Tools

Take Heidegger’s notion of "tool-being", built around the central distinction between tools that are “ready-to-hand” versus "present-at-hand".

In the former state, technologies function as anticipated, do and stay where they’re supposed to, and therefore sink below the level of conscious reflection. In the latter, the material world resists, obstructs, or frustrates action, and therefore calls attention to itself (precisely because we must now work to figure out and overcome barriers in our no-longer seamless world).

Jobs wanted to sell Pixar’s computers to a mass market, so he had the Pixar folks open up sales offices—for which he approved the design—in major cities, on the theory that creative people would soon come up with all sorts of ways to use the machine. “My view is that people are creative animals and will figure out clever new ways to use tools that the inventor never imagined.”

When we’re thinking about where to take our product next, we actually take a lot of inspiration from our customers and the Figma Community, to see how they’re stretching our product in interesting or unexpected ways. We saw this happening in the early days of the pandemic. Our users were starting to use Figma for everything from brainstorming ideas to running team warm-up activities, to even putting on social events for people to get to know each other. We saw a lot of use cases that got us thinking.

Specialized tools like bench shears have proliferated throughout history in part because craftsmen necessarily do the same task with the same tool over and over. After a while, the task becomes routine, and the craftsman is able to perform it with predictable skill. The most creative of artisans is frequently one who, in the midst of routine, pays attention to the details of the work and the tools that effect that work, and so it is that the reflective craftsman develops ideas for new and improved tools in the course of working with those that he perceives to limit his achievement or efficiency.

Through the ages, the professional users of tools by and large have not needed to, been able to, or wanted to talk to outsiders about their implements. They did not need to because tools themselves are used to make other tools, and thus users could very often fashion a new tool with their old ones. If they did need to communicate the design for a new tool to someone outside their trade, they could do so without having to reveal the tool’s intended use…Besides, the inventive process of conceiving a new tool was often a nonverbal one. Finally, craftsmen were unwilling to share information about their specialized tools because to do so would have been to give up their competitive edge and their value to those outside the craft.

I’ve been doing this for decades, so I’ve found tools that can’t get any better. Tools by a good blacksmith cut well for the entire day, as well as the next; occasionally, even on the third day. I’ll think, maybe I should sharpen soon, even though it’s still cutting okay.

So that’s what it’s like — it’s all about how good your tools are.

In his piece [for Time] Lev Grossman correctly noted that the iPhone did not really invent many new features, it just made those features a lot more usable. “But that’s important. When our tools don’t work, we tend to blame ourselves, for being too stupid or not reading the manual or having too-fat fingers…When our tools are broken, we feel broken. And when somebody fixes one, we feel a tiny bit more whole.”

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.

Tatiana von Preussen, cofounder of London practice vPPR Architects, says that certain software comes with constraints that encourage a particular style:

“Something I’ve noticed with new buildings is that you can almost tell which software they were designed in. For instance, if you take Revit, it’s very hard to freely create non-orthogonal, non-linear geometries, and it’s very easy to create repetitive elements, so it lends itself to a particular way of building.”

I worry that unlike Kahn’s process and tools, the processes and tools we use are aimed at helping us satisfy the demand for moving fast and breaking things, not to be good, or to better ensure the doing of good work.

My son Gerrit told me about a YouTube video from a conference where the presenter asked for a show of hands from video game developers in the audience who could produce or successfully compile their own code from the previous quarter. Or from the previous year. Or from two years ago. And by that time the point had been made: nobody had their hand in the air.

The teleology of tool-building suggests that the real value lies in the end use of the tool, rather than in its origins

Computer imaging tends to flatten our magnificent, multi-sensory, simultaneous and synchronic capacities of imagination by turning the design process into a passive visual manipulation, a retinal journey. The computer creates a distance between the maker and the object, whereas drawing by hand as well as working with models put the designer in a haptic contact with the object, or space.

Our electrical appliances should be humble servants, to be seen and heard as little as possible. They should ideally stay in the background, like a valet in the old days, that one hardly noticed. — Erwin Braun

They should accompany an individual over a long period of time without hindering or disturbing through ‘extravagant forms, loud colors or flashy proportions’.

A young man named Michelangelo stands in front of a huge granite monolith. He stands there at a time in history before the technologies that brought us the hammer and chisel have occurred. He gazes at the rock. He dreams his dream and the best that he is able to say is, What a wonderful stone you are.

…

Michaelangelo now stands in front of the same rock. Thrust into his hands are a hammer in one and a chisel in the other. He looks at his hands, at the technological tools that they hold, and gazing at the same stone, with epiphanic zeal, says I must let Moses out.

The man of today planes to perfection a board with a planing machine in a few seconds. The man of yesterday planed a board reasonably well with a plane. Very primitive man squared a board very badly with a flint or a knife. Very primitive man employed a unit of measurement and regulating lines in order to make his task easier. The Greek, the Egyptian, Michaelangelo or Blondel employed regulating lines in order to correct their work and for the satisfaction of their artist’s sense and of their mathematical thought. The man of today employs nothing at all and the result is the boulevard Raspail.

It is not right that we should produce bad things because of a bad tool; nor is it right that we should waste our energy, our health and our courage because of a bad tool; it must be thrown away and replaced.

But men live in old houses and they have not yet thought of building houses adapted to themselves.

Here’s the crux of the problem: When something is easy, people will do more of it.

When you produce your whole site by hand, from HEAD to /BODY, you begin in a world of infinite possibility. You can tailor your content exactly how you like it, and organize it in any way you please. Every design decision you make represents roughly equal work because, heck, you’ve gotta do it by hand either way. Whether it’s reverse chronological entries or a tidy table of contents. You might as well do what you want.

But once you are given a tool that operates effortlessly — but only in a certain way — every choice that deviates from the standard represents a major cost.

Movable Type didn’t just kill off blog customization.

It (and its competitors) actively killed other forms of web production.

The myriad tools of the digital age that provide quick ways to capture words, images, and data have added to the perception that handwritten field notebooks are passé. As someone who routinely encounters objects that can speak to us over millions of years, I may have a bias towards things that have stood the test of time. That said, it is clear that there is still much to recommend preserving records and information in traditional paper field notes.

Over the course of my career, I have developed a habitual field note protocol in which a paper notebook is used both to record information and to integrate records made on standardized data sheets, in computer files, and in photographs.

I read an article when I was very young in Scientific America. It measured the efficiency of locomotion for various species on the planet — you know, for bears and chimpanzees and raccoons and birds and fish — how many kilocalories per kilometer did they spend to move? And humans were measured too. And the condor won, it was the most efficient. And mankind, the crown of creation, came in with rather an unimpressive showing about a third of the way down the list.

But somebody there had the brilliance to test a human riding a bicycle, and it blew away the condor, all the way off the charts. And I remember this really had an impact on me, I remember thinking that humans are tool builders, and we build tools that can dramatically amplify our innate human abilities.

And to me — we actually ran an ad like this, very early at Apple — the personal computer is the bicycle of the mind. And I believe that with every bone in my body, that of all the inventions of humans, the computer is going to rank near if not at the top as history unfolds and we look back. It is the most awesome tool that we have ever invented, and I feel incredibly lucky to be at exactly the right place in Silicon Valley, at exactly the right time where this invention has taken form.

Getting better at using tools comes to us, in part, when the tools challenge us, and this challenge often occurs just because the tools are not fit-for-purpose. In both creation and repair, the challenge can be met by adapting the form of a tool, or improvising with it as it is, using it in ways it was not meant for.

The all-purpose tool seems a special case. In its sheer variety, a flat-edged screwdriver admits all manner of unfathomed possibilities; it, too, can expand our skills if only our imagination rises to the occasion. Without hesitation, the flat-edged screwdriver can be described as sublime—the word sublime standing, as it does in philosophy and the arts, for the potently strange.

The resonances arising in workmanship are often very subtle. The fact that the material itself guides the tool differently in different processes of working introduces changes in the overall relationship of curvatures. The smooth curves of surfaces approaching the edge of a jade axe that come about from innumerable abrasive particles moving against a slightly yielding and mechanically unconstrained backing would seem incongruous if other surfaces or outlines were present that had come from cleavage or from the geometric motions of a machine. These could be produced easily enough, but the eye would not establish larger resonances among them.

The success and spread of a particular tool – and this tool can be organizational or administrative as well as mechanical – has another consequence. Any task tends to be structured by the available tools. It can appear that the available tools represent the best or even the only way to deal with a situation.

Thus is may be wise, when communities are faced with new technological solutions to existing problems, to ask what these techniques may prevent and not only to check what the techniques promise to do.