Making & Creating
Its place in the web of nature
- ââCrafting repairââ
Entropy
The way it has been made
Follow the brush
- ââThe Age of the Essayââ
- ââGame feelââ
v0.crap
- ââWriting, Brieflyââ
The discoveries you make in the making
Expressing ideas helps to form them
Between the two spaces
The game discovering itself
The act of creation
No more than a sketch
I'm reminded of their faces
The patience of a craftsman
So that its destruction cannot begin
Some secret stirring in the world
Embracing the mess
Less, but better
Tracing paper into palimpsest
Blueprints
Blueprints lead to the making of things that are abstract, not always based on reality. Once something becomes abstract, it breeds disconnectedness â separation and the inability to connect with our surroundings. People buy houses from blueprints, but then don't like the actual house: "What on earth is this? I had no idea it was going to be like this...etc."
Freedomless freedom
The beauty of kasuri is received as a gift. As long as the laws of nature are upheld, the beauty of kasuri remains intact. This demonstrates the curious principle that the artisan is deprived of technical freedom but works in the freedom of nature.
In this sense, kasuri can be said to be created in a state of freedomless freedom.
From body to body
During the design process, the architect gradually internalizes the landscape, the entire context, and the functional requirements as well as his/her conceived building: movement, balance and scale are felt unconsciously through the body of the observer, the experience mirrors the bodily sensations of the maker. Consequently, architecture is communication from the body of the architect directly to the body of the person who encounters the work, perhaps centuries later.
Modularity
One of the most pervasive features of these buildings is the fact that they are âmodular.â They are full of identical concrete blocks, identical rooms, identical houses, identical apartments in identical apartment buildings. The idea that a building can - and ought - to be made of modular units is one of the most pervasive assumptions of twentieth-century architecture.
Nature is never modular. Nature is full of almost similar units (waves, raindrops, blades of grass) - but though the units of one kind are all alike in their broad structure, no two are ever alike in detail.
The same broad features keep recurring over and over again. And yet, in their detailed appearance these broad features are never twice the same.
Holistic and prescriptive technologies
Holistic technologies are normally associated with the notion of craft. Artisans, be they potters, weavers, metal-smiths, or cooks, control the process of their own work from beginning to finish. Using holistic technologies does not mean that people do not work together, but the way in which they work together leaves the individual worker in control of a particular process of creating or doing something.
The opposite is specialization by process; this I call prescriptive technology. Here, the making or doing of something is broken down into clearly identifiable steps. Each step is carried out by a separate worker, or group or workers, who need to be familiar only with the skills of performing that one step. This is what is normally meant by "division of labor".
Skill vs. knowledge
We should say that anybody has skill enough to build a good dry-stone wall but that few know how to design one, for the placing of the stones is a matter of knowledge and judgment, not of dexterity.
More real than living man
He will watch from dawn to gloom
The lake reflected sun illume
The yellow bees in the ivy-bloom
Nor heed, nor see, what things they be;
But from these create he can
Forms more real than living man.The Idea
The design is thus the mental formulation, which Sayers calls âthe Idea,â and it can be complete before any realization is begun. Mozartâs response to his fatherâs inquiry about an opera due to the duke in three weeks both stuns us and clarifies the concept.
For most human makers of things, the incompletenesses and inconsistencies of our ideas become clear only during implementation. Thus it is that writing, experimentation, âworking out,â are essential disciplines for the theoretician.
Needs more love
He held the phone to his chest, looked at me, and simply said, âNeeds more love.â He pushed the portfolio back across his desk, smiled warmly, and shooed me out of his office.
I still think about this advice, and what exactly he might have meant when he said my work needed more love. At the time, I took it to mean that I should improve my craft, but Iâve come to realize that he was speaking of something more fundamental and vital. My work was flat, because it was missing the spark that comes from creating something you believe in for someone you care about. This is the source of the highest craft, because an affection for the audience produces the care necessary to make the work well.
We have been given a standard
We have been given a standard to use. It is there, handy daily: things as they are, or Nature itself. This makes good sense, the only sense reallyâNature should be our model.
Process vs. product
...more concerned with process than with product, with the actual construction of a self than with self-expression.
The categories of good
We need to turn to a fresh page. We can do so simply by askingâthough the answers are anything but simpleâwhat the process of making concrete things reveals to us about ourselves. Learning from things requires us to care about the qualities of cloth or the right way to poach fish; fine cloth or food cooked well enables us to imagine larger categories of 'good'.
The narrative of its making
Getting things in perfect shape can mean removing the traces, erasing the evidence, of a work in progress. Once this evidence is eliminated, the object appears pristine. Perfection of this cleaned-up sort is a static condition; the object does not hint at the narrative of its making.
A pattern of understandings
The clock has no finished design and it has been made without any careful drawings or mathematical calculations. The pieces are only made if I can hold their details in my head as I make them, without reference to any set of external measures. I do make rough sketches of some parts as a path to understanding them, but never use these during the making of the parts. The clock gradually grows through trial and error and lots of physical work with metal, but out of this has come a set of principles of making that were not clear to me before doing the clock. I have finally realized that what I am actually making is a pattern of understandings of the process of making rather than the things that are actually being made. â Richard Benson
What's the difference?
I well remember an occasion in 1962 when in a remote Iranian village I asked a blacksmith famous for his superior penknives to tell me the difference between iron and steel. âWhatâs the difference?â he replied. âWhatâs the difference between an oak tree and a willow â they have different natures and one must adapt to them.â He did not accept the suggestion that some material absorbed from the fireâs charcoal might have something to do with it, and he would not have understood a word of any lecture I could have given him on diffusion, crystal structure, and phase transformations; yet he could make a good knife and I could not.
Reproduction
The success of a mechanicâs, or a machineâs, reproduction of a thing depends on his, or its, sensitivity to whatever qualities are important, just as the skill of the designer lies in the proper appreciation of surface qualities in terms of structure and shape variation that come from the intended means of production.
Flurry and lapse
"The process in creating that kind of canvas was likeâwhat?â10 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."
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.
Perfection
It seems that perfection is attained not when there is nothing more to add, but when there is nothing more to take away.
The center of the way
The advice Iâve 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 oneâs reasons
for making something
functionally
and oneâs reasons
for making something
a certain shape,
or in a certain
ornamental way
are coming
from precisely
the same place
in you
.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 weâre 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 â hereâs where he loses most other architects and many in the so-called sciences in academia â he contends that what weâre 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 youâre 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 whatâs going on among wholes at the system level?
A Search for Structure
AÂ Book by Cyril Stanley SmithThe Timeless Way of Building
AÂ Book by Christopher Alexander- ââMind of no mindââ
- ââThe quality without a nameââ
- ââAn objective matterââ
- ââBitternessââ
- ââThe most precious thing we ever haveââ
The Design of Design
AÂ Book by Frederick P. Brooks, Jr.The Nature and Art of Workmanship
AÂ Book by David PyeThe Craftsman
AÂ Book by Richard SennettInventing on Principle
AÂ Talk by Bret VictorIn Praise of Shadows
AÂ Book by Jun'ichirĆ Tanizaki & Thomas J. Harper- ââThings that shine and glitterââ
- ââA naked bulbââ
- ââThe Japanese toiletââ
- ââEmpty dreamsââ
- ââMost important of all are the pausesââ
A Place of My Own: The Architecture of Daydreams
AÂ Book by Michael Pollan- ââbarnsoutbuildingsââ
- ââHere Be Dragonsââ
The Nature and Aesthetics of Design
AÂ Book by David Pye- ââAny imaginable shapeââ
- ââUseless work on useful thingsââ
- ââPresentableââ
- ââThe principle of arrangementââ
- ââThe minimum conditionââ
Einmal Ist Keinmal
An Article by Dan Klyn- ââJacked inââ
- ââImmer wiederââ
- ââBut what if it is?ââ
Write the books you want to read
An Article by Austin KleonA few nights ago, I was looking at the moon and I thought, âIâd like to read a cultural history of the moon.â I googled, and there it was. My friend Matt said, âIdeally, that is exactly how one should find everything they readâŠand write.â
Itâs really that simple. You find the books you want to read⊠and if you canât find them, you write them.
Stop Drawing Dead Fish
AÂ Talk by Bret VictorBackground textures of work
An Article by Lucy KeerOne thing I've been enjoying about working as a technical writer is that the minute-by-minute texture of the work feels right. Something about formatting text, faffing about with SVGs, trying to rewrite a sentence more clearly... it's just enjoyable in itself, and I feel at home with it.
...Working as a programmer was very much not like that. There's something in the rough vicinity of professional dev work that I do like, which I could probably label as 'iterative hobbyist tinkering with websites'. I like working on something with a strong visual component, and I like to be inside of a fast feedback loop, and I'm mostly interested in just somehow bodging through until it works. I'm not very interested in either the computer-sciencey side of programming â data structures, algorithms â or the software-engineerey side of making things run reliably at scale in a maintainable way. So maybe it's not surprising that the minute-by-minute texture of professional programming was just... kind of bad. Occasional fun bits when I got into something, but the background experience was not fun.
Say yes and never do it
AÂ Quote by Mel BrooksYou have some wonderful stories of basically getting away with stuff at the studios.
Iâd learned one very simple trick: say yes. Simply say yesâŠYou say yes, and you never do it.
Thatâs great advice for life.
It is. Donât fight them. Donât waste your time struggling with them and trying to make sense to them. Theyâll never understand.
Make Free Stuff
At its very core, the rules of the web are different than those of ârealâ markets. The idea that ownership fundamentally means that nobody else can have the same thing you have just doesnât apply here. This is a world where anything can easily be copied a million times and distributed around the globe in a second. If that were possible in the real world, weâd call it Utopia.
âŠResource Scarcity doesnât make sense on the web. Artificially creating it here serves no other purpose than to charge money for things that could easily have been free for all. Why anyone would consider that better is beyond me.
Makers and Making
An Article by Alan JacobsThe [Silmarils] are good; their making was at least potentially innocent; but afterward arose a lust for owning and controlling that led to great tragedy⊠The aspect of humanity which the elves represent most fully â both for good and ill â is the creative one.â
And this is why âmakingâ in and of itself is not the answer to our decadent moment. âLove of things, especially artificial things, could be seen as the besetting sin of modern civilisation, and in a way a new one, not quite Avarice and not quite Pride, but somehow attached to bothâ â and this is the FĂ«anor Temptation. It is in light of this temptation that I advocate repair, which is a mode of caring for what we have not made, but rather what we have inherited. We will not be saved by the making of artifacts â or from the repair of them, either; but the imperative of repair has these salutary effects: it reminds us of our debt to those who came before us and of the fragility of human constructs.
- ââThe Silmarillionââ
- ââRethinking Repairââ
How I Build
An Article by Pirijan KetheswaranIn 2014, I wrote about my belief that design and engineering are best when tightly woven together. Thatâs truer now than ever.
If Iâm feeling confident, Iâll jump right into my text editorâŠFrom here, more functionality is added and the code is tweaked until the feature looks and feels right to me. Whether itâs something simple like this, or prototyping a new interaction like multi-connect, thereâs no substitute for designing with real code.
In rare cases when I have ideas or plans that Iâm less confident about, itâs time to break out the paper, pens, and markers,
Because the Kinopio interface elements and aesthetic are full-grown, I almost never use traditional design software anymore.
Primitive design
An Article by Matt Webb- I want it to feel intuitive
- I want any new features to be platform features, not one-offs.
And the second of those is weird, right? Itâs like sketching out a toy spaceship, having a list of rules about play, and attempting to simultaneously invent the shape of the Lego brick.
Thatâs platform design I suppose. Redesigning a newspaper will mean bouncing between comps and style guides, designing both. Inventing the iPhone user interface will have seen apps and app paradigm evolving together.
Weinberg's Law
AÂ Quote by Gerald WeinbergIf builders built buildings the way programmers wrote programs, then the first woodpecker that came along would destroy civilization.
How can we develop transformative tools for thought?
AÂ Research Paper by Andy Matuschak & Michael NielsenConventional tech industry product practice will not produce deep enough subject matter insights to create transformative tools for thought.
...The aspiration is for any team serious about making transformative tools for thought. Itâs to create a culture that combines the best parts of modern product practice with the best parts of the (very different) modern research culture. You need the insight-through-making loop to operate, whereby deep, original insights about the subject feed back to change and improve the system, and changes to the system result in deep, original insights about the subject.
When I was 22
AÂ Quote by Nicholas Ashe BatemanWhat's really challenging for me working on something on an idea level for close to 8 years, it's really hard to not look at yourself. The decision-making process includes a conversation with myself: sometimes I'm going to side with 2015 version of Nick, sometimes the 2017 Nick isn't the right guy for this, etc... So much of the process of making the movie has changed the movie. I really just tried to make the movie I wanted to make when I was 22. When I serviced that, it worked really well.
Everything has been composed
AÂ Quote by Wolfgang Amadeus MozartEverything has been composed, just not yet written down.
- ââThe Ideaââ
- ââSeventeen Yearsââ
Game feel
An Article by Dave RupertHow do you make a game thatâs fun? ...You have to focus on gameplay. In order for the final product to be fun and exciting, the core game play needs to be fun and exciting. The creator of Mario calls this æćżă (tegotae), which is often translated as âgame feelâ. To find this game feel, you need to build small prototypes around a single idea, play test them, and then follow the fun. Nintendo does this, indie game devs do this; this is the not-so-secret of the gaming industry.
- ââFollow the funââ
- ââFollow the brushââ
The tools matter and the tools don't matter - Austin Kleon
An Article by Austin KleonThough you might not think it from the comic, Iâm actually sympathetic to questions about tools and process, as I myself am a kind of process junky. I love hearing about how other writers work.
Iâm also not someone who dismisses questions about tools with the line âthe tools donât matter.â In fact, I think tools matter so much that if you donât talk about them correctly you can do some damage.
...What I love about John Gardner and Lynda Barry is that they believe that the tools you use do matter, but the point, for them, is finding the proper tools that get you to a certain way of working in which you can get your conscious, mechanical mind out of the way so that your dreaming can go on, undeterred.
You have to find the right tools to help your voice sing.
Designer, implementor, user, writer
AÂ Fragment by Donald KnuthThus, I came to the conclusion that the designer of a new system must not only be the implementor and the first large-scale user; the designer should also write the first user manual. The separation of any of these four components would have hurt TeX significantly. If I had not participated fully in all these activities, literally hundreds of improvements would never have been made, because I would never have thought of them or perceived why they were important.
Jacob Leech, Digital Craftsman
AÂ Profile by Jacob LeechI'm Jacob â a designer and coder who creates things with computers (Fig 1) 'Digital Craftsman' best describes my skill set.
Digital projects thrive when designers understand how they will be built. Just as an architect understands how a structure is created, the same should be true on the web.
Designer + Developer Workflow
An Article by Dan MallThe way designers and developers work together today is broken. Itâs too siloed and separate; âcollaborationâ is a fantasy that few enjoy.
The state of advertising in the 1940s was similar. All of that changed when copywriter Bill Bernbach met art director Paul Rand. Their collaborative working style led to the birth of the idea of âthe creative team,â the mutual respect and partnership between art director and copywriter that tended to yield unique results. Bob Gage, an art director that worked for DDB, the agency Bernbach co-founded, described it like this:
âTwo people who respect each other sit in the same room for a length of time and arrive at a state of free association, where the mention of one idea will lead to another idea, then to another. The art director might suggest a headline, the writer a visual. The entire ad is conceived as a whole, in a kind of ping pong between disciplines.â
Isnât that what we all strive for in our jobs? True collaboration with equals and partners? Ideas that build off one another? Why does this seem so far away for some of us?
The saddest designer
An Essay by Chia AmisolaI am tired of the premise that creation means productivityââespecially in the laborious sense...Creation has become mangled with labor in a world that demands man to monetize all of their hobbies and pursuits. In return, it seems empty, almost sad, reallyââto be the designer spending weekends again on the screen.
To tell you what I like to do in the weekends, I like to do the sad thing...The âgoodâ people tell you to detach your life from your workspace, but this summer, I think Iâve just realized how much I adore what I have the luxury of working on everyday.
In the weekend, I make. I make not because itâs the only thing I have ever known, but because itâs the most certain way forward.
Enjoying the garden together
AÂ Quote by Brian EnoAnd essentially the idea there is that one is making a kind of music in the way that one might make a garden. One is carefully constructing seeds, or finding seeds, carefully planting them and then letting them have their life.
What this means, really, is a rethinking of oneâs own position as a creator. You stop thinking of yourself as me, the controller, you the audience, and you start thinking of all of us as the audience, all of us as people enjoying the garden together. Gardener included.
Two types of work
An Article by Jorge ArangoThere are two types of work: growth work and maintenance work.
Growth work involves making new things. It can be something big or small. In either case, growth work often follows a loose process.
Maintenance work is different. Maintenance work involves caring for the resources and instruments that make growth work possible. This includes tools, but also body and mind.
Maintenance is ultimately in service to growth. But effective growth canât happen without maintenance. As with so many things, the ideal is a healthy balance â and it doesnât come without struggle.
1,000 True Fans
An Essay by Kevin KellyTo be a successful creator you donât need millions. You donât need millions of dollars or millions of customers, millions of clients or millions of fans. To make a living as a craftsperson, photographer, musician, designer, author, animator, app maker, entrepreneur, or inventor you need only thousands of true fans.
A true fan is defined as a fan that will buy anything you produce. These diehard fans will drive 200 miles to see you sing; they will buy the hardback and paperback and audible versions of your book; they will purchase your next figurine sight unseen; they will pay for the âbest-ofâ DVD version of your free youtube channel; they will come to your chefâs table once a month. If you have roughly a thousand of true fans like this (also known as super fans), you can make a living â if you are content to make a living but not a fortune.
When we were all together in-person
AÂ QuoteâWe believe that in-person collaboration is essential to our culture and our future,â said Deirdre OâBrien, senior vice president of retail and people, in a video recording viewed by The Verge. âIf we take a moment to reflect on our unbelievable product launches this past year, the products and the launch execution were built upon the base of years of work that we did when we were all together in-person.â
Poioumenon
AÂ DefinitionA specific type of metafiction in which the story is about the process of creation (sometimes the creation of the story itself).
- ââBo Burnham: Insideââ
How am I doing, wonder?
AÂ Quote by Louis KahnForm comes from wonder. Wonder stems from our 'in touchness' with how we were made. One senses that nature records the process of what it makes, so that in what it makes there is also the records of how it was made. In touch with this record we are in wonder. This wonder gives rise to knowledge. But knowledge is related to other knowledge and this relation gives a sense of order, a sense of how they inter-relate in a harmony that makes all things exist. From knowledge to sense of order we then wink at wonder and say How am I doing, wonder?
The care and feeding of software engineers (or, why engineers are grumpy)
An Article by Nicholas ZakasWe do say ânoâ very quickly, not just to designs, but to everything. That led me into thinking about the psychology of software engineers and what makes us the way we are.
Are We Really Engineers?
An Essay by Hillel WayneWhat the prototype tells you
AÂ Fragment by Matt WebbAs soon as I make something, I think of the 100 things I want to have next. Thatâs why prototyping is good. You donât need to have much imagination, you just listen to what the prototype tells you.
Rationality: From AI to Zombies
- ââThe Tao of rationalityââ
- ââEveryone sees themselves as behaving normallyââ
- ââArgue against the bestââ
- ââLet the meaning choose the wordââ
- ââPeople can stand for what is true, for they are already enduring itââ
- ââDo not propose solutionsââ
- ââOne brickââ
- ââYour intention to cutââ
The Tao of rationality
If you would learn to think like reality, then here is the Tao:
Since the beginning
not one unusual thing
has ever happened.Everyone sees themselves as behaving normally
To understand why people act the way they do, we must first realize that everyone sees themselves as behaving normally.
Argue against the best
To argue against an idea honestly, you should argue against the best arguments of the strongest advocates.
Itâs all too easy to argue that someone is exhibiting Bias #182 in your repertoire of fully generic accusations, but you canât settle a factual issue without closer evidence. If there are biased reasons to say the sun is shining, that doesnât make it dark out.
Let the meaning choose the word
What is above all needed is to let the meaning choose the word, and not the other way around.
Probably it is better to put off using words as long as possible and get oneâs meaning as clear as one can through pictures and sensations.
People can stand for what is true, for they are already enduring it
Knowing the design
Knowing the design can tell you much about the designer; and knowing the designer can tell you much about the design.
Cutting through to the truth
The essential thing in the art of epistemic rationality is to understand how every rule is cutting through to the truth in the same movement.
Your sword has no blade. It has only your intention. When that goes astray you have no weapon.
Joy in the merely attainable
But the really fundamental problem with desiring the unattainable is that as soon as you actually get it, it stops being unattainable. If we cannot take joy in the merely available, our lives will always be frustrated.
I have failed my art
The novice goes astray and says, âThe art has failed me.â
The master goes astray and says, âI have failed my art."Taboo your words
Albert says that people have âfree will.â Barry says that people donât have âfree will.â Well, that will certainly generate an apparent conflict. Most philosophers would advise Albert and Barry to try to define exactly what they mean by âfree will,â on which topic they will certainly be able to discourse at great length. I would advise Albert and Barry to describe what it is that they think people do, or do not have, without using the phrase âfree willâ at all.
Your map of reality
Reality is very largeâjust the part we can see is billions of lightyears across. But your map of reality is written on a few pounds of neurons, folded up to fit inside your skull. I donât mean to be insulting, but your skull is tiny. Comparatively speaking. Inevitably, then, certain things that are distinct in reality, will be compressed into the same point on your map. But what this feels like from inside is not that you say, âOh, look, Iâm compressing two things into one point on my map.â What it feels like from inside is that there is just one thing, and you are seeing it.
What you're trying to swim
There is an art to using words; even when definitions are not literally true or false, they are often wiser or more foolish. Dictionaries are mere histories of past usage; if you treat them as supreme arbiters of meaning, it binds you to the wisdom of the past, forbidding you to do better. Though do take care to ensure (if you must depart from the wisdom of the past) that people can figure out what youâre trying to swim.
Applause lights
Most applause lights are much more blatant, and can be detected by a simple reversal test.
For example, suppose someone says: We need to balance the risks and opportunities of AI.
If you reverse this statement, you get: We shouldnât balance the risks and opportunities of AI.Since the reversal sounds abnormal, the unreversed statement is probably normal, implying it does not convey new information. There are plenty of legitimate reasons for uttering a sentence that would be uninformative in isolation. âWe need to balance the risks and opportunities of AIâ can introduce a discussion topic; it can emphasize the importance of a specific proposal for balancing; it can criticize an unbalanced proposal. Linking to a normal assertion can convey new information to a bounded rationalistâthe link itself may not be obvious. But if no specifics follow, the sentence is probably an applause light.
Reality just seems to go on crunching
I once met a fellow who thought that if you used General Relativity to compute a low-velocity problem, like an artillery shell, General Relativity would give you the wrong answerânot just a slow answer, but an experimentally wrong answerâbecause at low velocities, artillery shells are governed by Newtonian mechanics, not General Relativity. This is exactly how physics does not work. Reality just seems to go on crunching through General Relativity, even when it only makes a difference at the fourteenth decimal place, which a human would regard as a huge waste of computing power. Physics does it with brute force. No one has ever caught physics simplifying its calculationsâor if someone did catch it, the Matrix Lords erased the memory afterward.
Mystery exists in the mind
Mystery exists in the mind, not in reality. If I am ignorant about a phenomenon, that is a fact about my state of mind, not a fact about the phenomenon itself. All the more so if it seems like no possible answer can exist: Confusion exists in the map, not in the territory. Unanswerable questions do not mark places where magic enters the universe. They mark places where your mind runs skew to reality.
Lost purposes
Thereâs chocolate at the supermarket, and you can get to the supermarket by driving, and driving requires that you be in the car, which means opening your car door, which needs keys. If you find thereâs no chocolate at the supermarket, you wonât stand around opening and slamming your car door because the car door still needs opening. I rarely notice people losing track of plans they devised themselves.
Itâs another matter when incentives must flow through large organizationsâor worse, many different organizations and interest groups, some of them governmental. Then you see behaviors that would mark literal insanity, if they were born from a single mind. Someone gets paid every time they open a car door, because thatâs whatâs measurable; and this person doesnât care whether the driver ever gets paid for arriving at the supermarket, let alone whether the buyer purchases the chocolate, or whether the eater is happy or starving.