves for the last 300 years in order to discover certain things. Now, if that's true – there are plenty of people in the world who are beginning to say it is, by the way, certainly in physics and other related subjects – then my own contribution to that line of thought has to do with these structures of sameness that I have been talking about.
In other words, the order I was sketching out last night is ultimately, fundamentally an order produced by centers or wholes which are reinforcing each other and creating each other. Now, if all of that is so, then the pitched roof would simply come about as a consequence of all that – not as an antecedent. It would turn out that, in circumstances where one is putting a roof on a building, in the absence of other very strong forces that are forcing you to do something different, that is the most natural and simple roof to do. And, therefore, that kind of order would tend to reappear – of course, in a completely different, modern technological style – simply because that is the nature of order, not because of a romantic harkening back to past years.
Merely a building
Eisenman: Le Corbusier once defined architecture as having to do with a window which is either too large or too small, but never the right size. Once it was the right size it was no longer functioning. When it is the right size, that building is merely a building. The only way in the presence of architecture that is that feeling, that need for something other, when the window was either too large or too small.
Fucking up the world
City Hall by Rafael Moneo, Logroño, La Rioja, Spain.
Alexander : At least my experience tells me, that when a group of different people set out to try and find out what is harmonious, what feels most comfortable in such and such a situation, their opinions about it will tend to converge, if they are mocking up full-scale, real stuff. Of course, if they're making sketches or throwing out ideas, they won't agree. But if you start making the real thing, one tends to reach agreement. My only concern is to produce that kind of harmony.
The thing that strikes me about your friend's building – if I understood you correctly – is that somehow in some intentional way it is not harmonious. That is, Moneo intentionally wants to produce an effect of disharmony. Maybe even of incongruity.
Eisenman: That is correct.
Eisenman: I find that incomprehensible. I find it very irresponsible. I find it nutty. I feel sorry for the man. I also feel incredibly angry because he is fucking up the world.
A good table
Eisenman: Tolstoy wrote about the man who had so many modern conveniences in Russia that when he was adjusting the chair and the furniture, etc., that he was so comfortable and so nice and so pleasant that he didn't know – he lost all control of his physical and mental reality. There was nothing. What I'm suggesting is that if we make people so comfortable in these nice little structures of yours, that we might lull them into thinking that everything's all right, Jack, which it isn't. And so the role of art or architecture might be just to remind people that everything wasn't all right.
Alexander: I can't, as a maker of things, I just can't understand it. I do not have a concept of things in which I can even talk about making something in the frame of mind you are describing. I mean, to take a simple example, when I make a table I say to myself: "All right, I'm going to make a table, and I'm going to try to make a good table." And of course, then from there on I go to the ultimate resources I have and what I know, how well I can make it. But for me to then introduce some kind of little edge, which starts trying to be a literary comment, and then somehow the table is supposed to be at the same time a good table, but it also is supposed to be I don't know what; a comment on nuclear warfare, making a little joke, doing various other things... I'm practically naive; it doesn't make sense to me.