Style
Something akin to style
A particular deficiency of which they all partake
Illa de la Discòrdia
The discoveries you make in the making
Style is an expression of the interest you take in the making of every sentence.
It emerges, almost without intent, from your engagement with each sentence.
It's the discoveries you make in the making of the prose itself.Where ambiguity rules, there is no "style"—or anything else worth having.
Pursue clarity instead.
In the pursuit of clarity, style reveals itself.Substance over style
By the 1930s, the teardrop shape, known since the turn of the century to be the form of least resistance, was incorporated into Boeing and Douglas aircraft, and, being the contemporary artifact that best symbolized the future, the airplane set the style for things generally. The most static of mundane objects were streamlined for no functional purpose, and chromed and rounded staplers, pencil sharpeners, and toasters were hailed as the epitome of design.
...Though all design is necessarily forward-looking, all design or design changes are not necessarily motivated by fickle style trends. The best in design always prefers substance over style, and the lasting concept over the ephemeral gimmick.
Style consists in distinction of form
Writing about style in architecture, the nineteenth-century theorist Viollet-le-Duc asserted that "style consists in distinction of form," and complained that animals expressed this better than the human species. He felt that his contemporaries had "become strangers to those elemental and simple ideas of truth which lead architects to give style to their designs," and he found it "necessary to define the constituent elements of style, and, in doing so, to carefully avoid those equivocations, those high-sounding but senseless phrases, which have been repeated with all that profound respect which most people profess for that which they do not understand."
The signature
It has long been understood that striving for originality as an end in itself is the mark of an inferior artist. The personal style of a good artist is never something that has been deliberately cultivated and forced but something that has appeared unsought as inevitably as the personal style of a man's handwriting.
But since artists of note are seen to have a distinct personal style, no artist can hope to make a reputation in a competitive society unless he too can show a distinctive style which easily differentiates his work from that of other artists and draws attention to it. Therefore artists of little capability or uncertain vocation will take great care to make their work look 'different', whereas those with any certainty in them will know that their work cannot help but look different from that of other people any more than signatures can.
It is worth reflecting that the fact of the unmistakable individuality of each man's signature is one foundation of modern commerce everywhere. To establish the individuality of it one need not write it vertically up the page in letters two inches high. And yet there are only twenty six letters, and everyone else uses them too.
An engine of technological difference
Whether at the level of national "technological styles" that shape and differentiate the nature of "same" technologies in different national contexts, or the simple but consequential variations by which industrial commodities are brought into, enlivened, and sustained within the circumstances of individual homes and lives, repair may constitute an important engine by which technological difference is produced and fit is accomplished.
A concept of style
It is a concept based not on the classification of various physical features of architecture and urban design but on the problem-solving process itself. We have seen that the final outcome of a design process is strongly determined by at least three aspects of that process:
- the subject matter of the organizing principles which are adopted,
- the manner in which these principles are interpreted and reinterpreted in the context of the problem at hand, and
- the sequent of applying such organizing principles.
Consistency in style among the output of designers can thus be understood as a habitual way of doing things, of solving problems.
Style is not separate from substance
Young writers often suppose that style is a garnish for the meat of prose, a sauce by which a dull dish is made palatable. Style has no such separate entity; it is nondetachable, unfilterable. The beginner should approach style warily, realizing that it is an expression of self, and should turn resolutely away from all devices that are popularly believed to indicate style - all mannerisms, tricks, adornments. The approach to style is by way of plainness, simplicity, orderliness, sincerity.
The young writer should learn to spot them - words that at first glance seem freighted with delicious meaning but that soon burst in air, leaving nothing but a memory of bright sound.
Eyes which do not see
Our epoch is fixing its own style day by day. It is there under our eyes—Eyes which do not see.
All the work of an epoch
Style is a unity of principle animating all the work of an epoch, the result of a state of mind which has its own special character.
Our own epoch is determining, day by day, its own style.
Our eyes, unhappily, are unable yet to discern it.Shoes
It was perhaps a pedantic matter over which to come to such a decision, but shoes are supreme symbols of aesthetic, and hence by extension psychological, compatibility. Certain areas and coverings of the body say more about a person than others: shoes suggest more than pullovers, thumbs more than elbows, underwear more than overcoats, ankles more than shoulders.
Controlled!
Braun design is greatly reduced - stripped of all that is unnecessary. Nevertheless, there is a strong aesthetic characterized by balance, order and harmony.
Self-control is very important. Although my own taste is involved it always has to be under control. Not suppressed though! Controlled!
When design gets too easy
Design has invariably exhibited styles because some clear limitations on freedom of choice are psychologically necessary to nearly all designers. When design gets too easy it becomes difficult.
Who did the teaching, then?
It has been contended sometimes that our response to works of art is entirely learnt and in no way innate; but the questions 'Who did the teaching, then? and how?' have not, I fancy, been much investigated. This contention is very true of our responses to styles and fashions, but it is not true of our response to beauty.
Typography exists to honor content
In a world rife with unsolicited messages, typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn. Typography with anything to say therefore aspired to a kind of statuesque transparency. Its other traditional goal is durability: not immunity to change, but a clear superiority to fashion. Typography at its best is a visual form of language linking timelessness and time.
Typographic style
Literary style, says Walter Benjamin, “is the power to move freely in the length and breadth of linguistic thinking without slipping into banality.” Typographic style, in this large and intelligence sense of the word, does not mean any particular style – my style or your style, or Neoclassical or Baroque style – but the power to move freely through the whole domain of typography, and to function at every step in a way that is graceful and vital instead of banal.
No-nonsense
Admittedly, though, however alert and aware I felt, I was probably more aware of the effects the lecture seemed to be having on me than of the lecture itself, much of which was over my head, and yet was almost impossible to look away from or not feel stirred by. This was partly due to the substitute's presentation, which was rapid, organized, undramatic, and dry in the way of people who know that what they are saying is too valuable in its own right to cheapen with concern about delivery or 'connecting' with the students. In other words, the presentation had a kind of zealous integrity that manifested not as style but as the lack of it. I felt that I suddenly, for the first time, understood the meaning of my father's term 'no-nonsense', and why it was a term of approval.
A Search for Structure
A Book by Cyril Stanley SmithThe Art of Looking Sideways
A Book by Alan FletcherCover art for Alan Fletcher's wonderfully expansive commonplace book.
Dieter Rams: As Little Design as Possible
A Book by Sophie Lovell & Dieter RamsThe Design of Design
A Book by Frederick P. Brooks, Jr.The Nature and Art of Workmanship
A Book by David PyeThe Craftsman
A Book by Richard SennettThe Nature and Aesthetics of Design
A Book by David PyeUI and Capability
An Article by Ryan SingerI’m very conscious of whether I am affording a feature or styling it. It’s important to distinguish because they look the same from a distance.
...Affording a capability and styling it are both important. But it’s essential to know which one you are doing at a given time. Style is a matter of taste. Capability and clarity are not. They are more objective. That person standing at the edge of the chasm cares more about accomplishing their task than the details of the decor.
Whomst styles?
An Article by Robin SloanThis is a “whostyle”: an attempt to carry the ~timbre~ of an author’s voice, in the form of their design sensibility, through into a quotation. It’s the author who defines their whostyle; the quoting site just honors it, a frame around their words.
I think the whostyle makes a few arguments. Among them:
- Text is more than a string of character codes. Its design matters, typography and layout alike; these things support (or subvert!) its affect, argument, and more.
- The web should be more colorful and chaotic, along nearly every dimension. The past five years have brought a flood of new capabilities, hugely expressive — let’s use them!
- Quoting is touchy, and anything you can do to cushion it with respect and hospitality is a plus.
Design System as Style Manual With Web Characteristics
An Article by Dorian TaylorIn my opinion, what makes a designer competent is precisely their ability to credibly justify their conclusions. If you can’t do this as a designer—no matter how successful your results are—then neither I nor anybody else can tell if you aren’t just picking things at random.
What I am proposing, then, is no less than to make a designer’s entire line of reasoning a matter of permanent record. On the surface is the familiar set of prescriptions, components, examples and tutorials, like you would expect out of any such artifact. Attached to every element, though, is a little button that says You click it, and it tells you. The proximate explanation will probably not be very satisfying, so you click on the next until you get to the end, at which point you are either satisfied with the explanation, or you aren’t.
The Art of Doing Science and Engineering: Learning to Learn
The Art of Doing Science and Engineering is the full expression of what "You and Your Research" outlined. It's a book about thinking; more specifically, a style of thinking by which great ideas are conceived.
Gifts of knowledge to humanity
There are many commonalities we can admire in these endeavors: the dazzling leap of imagination, the broad scope of applicability, the founding of a new paradigm. But let’s focus here on their form of distribution. These are all things that are taught. To “use” them means to learn them, understand them, internalize them, perform them with one’s own hands. They are free to any open mind.
In Hamming’s world, great achievements are gifts of knowledge to humanity.
Hamming-greatness
Hamming-greatness is tied, inseparably, with the conception of science and engineering as public service. This school of thought is not extinct today, but it is rare, and doing such work is not impossible, but fights a nearly overwhelming current.
It cannot be taught in words
How to be a great painter cannot be taught in words; one learns by trying many different approaches that seem to surround the subject. Art teachers usually let the advanced student paint, and then make suggestions on how they would have done it, or what might also be tried, more or less as the points arise in the student’s head—which is where the learning is supposed to occur!
Preparing for problems
I firmly believe in Pasteur’s remark, “Luck favors the prepared mind.” In this way I can illustrate how the individual’s preparation before encountering the problem can often lead to recognition, formulation, and solution.
Student's future, not teacher's past
Teachers should prepare the student for the student’s future, not for the teacher’s past.
If you know what you are doing
In science, if you know what you are doing, you should not be doing it.
In engineering, if you do not know what you are doing, you should not be doing it.The homogeneity of knowledge
The standard process of organizing knowledge by departments, and sub-departments, and further breaking it up into separate courses, tends to conceal the homogeneity of knowledge, and at the same time to omit much which falls between the courses.
Another goal of the course is to show the essential unity of all knowledge rather than the fragments which appear as the individual topics are taught. In your future anything and everything you know might be useful, but if you believe the problem is in one area you are not apt to use information that is relevant but which occurred in another course.
An information service society
Society is steadily moving from a material goods society to an information service society. At the time of the American Revolution, say 1780 or so, over 90% of the people were essentially farmers—now farmers are a very small percentage of workers.
What will the situation be in 2020? As a guess I would say less than 25% of the people in the civilian workforce will be handling things; the rest will be handling information in some form or other. In making a movie or a tv program you are making not so much a thing, though of course it does have a material form, as you are organizing information.
From hands to machines
It has rarely proved practical to produce exactly the same product by machines as we produced by hand. Mechanization requires you produce an equivalent product, not identically the same one.
A matter of choice and balance
More than ever before, engineering is a matter of choice and balance rather than just doing what can be done. And more and more it is the human factors which will determine good design—a topic which needs your serious attention at all times.
Central planning gives poor results
Central planning has been repeatedly shown to give poor results (consider the Russian experiment, for example, or our own bureaucracy). The persons on the spot usually have better knowledge than can those at the top and hence can often (not always) make better decisions if things are not micromanaged.
"Real programmers"
At the time the Symbolic Assembly Program (SAP) first appeared I would guess about 1% of the older programmers were interested in it—using SAP was “sissy stuff,” and a real programmer would not stoop to wasting machine capacity to do the assembly.
Using your own expertise
Almost all professionals are slow to use their own expertise for their own work. The situation is nicely summarized by the old saying, “The shoemaker’s children go without shoes.”
History tends to be charitable
History tends to be charitable. It gives credit for understanding what something means when we first do it. But there is a wise saying, “Almost everyone who opens up a new field does not really understand it the way the followers do.”
The reason this happens so often is the creators have to fight through so many dark difficulties, and wade through so much misunderstanding and confusion, they cannot see the light as others can, now the door is open and the path made easy.
Mass production of variable products
Computers have opened the door much more generally to the mass production of a variable product, regardless of what it is: numbers, words, word processing, making furniture, weaving, or what have you. They enable us to deal with variety without excessive standardization, and hence we can evolve more rapidly to a desired future!
Thinking is a matter of degree
Perhaps “thinking” is not a yes/no thing, but maybe it is a matter of degree.
Making coal miners into programmers
Many humans at present are not equipped to compete with machines—they are unable to do much more than routine jobs. There is a widespread belief (hope?) that humans can compete, once they are given proper training. However, I have long publicly doubted you could take many coal miners and make them into useful programmers.
A minimum size to fish
There is the famous story by Eddington about some people who went fishing in the sea with a net. Upon examining the size of the fish they had caught, they decided there was a minimum size to the fish in the sea! Their conclusion arose from the tool used and not from reality.
Spelled with a lowercase letter
I used to tease John Tukey that you are famous only when your name was spelled with a lowercase letter such as watt, ampere, volt, fourier (sometimes), and such.
Why it can't be done
Moral: when you know something cannot be done, also remember the essential reason why, so later, when the circumstances have changed, you will not say, “It can’t be done.”
When you decide something is not possible, don’t say at a later date it is still impossible without first reviewing all the details of why you originally were right in saying it couldn’t be done.
Intellectual shelf life
Let lab equipment lie idle for some time, and suddenly it will not work properly! This is called “shelf life,” but it is sometimes the shelf life of the skills in using it rather than the shelf life of the equipment itself! I have seen it all too often in my direct experience. Intellectual shelf life is often more insidious than is physical shelf life.
Beware of jargon
Beware of jargon—learn to recognize it for what it is, a special language to facilitate communication over a restricted area of things or events. But it also blocks thinking outside the original area it was designed to cover. Jargon is both a necessity and a curse.
You cannot consume what is not produced
The only law of economics that I believe in is Hamming’s law: “You cannot consume what is not produced.” There is not another single reliable law in all of economics I know of which is not either a tautology in mathematics or else sometimes false.
I walked the crest of the dune
Thus piece by piece I walked the crest of the dune, and each time the solution slipped on one side or the other I knew what to do to get back on the track.
God loved sand
“God loved sand, He made so much of it.” I heard, inside myself, that we were already having to exploit lower-grade copper mines, and could only expect to have an increasing cost for good copper as the years went by, but the material for glass is widely available and is not likely to ever be in short supply.
The Hawthorne effect
At the Hawthorne plant of Western Electric, long, long ago, some psychologists were trying to improve productivity by making various changes in the environment. They painted the walls an attractive color, and productivity rose. They made the lighting softer, and productivity rose. Each change caused productivity to rise. One of the men got a bit suspicious and sneaked a change back to the original state, and productivity rose! Why? It appears that when you show you care, the person on the other end responds more favorably than if you appear not to care. The workers all thought the changes were being made for their benefit and they responded accordingly. In the field of education, if you tell the students you are using a new method of teaching, then they respond by better performance, and so, incidentally, does the professor. A new method may or may not be better, indeed it may be worse, but the Hawthorne effect, which is not small in the educational area, is likely to indicate that here is a new, important, improved teaching method. It hardly matters what the new method is; its trial will produce improvements if the students perceive it as being done for their benefit.
What you learn for yourself
What you learn from others you can use to follow;
What you learn for yourself you can use to lead.The unreasonable effectiveness of mathematics
We now see that all this “truth” which is supposed to reside in mathematics is a mirage. It is all arbitrary, human conventions.
But we then face the unreasonable effectiveness of mathematics. Having claimed there was neither “truth” nor “meaning” in the mathematical symbols, I am now stuck with explaining the simple fact that mathematics is used and is an increasingly central part of our society, especially in science and engineering. We have passed from absolute certain truth in mathematics to the state where we see there is no meaning at all in the symbols—but we still use them! We put the meaning into the symbols as we convert the assumptions of the problem into mathematical symbols, and again when we interpret the results. Hence we can use the same formula in many different situations—mathematics is sort of a universal mental tool for clear thinking.
What can be put into words
It is not evident, though many people, from the early Greeks on, implicitly act as if it were true, that all things, whatsoever they may be, can be put into words—you could talk about anything: the gods, truth, beauty, and justice. But if you consider what happens in a music concert, then it is obvious that what is transmitted to the audience cannot be put into words—if it could, then the composer and musicians would probably have used words. All the music critics to the contrary, what music communicates cannot (apparently) be put into words. Similarly, but to a lesser extent, for painting. Poetry is a curious field where words are used but the true content of the poem is not in the words!
Initial psychological distance
Creativity seems, among other things, to be “usefully” putting together things which were not perceived to be related before, and it may be the initial psychological distance between the things which counts most.
Tossing an idea around
Can we do anything to increase creativity? There are training courses, and books, as well as “brainstorming sessions” which are supposed to do this. Taking the brainstorming sessions first, while they were very fashionable at one time, they have generally been found to be not much good when formally done, when a brainstorming session is carefully scheduled. But we all have had the experience of “tossing an idea around” with a friend, or a few friends (but not a large group, generally), from which insight, creativity, or whatever you care to call it, arises and we make progress.
Prepare your mind for the future
Probably the most important tool in creativity is the use of an analogy. Something seems like something else which we knew in the past. Wide acquaintance with various fields of knowledge is thus a help—provided you have the knowledge filed away so it is available when needed, rather than to be found only when led directly to it. This flexible access to pieces of knowledge seems to come from looking at knowledge while you are acquiring it from many different angles, turning over any new idea to see its many sides before filing it away. This implies effort on your part not to take the easy, immediately useful “memorizing the material” path, but to prepare your mind for the future.
Stuck with a problem
If you cannot drop a wrong problem, then the first time you meet one you will be stuck with it for the rest of your career.
Experts and impossibility
If an expert says something can be done he is probably correct, but if he says it is impossible then consider getting another opinion.
Always time to fix it later
As the saying goes:
There is never time to do the job right, but there is always time to fix it later,
especially in computer software!
The average adult
Averages are meaningful for homogeneous groups (homogeneous with respect to the actions that may later be taken), but for diverse groups averages are often meaningless. As earlier remarked, the average adult has one breast and one testicle.
Solution to evaluation and back again
A second reason the systems engineer’s design is never completed is the solution offered to the original problem usually produces both deeper insight and dissatisfactions in the engineers themselves.
Furthermore, while the design phase continually goes from proposed solution to evaluation and back again and again, there comes a time when this process of redefinement must stop and the real problem be coped with—thus giving what they realize is, in the long run, a suboptimal solution.
The heart of systems engineering
While the client has some knowledge of his symptoms, he may not understand the real causes of them, and it is foolish to try to cure the symptoms only. Thus while the systems engineers must listen to the client, they should also try to extract from the client a deeper understanding of the phenomena. Therefore, part of the job of a systems engineer is to define, in a deeper sense, what the problem is and to pass from the symptoms to the causes.
Just as there is no definite system within which the solution is to be found, and the boundaries of the problem are elastic and tend to expand with each round of solution, so too there is often no final solution, yet each cycle of input and solution is worth the effort. A solution which does not prepare for the next round with some increased insight is hardly a solution at all.
I suppose the heart of systems engineering is the acceptance that there is neither a definite fixed problem nor a final solution, rather evolution is the natural state of affairs. This is, of course, not what you learn in school, where you are given definite problems which have definite solutions.