But, the things that we make are more than just objects. They’re the way we paint pictures of what’s to come. […] They come from the friction between the world we live in and the one we want to live in by building on top of our longings and exemplifying our capabilities.
What is the marker of good design? It moves. The story of a successful piece of design begins with the movement of its maker while it is being made, and amplifies by its publishing, moving the work out and around. It then continues in the feeling the work stirs in the audience when they see, use, or contribute to the work, and intensifies as the audience passes it on to others. Design gains value as it moves from hand to hand; context to context; need to need. If all of this movement harmonizes, the work gains a life of its own, and turns into a shared experience that enhances life and inches the world closer to its full potential.
We use design to close the gap between the situation we have and the one we desire.
Education, just like climbing the ladder, must be balanced between How and Why. We so quickly forget that people, especially children, will not willingly do what we teach them unless they are shown the joys of doing so.
I can imagine the excitement in the room when Stradivari would hand his newest violin to a skilled musician, because the violinist would unlock the instrument’s full potential by playing it. The products of design, like Stradivari’s violins, possess an aspect that can only be revealed through their use.
Objectives guide the process toward an effective end, but they don’t do much to help one get going. In fact, the weight of the objectives can crush the seeds of thought necessary to begin down an adventurous path.
I find the best way to gain momentum is to think of the worst possible way to tackle the project. Quality may be elusive, but stupidity is always easily accessible; absurdity is fine, maybe even desired.
Picasso, during his Blue Period, painted only monochromatically. Limitations allow us to get to work without having to wait for a muse to show up. Instead, the process and the limitations suggest the first few steps; after that, the motion of making carries us forward.
Design can speak the tongue of art with the force of commerce.
Every jazz club or improv comedy theater is a temple to the process of production. It’s a factory, and the art is the assembly, not the product. Jazz is more verb than noun.
The best is often when nothing is happening.
[…] Our lives happen between
the memorable.
I don’t understand the need for trickery or some new way of arranging words on a page. You’re allowed to do that. You’re allowed to write all kinds of poetry, but there’s a whole world out there.
Unfortunately, we found the Greece we knew was no longer there. Our Greece was wonderfully bucolic. Very quiet, peaceful, slow, friendly—farmers plowing, a couple of men in small boats, almost no electronics. A civilization that lasted four hundred years is gone now. Gone the way Paris is gone, the way Italy is gone. All gone. Everything that I dreamed of is gone. It was such a blessing to get over there when it still was. All of the things that I loved were on the brink of disappearing without my knowing it. You can’t go to Paris anymore; it’s not there. Greece and Japan aren’t there anymore. The places I’ve loved no longer exist.
To celebrate life, but not in a way that ignores its complexity.
Spending time among the replicators has helped me become aware of what it’s easy to acknowledge intellectually but more difficult to feel: that a piece of art is mortal; that it is the work of many hands, only some of which are coeval with the artist; that time is the medium of media; that one person’s damage is another’s patina; that the present’s notion of its past and future are changeable fictions; that a museum is at sea.
If we deny our happiness, resist our satisfaction,
we lessen the importance of their deprivation.
We must risk delight. We can do without pleasure,
but not delight. Not enjoyment.
I mean, photography is all right if you don’t mind looking at the world from the point of view of a paralyzed cyclops—for a split second
A wise woman one asked me: “What are you willing to give up in order to have the life that you really want?” I said, “Wow, I guess I have to say no to things I don’t want to do.” And she said, “No, you have to say no to things you do want to do — that party on Saturday night that you really want to go to, that television series that you’re obsessed with … you’re not doing that anymore.”
Wise men speak because they have something to say; fools because they have to say something.
A true poet does not bother to be poetical. Nor does a nursery gardener scent his roses.
Mirrors should think longer before they reflect.
If you aren’t in over your head, how do you know how tall you are?
To do the useful thing, to say the courageous thing, to contemplate the beautiful thing: that is enough for one man’s life.
Consider these words that you are reading - where did they come from? What about the language they are written in? What about the shape of the letters themselves? What about the font? If you are sitting in a chair, who designed that chair? Or the floor on which it sits? Think about the recipes of the food you eat or the music you listen to. The world we actually live in is made of ideas that have left human minds and entered the physical world. Indeed, the story of our evolution is essentially the story of us retreating from the natural world into the mental one.
It’s the same when love comes to an end,
or the marriage fails and people say
they knew it was a mistake, that everybody
said it would never work. That she was
old enough to know better. But anything
worth doing is worth doing badly.