The decoration of our classical interiors was decidedly regular in its arrangement. The Taoist and Zen conception of perfection, however, was different. The dynamic nature of their philosophy laid more stress upon the process through which perfection was sought than upon perfection itself. True beauty could be discovered only by one who mentally completed the incomplete. The virility of life and art lay in its possibilities for growth. In the tea room it is left for each guest in imagination to complete the total effect in relation to himself. Since Zennism has become the prevailing mode of thought, the art of the extreme Orient has purposely avoided the symmetrical as expressing not only completion, but repetition.
The Macintosh team came to share Jobs's passion for making a great product, not just a profitable one. "Jobs thought of himself as an artist, and he encouraged the design team to think of ourselves that way too," said Hertzfeld. "The goal was never to beat the competition, or even to make a lot of money. It was the do the greatest thing possible, or even a little greater." He once took the team to see an exhibit of Tiffany glass at the Metropolitan Museum in Manhattan because he believed they could learn from Louis Tiffany's example of creating great art that could be mass-produced. Recalled Bud Tribble, "We said to ourselves, 'Hey, if we're going to make things in our lives, we might as well make them beautiful.'"
In so many ways Dieter Rams’s work is beyond improvement. Although new technologies have since offered new opportunities, his designs are not undermined by the limits of the technologies of their time. The concave button top, designed to stop your finger from slipping as it made the long travel necessary for earlier mechanical switches, does not point to obsolete mechanisms. Instead, it reminds us how immediately and intuitively form alone can describe what an object does and suggest how we should use it.
There is a particular joy in a product that just does what you need done, in about the way you expect or (thrillingly) better, and isn’t hard to figure out, and doesn’t change unnecessarily. Here are three to learn from.
When nothing disturbs me and I have no idea what to do more, what I could add or destroy. This is very surprising, often, when I’m painting, again and again, every day and it feels like it is never-ending […] and it will never become a good painting. And suddenly, it’s finished. Oh! Good. Thanks.
We 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.
(1) Record your work as notes to your future self and colleagues.
Write notes so that someone fifty years from now (or more) will understand and be able to use the factual information you collected, perhaps for purposes quite different from the original reasons.
Clearly separate facts from interpretations so these are not confusing to a future reader.
(2) Establish a clear and consistent notebook format and process.
I always include the data, place, main activities or events, weather conditions, and other people involves. The day, month, and year is the most important link between that particular point in time and other people’s records, separate data sheets that I filled out myself, photos, and most important, collected specimens.
Documenting collecting strategies and protocols receives special attention. In the moment, these may seem like common knowledge for the field team, so sometimes no one bothers to write them out.
(3) Don’t lose your field records!
(4) Pack a camera, create a visual record.
No matter how many words you write to describe a fossil locality, you can’t beat an actual photo, taken on the spot, annotated in pen, and pasted into your notebook.
There is no substitute for a photograph you actually mark in “real time” in the field as the best way to preserve a lasting, accurate record for yourself, or for someone who has never seen the site or object in question.
(5) Learning through sketches and diagrams.
Photographs are great, but drawn what you see is a more powerful way to learn about spatial patterns and relationships.
Even if you are not an expert at drawing, you can make sketches that are much more informative than words would be.
Always include a scale, an orientation, and labels in your diagrams.