The argument carried on in a sphere We need not allow ourselves to be abashed by any suggestion that the old metaphors are out of date and ought to be superseded. We have only to remember that they are, and always were, metaphors, and that they are still “living” metaphors so long as we use them to interpret direct experience. Metaphors only become dead when the metaphor is substituted for the experience, and the argument carried on in a sphere of abstraction without being at every point related to life. Dorothy Sayers, The Mind of the Maker metaphor
Only in terms of other things No legislation could prevent the making of verbal pictures: God walks in the garden, He stretches out His arm, His voice shakes the cedars, His eyelids try the children of men. To forbid the making of pictures about God would be to forbid thinking about God at all, for man is so made that he has no way to think except in pictures. But continually, throughout the history of the Jewish-Christian Church, the voice of warning has been raised against the power of the picture-makers: “God is a spirit”, “without body, parts or passions”; He is pure being, “I AM THAT I AM”. The fact is, that all language about everything is analogical; we think in a series of metaphors. We can explain nothing in terms of itself, but only in terms of other things. Dorothy Sayers, The Mind of the Maker Metaphors We Live ByYou only understand something relative to something you already understand metaphoranalogy
A renaming of the already named A true metaphor is a swift and violent twisting of language, A renaming of the already named. It's meant to expire in a sudden flash of light And to reveal—in that burst of illumination— A correspondence that must be literally accurate. Verlyn Klinkenborg, Several Short Sentences About Writing metaphornames
The door handle is the handshake of a building Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses What is this static modernism? metaphordoorsinteraction
The strange familiar and the familiar strange The problem solver, when confronted with a new and yet unsolved problem, overlays the structure of the unsolved problem with an apparently similar problem with which he or she is experienced. Making the strange familiar and the familiar strange are also principally based on the use of analogy. Peter G. Rowe, Design Thinking metaphoranalogy
An emblem of friendship Bridges make connections; they bring people together—a role that has made them a traditional emblem of friendship. Consider the town of Mostar in Bosnia-Herzegovina. When fighting between ethnic factions broke out there in the 1990s, nothing symbolized the social disintegration more clearly than the destruction of a sixteenth-century stone-arch bridge that had linked the two parts of the town on opposite banks of the Neretva River. And the emblem of efforts to heal the divisions is a rebuilt bridge, opened with fireworks and fanfare in July of 2004. Brian Hayes, Infrastructure: A Guide to the Industrial Landscape metaphorarchitectureengineering
Metaphors We Web By An Essay by Maggie Appleton maggieappleton.com As George Lakoff and Mark Johnson made clear in their touchstone book Metaphors We Live By, metaphors are the basis of all human thought and reasoning. The metaphors we use to speak about the web are not simply linguistic trivia – they determine how we understand it on a fundamental level. It determines what we think the web is capable of, what risks, opportunities, and challenges it poses. Which means the metaphors we use to think about the web profoundly influence what we think the web is, what we think we can do with it, and how we might change or evolve it. …Out of all of these metaphors [for the web], the two most enduring are paper and physical space. Metaphors We Live ByMenus, Metaphors and Materials: Milestones of User Interface Design metaphorwww
Websites are not living rooms and other lessons for information architecture An Essay by Sarah R. Barrett medium.com While there is a lot that IA can learn from actual architecture or city planning, websites aren’t buildings or cities, and they don’t have to work like them. Instead, they should be designed according to the same principles that people’s brains expect from physical experiences. informationsoftwaremetaphor
Negative Creativity An Article by Scott Alexander slatestarcodex.com Coming up with entirely novel ideas is really, really hard. Misinterpretation as inspirationSit Down And Think About It For Five Minutes ideascreativitymetaphor
The Interpretation of Microstructures of Metallic Artifacts An Essay from A Search for Structure by Cyril Stanley Smith The meaning of objectsSomething akin to styleFrom the head of JoveThe objects themselves speak loudlyThe way it has been made+1 More
Something akin to style My own attitude toward the microstructure of metals is not unlike that of an art historian regarding a painting or sculpture. There is something akin to style even in a photomicrograph. There are aspects of structure that are not immediately apparent to the untrained eye, and quite minor features may be clues to a deep meaning. style
From the head of Jove A complex structure is a result of, and to a large extent a record of, its past. Though a proton and an electron may, as a pair, be able to spring full-panoplied from the head of Jove, more complex things cannot, or at least do not. Everything complicated must have had a history, and its internal structural features arise from its history and provide a specific record of it. One might call these structural details of memory “funeous,” after the unfortunate character in Borge’s story “Funes the Memorious” who remembered everything. What the advancing interface leaves behind memorytimestructurematerial
The objects themselves speak loudly The written record is very little help in determining the techniques used by ancient metalworkers, though the objects themselves speak loudly to an educated ear.
The way it has been made The internal structure of a work of art in metal can often throw as much, or more, light on its origin as can be derived from stylistic analysis. Moreover, the techniques employed can provide clues to the habits of mind of the people who originated them. …Perhaps the most important reason for structural studies of museum objects is that the intimate knowledge so derived as to the way in which an object has been made adds so greatly to the aesthetic enjoyment of it. Very often some detail and sometimes the whole of an effective design arises directly in the exploitation of the merits and the overcoming of the difficulties of a specific technique, in the reaction between the artist’s fingers and his material. historytechniquemakingobjects
Aesthetically motivated curiosity It seems that the first and most imaginative use of practically every material was, before quite modern times, in making something decorative. People are experimentally minded when looking for decorative effects, but they can’t experiment with the established techniques on which their livelihood depends. / It is of basic significance for human history that, from the cave paintings on, almost all inorganic materials and treatments of them to modify their structure appear first in decorative objects rather than in tools or weapons necessary for survival. Aesthetically motivated curiosity, or perhaps just play, seems to have been the most important stimulus to discovery. materialexperiments