The nineteenth century saw an increasing separation between the treatment of the surface and the structure of designed objects. Mass production and a mobile market economy encouraged the production of heavily ornamented yet cheaply fabricated products. Affordable manufacture allowed the burgeoning middle class to acquire “luxury” goods fashioned after objects formerly reserved for an elite.
Put together with odd bits of the useless Clarice, a survivors’ Clarice was taking shape, all huts and hovels, festering sewers, rabbit cages. And yet, almost nothing was lost of Clarice’s former splendor; it was all there, merely arranged in a different order, no less appropriate to the inhabitants’ needs than it had been before.
The idea of overlap, ambiguity, multiplicity of aspect, and the semilattice are not less orderly than the right tree, but more so. They represent a thicker, tougher, more subtle and more complex view of structure.
Most objects which we are accustomed to call beautiful, such as a painting or a tree, are single-purpose things, in which, through long development or the impress of one will, there is an intimate, visible linkage from fine detail to total structure.
The resistant virtues of the structure that we make depend on their form; it is through their form that they are stable and not because of an awkward accumulation of materials. There is nothing more noble and elegant from an intellectual viewpoint than this; resistance through form.
Slack embodied the belief, so common in Silicon Valley, that the best product would win in the end. “Building a product that allows for significant improvements in how people communicate requires a degree of thoughtfulness and craftsmanship that is not common in the development of enterprise software,” the company wrote in its open letter to Microsoft. “How far you go in helping companies truly transform to take advantage of this shift in working is even more important than the individual software features you are duplicating.”
And yet, if there’s a lesson of the past four years, it’s that thoughtfulness and craftsmanship only got the company about 10 percent as far as Microsoft did by copy-pasting Slack’s basic design. In its open letter, Slack famously told Microsoft: “You’ve got to do this with love.” In 2020, looking at Slack’s size, the idea seems laughable. What’s love got to do with it?