32 Matching Annotations
  1. Dec 2021
    1. In his manuscript, Harrison spoke of machina with respect to his filing cabinet and named his invention ‘Ark of Studies’. In rhetorical culture, ‘ark’ had been a metaphor that, among many others, denoted the virtual store-house that orators stocked with vivid images of memorable topics (res) and words (verba). In Harrison’s manuscript, ‘ark’ instead became a synonym for ‘mechanical’ memory. In turn, in the distinction between natural and artificial memory, consciousness was compelled to leave its place and to shift to the op-posing side.

      Thomas Harrison used the word machina to describe his 'Ark of Studies', a filing cabinet for notes and excerpts from other works. This represents part of a discrete and very specific change on the continuum of movement from the ars memoria (artificial memory) to the ars excerptendi (note taking). Within the rhetorical tradition relying on creating memorable images for topics (res) and words (verba) the idea of an ark was often used as a memory palace as seen in Hugh of St. Victor's De arca Noe mystica, or ‘‘The Ark of Noah According to the Spiritual Method of Reading" (1125–30). It starts the movement from natural and artificial memory to a form of external and mechanical memory represented by his physical filing cabinet.

      Reference Yates and Carruthers for Hugh of St. Victor.

  2. Oct 2021
    1. Victor Papanek’s Design Problem, 1975.

      The Design Problem

      Three diagrams will explain the lack of social engagement in design. If (in Figure 1) we equate the triangle with a design problem, we readily see that industry and its designers are concerned only with the tiny top portion, without addressing themselves to real needs.

      Figure 1: The Design Problem

      (Design for the Real World, 2019. Page 57.)

      The other two figures merely change the caption for the figure.

      • Figure 1: The Design Problem
      • Figure 2: A Country
      • Figure 3: The World
    1. In ecology, edge effects are changes in population or community structures that occur at the boundary of two or more habitats.[1] Areas with small habitat fragments exhibit especially pronounced edge effects that may extend throughout the range. As the edge effects increase, the boundary habitat allows for greater biodiversity.

      Edge Effects

      It was in the Design Science Studio that I learned about edge effects.

      Yesterday, I was thinking about how my life embodies the concept of edge effects. That same day, a book was delivered to our door, Design for the Real World by Victor Papanek.

      Today, I was reading these words:

      Design for the Real World

      Design for Survival and Survival through Design: A Summation

      Integrated, comprehensive, anticipatory design is the act of planning and shaping carried on across the various disciplines, an act continuously carried on at interfaces between them.

      Victor Papanek goes on to say:

      It is at the border of different techniques or disciplines that most new discoveries are made and most action is inaugurated. It is when two differing areas of knowledge are brought into contact with one another that… a new science may come into being.

      (Page 323)

      Exiles and Emigrés

      The Bauhaus spread its ideas because it existed at the boundaries, the avant-garde, the edges of what was thought to be possible, especially as a socialist utopian idea found its way to a capitalist industrial-military complex, where the concept of modernism was co-opted and colonized by globalizing economic forces beyond the control of the individual. Design was the virus that propagated around the world through the vehicle of corporate globalization.

      That same design ethic is infecting corporations with a conscience, with empathy, with a process that begins with listening to people. Design is the virus that can spread the values of unconditional love throughout the body of neoliberal capitalism.

    1. Design for the Real World

      You have to make up your mind either to make sense or to make money, if you want to be a designer.

      — R. Buckminster Fuller

      (Page 86)

    2. Design for the Real World

      Victor Papanek’s book includes an introduction written by R. Buckminster Fuller, Carbondale, Illinois. (Sadly, the Thames & Hudson 2019 Third Edition does not include this introduction. Monoskop has preserved the following text as a PDF file of images. I have transcribed a portion below.)

      Buckminster Fuller on Design

      In this book, Victor Papanek speaks about everything as design. I agree with that and will elaborate on it in my own way.

      To me the word “design” can mean either a weightless, metaphysical conception or a physical pattern. I tend to differentiate between design as a subjective experience, i.e., designs which affect me and produce involuntary and often subconscious reactions, in contradistinction to the designs that I undertake objectively in response to stimuli. What I elect to do consciously is objective design. When we say there is a design, it indicates that an intellect has organized events into discrete and conceptual inter-patternings. Snowflakes are design, crystals are design, music is design, and the electromagnetic spectrum of which the rainbow colors are but one millionth of its range is design; planets, stars, galaxies, and their contained behaviours such as the periodical regularities of the chemical elements are all design-accomplishments. If a DNA-RNA genetic code programs the design of roses, elephants, and bees, we will have to ask what intellect designed the DNA-RNA code as well as the atoms and molecules which implement the coded programs.

      The opposite of design is chaos. Design is intelligent or intelligible. Most of the design subjectively experienced by humans is a priori the design of sea waves, winds, birds, animals, grasses, flowers, rocks, mosquitoes, spiders, salmon, crabs, and flying fish. Humans are confronted with an a priori, comprehensive, designing intellect which for instance has designed the sustenance of life on the planet we call earth through the primary impoundment of Sun energy on Earth by the photosynthetic functioning of vegetation, during which process all the by-product gases given off by the vegetation are designed to be the specific chemical gases essential to sustaining all mammalian life on Earth, and when these gases are consumed by the mammals, they in turn are transformed again by chemical combining and disassociations, to product the by-product gases essential to the regeneration of the vegetation, thus completing a totally regenerative ecological design cycle.

      If one realizes that the universe is sum-totally an evolutionary design integrity, then one may be prone to acknowledge that an a priori intellect of infinitely vast considerateness and competence is everywhere and everywhere overwhelmingly manifest.

      In view of a number of discoveries such as the ecological regeneration manifest in the mammalian-vegetation interexchange of gases, we can comprehend why responsibly thinking humans have time and again throughout the ages come to acknowledge a supra-human omniscience and omnipotence.

      The self-regenerative scenario universe is an a prior design integrity. The universe is everywhere, and continually, manifesting an intellectual integrity which inherently comprehends all macro-micro event patterning and how to employ that information objectively with omni-consideration of all inter-effects and reactions. The universe manifests an extraordinary aggregate of generalized principles, none of which contradict one another and all of which are inter-accommodative, with some of the inter-accommodations exhibiting high exponential levels of synergetic surprise. Some of them involve fourth-power geometrical levels of energy interactions.

    3. Design for the Real World

      by Victor Papanek

      Papanek on the Bauhaus

      Many of the “sane design” or “design reform” movements of the time, such as those engendered by the writings and teachings of William Morris in England and Elbert Hubbard in the United States, were rooted in a sort of Luddite antimachine philosophy. By contrast Frank Llloyd Wright said as early as 1894 that “the machine is here to stay” and that the designer should “use this normal tool of civilization to best advantage instead of prostituting it as he has hitherto done in reproducing with murderous ubiquity forms born of other times and other conditions which it can only serve to destroy.” Yet designers of the last century were either perpetrators of voluptuous Victorian-Baroque or members of an artsy-craftsy clique who were dismayed by machine technology. The work of the Kunstgewerbeschule in Austria and the German Werkbund anticipated things to come, but it was not until Walter Gropius founded the German Bauhaus in 1919 that an uneasy marriage between art and machine was achieved.

      No design school in history had greater influence in shaping taste and design than the Bauhaus. It was the first school to consider design a vital part of the production process rather than “applied art” or “industrial arts.” It became the first international forum on design because it drew its faculty and students from all over the world, and its influence traveled as these people later founded design offices and schools in many countries. Almost every major design school in the United States today still uses the basic foundation course developed by the Bauhaus. It made good sense in 1919 to let a German 19-year-old experiment with drill press and circular saw, welding torch and lathe, so that he might “experience the interaction between tool and material.” Today the same method is an anachronism, for an American teenager has spent much of his life in a machine-dominated society (and cumulatively probably a great deal of time lying under various automobiles, souping them up). For a student whose American design school slavishly imitates teaching patterns developed by the Bauhaus, computer sciences and electronics and plastics technology and cybernetics and bionics simply do not exist. The courses the Bauhaus developed were excellent for their time and place (telesis), but American schools following this pattern in the eighties are perpetuating design infantilism.

      The Bauhaus was in a sense a nonadaptive mutation in design, for the genes contributing to its convergence characteristics were badly chosen. In boldface type, it announced its manifesto: “Architects, sculptors, painters, we must all turn to the crafts.… Let us create a new guild of craftsmen!” The heavy emphasis on interaction between crafts, art, and design turned out to be a blind alley. The inherent nihilism of the pictorial arts of the post-World War I period had little to contribute that would be useful to the average, or even to the discriminating, consumer. The paintings of Kandinsky, Klee, Feininger, et al., on the other hand, had no connection whatsoever with the anemic elegance some designers imposed on products.

      (Pages 30-31)

    1. Victor Papanek’s book includes an introduction written by R. Buckminster Fuller, Carbondale, Illinois. (Sadly, the Thames & Hudson 2019 Third Edition does not include this introduction. Monoskop has preserved this text as a PDF file of images. I have transcribed a portion here.)

  3. Sep 2021
    1. Design for the Real World

      Mike Monteiro references Victor Papanek’s book, Design for the Real World, in his article, Design’s Lost Generation.

      The Anti UX UX Club will be discussing Mike Monteiro’s article on Clubhouse.

  4. Jun 2021
    1. Willis is more concerned with the construction of a perfectly orderedmental place system than with imagery.

      How similar or dissimilar is this over description in Mnemonica by John Willis to the palace built using Noah's Ark by Hugh of St. Victor?

  5. Feb 2021
    1. Bret Victor is trying to: Share the magic of computers and dynamic media with everyone Help people; do engineering for a cause, for a higher purpose Build creative tools for human expression Empower people; help everyone see and understand through insightful representations and humane interfaces Provide direct manipulation tools and immediate feedback Liberate us from the constraints imposed by poor tools and stale ways of thinking Encourage active reading and informed discourse Reinvent the way we represent thought Build a career around a guiding principle

      布雷特·维克多(Bret Victor)试图:

      • 与每个人分享计算机和动态媒体的魔力
      • 帮助人们;为事业、为更高的目标做工程
      • 为人类的表达创造创造性的工具
      • 赋能于人;通过深刻的表示和人性化的界面帮助每个人看到和理解
      • 提供直接的操作工具和即时反馈
      • 把我们从落后的工具和陈旧的思维方式中解放出来
      • 鼓励积极的阅读和有见地的讨论
      • 重塑我们表达思想的方式
      • 围绕指导原则建立职业生涯
    2. Victor points out that the Internet age was built on a non-commercial research culture that incubated the underlying technologies for decades. The personal computing and Internet industry exploited this culture, generating massive global wealth, but then failed to meaningfully contribute back. The dominant players today are "not planting seeds for a humane future". And so, we find ourselves at crossroads: now is the time do decide what the future of computing will look like. Will Victor have more success than Engelbart in winning funding to fully realise his vision? Will we curl ever deeper inward into our shiny rectangles, or are we witnessing the dawn of a new era in social, humane computing?

      维克多指出,互联网时代是建立在一种非商业性的研究文化之上的,这种文化孕育了数十年的基础技术。个人计算和互联网产业利用了这种文化,创造了巨大的全球财富,但随后却没有做出有意义的贡献。今天的主导者 "没有为人道的未来播种"。


    3. Operationally Dynamicland, Victor's research lab, follows the spirit of Douglas Engelbart and Xerox PARC, who decades ago invented the technologies and principles that became the foundation of the computer revolution and the information age. This first DL instance in Oakland is being realised by a small non-profit research group with a long-term orientation, something Victor is highly passionate about.

      在操作上,Victor的研究实验室Dynamicland遵循Douglas Engelbart和Xerox PARC的精神,他们在几十年前发明的技术和原理成为了计算机革命和信息时代的基础。这个在奥克兰的第一个DL实例是由一个小型的非营利性研究小组实现的,他们的研究方向是长期的,这也是Victor非常热衷的事情。

    4. "I just have this feeling that instead of making toys for rich kids, or devising ways to make computers go 5% faster, I could somehow somehow somehow be using my skills to save lives. Or significantly improve the global quality of life. Or something big and noble and hopelessly idealistic like that."


    5. In my view, Victor is part of a transitional tech generation, who were both a little late to experience both sides of the personal computing revolution, and a little too early to truly belong in the saturated social media culture we live in today. Victor certainly thinks about the future of technology by drawing on the thinkers of past generations for insight and inspiration. Victor is early Web, but more Xanadu at heart.


    1. Bret’s magic bookshelf reminded me of a quote by Alan Kay. Explaining his Dynabook concept to a group of children in 1968, he said: ‘I want to be able to do all the things you can do with a book, but be dynamic.’ There was something about the playful quality of the magic bookshelf that felt like it had achieved spiritual lockstep with Kay’s goals. The bridging of the digital and physical seemed oddly and unexpectedly fresh, prescient, like a rich vein worthy of continued mining.


    2. The next step, Bret said, was to get all of the books properly scanned and indexed. Soon enough, you’d be able to type in any search term, and the related physical volumes would glow, their collected relevant pages appearing above. But this was possible only by performing your own scans, owning your own data, placing it in an open, malleable format. A supple data source, it seemed, was the only way to hold forth these investigations.


    3. From behind me, Bret said: ‘Watch this,’ and pointed a small green laser at one of the books. The spine – the physical spine – lit up and above the bookshelf the book itself exploded onto an empty swath of wall. The entirety of its contents, laid out page by page by some hidden projector. The laser tracked by some hidden constellation of cameras. In his hand, Bret held an iPad, and as he pointed the laser at various projected pages they appeared on his device. As he slid from page to page on the iPad, the corresponding pages on the wall enlarged. It was a way to view both the macro and micro of a book – the overarching structure of the whole and the minutiae of the paragraph. The margins, it must be said, were gorgeous.


    4. In early August I visited Bret Victor’s Communications Design Group research laboratory in San Francisco. Against the far wall of the lab’s library stood a 10-foot wooden bookshelf. It was stuffed with manuals on the history of computers and programming and interfaces, novels and countless non-fiction books.

      去年8月初,我参观了布雷特·维克多(Bret Victor)位于旧金山的通信设计集团研究实验室。实验室图书馆远处的一面墙边立着一排10英尺高的木制书架,书架上塞满了各种关于计算机历史、编程和界面的手册,还有为数众多的小说以及各种非小说类书籍。

  6. Sep 2020
    1. yet when I thought of my beloved Elizabeth, of her tears and endless sorrow, when she should find her lover so barbarously snatched from her, tears, the first I had shed for many months, streamed from my eyes,

      It's interesting to me that Victor only cries when thinking of how upset Elizabeth is going to be when he's the one who's going to die. He fits the whole "man be rational and women emotional" cultural phenomenon of the time to a tee. He's stone faced going into losing battle, but Elizabeth will be just soooooooooo sad and sooooooooo sorrowful. While I'm on the topic, the characterization of Elizabeth TOTALLY fits in while the "passive wife who's in charge of the emotional side of family," to a point where Mary Shelley is a satirist. Also the use of barbarous to describe the Creature is just textbook Othering in the way that demotes the Creature to a irrational and animalistic creature.

  7. Dec 2019
    1. altered her since I last beheld her; it had endowed her with loveliness surpassing the beauty of her childish years. There was the same candour, the same vivacity, but it was allied to an expression more full of sensibility and intellect.

      This revision to 1831 emphasizes Elizabeth's "sensibility" and "intellect" as a full grown woman and her "slight and graceful" figure.

    2. My tale was not one to announce publicly; its astounding horror would be looked upon as madness by the vulgar. Did any one indeed exist, except I, the creator, who would believe, unless his senses convinced him, in the existence of the living monument of presumption and rash ignorance which I had let loose upon the world?

      In this 1831 addition, Victor rationalizes his decision to withhold his knowledge of the creature in relation to Justine's trial by reflecting that no one would believe him, or more likely, would think him mad.

    3. Such were the professor’s words—rather let me say such the words of fate, enounced to destroy me. As he went on, I felt as if my soul were grappling with a palpable enemy; one by one the various keys were touched which formed the mechanism of my being: chord after chord was sounded, and soon my mind was filled with one thought, one conception, one purpose. So much has been done, exclaimed the soul of Frankenstein,—more, far more, will I achieve: treading in the steps already marked, I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation. I closed not my eyes that night. My internal being was in a state of insurrection and turmoil; I felt that order would thence arise, but I had no power to produce it. By degrees, after the morning’s dawn, sleep came. I awoke, and my yesternight’s thoughts were as a dream. There only 35remained a resolution to return to my ancient studies, and to devote myself to a science for which I believed myself to possess a natural talent. On the same day, I paid M. Waldman a visit.

      In this lengthy addition to 1831, Victor experiences an early flash of ruinous ambition during the chemistry lecture by M. Waldman. The new picture of Waldman as an evil force belongs to a pattern of provoking suspicion about scientific education in the 1831 edition that did not appear in the 1818.

    4. pursuits. In rather a too philosophical and connected a strain, perhaps, I have given an account of the conclusions I had come to concerning them in my early years. As a child, I had not been content with the results promised by the modern professors of natural science. With a confusion of ideas only to be accounted for by my extreme youth, and my want of a guide on such matters, I had retrod the steps of knowledge along the paths of time, and exchanged the discoveries of recent enquirers for the dreams of forgotten alchymists.

      Shelley adds this 1831 passage in which she traces Victor's fascination with alchemy and outmoded scientific ideas to an impetuous childhood, while the 1818 edition shows Victor reading the ancient sciences as an adult.

    5. of my residence at Ingolstadt, which were chiefly spent in becoming acquainted with the localities, and the principal residents in my new abode.

      In this addition to 1831, Shelley emphasizes the importance of Ingolstadt as Victor's university-town environment during his medical training.

    6. the fall of a leaf startled me, and I shunned my fellow-creatures as if I had been guilty of a crime. Sometimes I grew alarmed at the wreck I perceived that I had become; the energy of my purpose alone sustained me: my labours would soon end, and I believed that exercise and amusement would then drive away incipient disease;

      in this revision to 1831 Victor's physical deterioration, as a result of his obsessive work and research, is more clearly linked to a deteriorating mental state as well.

    7. This was strange and unexpected intelligence; what could it mean? Had my eyes deceived me? and was I really as mad as the whole world would believe me to be, if I disclosed the object of my suspicions? I hastened to return home, and

      In this change to the 1831, the certainty with which Justine is convicted causes Victor to question his own convictions about the creature's involvement.

    8. And on the morrow Justine died. Elizabeth’s heart-rending eloquence failed to move the judges from their settled conviction in the criminality of the saintly sufferer. My passionate and indignant appeals were lost upon them. And when I received their cold answers, and heard the harsh unfeeling reasoning of these men, my purposed avowal died away on my lips. Thus I might proclaim myself a madman, but not revoke the sentence passed upon my wretched victim. She perished on the scaffold as a murderess! From the tortures of my own heart, I turned to contemplate the deep and voiceless grief of my Elizabeth. This also was my doing! And my father’s woe, and the desolation of that late so smiling home—all was the work of my thrice-accursed hands! Ye weep, unhappy ones; but these are not your last tears! Again shall you raise 74the funeral wail, and the sound of your lamentations shall again and again be heard! Frankenstein, your son, your kinsman, your early, much-loved friend; he who would spend each vital drop of blood for your sakes—who has no thought nor sense of joy, except as it is mirrored also in your dear countenances—who would fill the air with blessings, and spend his life in serving you—he bids you weep—to shed countless tears; happy beyond his hopes, if thus inexorable fate be satisfied, and if the destruction pause before the peace of the grave have succeeded to your sad torments! Thus spoke my prophetic soul, as, torn by remorse, horror, and despair, I beheld those I loved spend vain sorrow upon the graves of William and Justine, the first hapless victims to my unhallowed arts.

      In this lengthy addition to the 1831 edition, Victor and Elizabeth attempt to save Justine from the scaffold by appealing to the judges but are unsuccessful in staying her execution.

      This is followed by an extended description of the anguish and torment of Victor's "prophetic soul" that accentuates the extreme feelings of guilt and horror that he feels for the deaths of both William and Justine.

    9. I expressed myself in measured terms, with the modesty and deference due from a youth to his instructor, without letting escape (inexperience in life would have made me ashamed) any of the enthusiasm which stimulated my intended labours. I requested his advice concerning the books I ought to procure.

      This revision to 1831 emphasizes the great pains Victor takes with his manners when seeking guidance from M. Waldman.

    1. claim the gratitude of his child so completely

      Rather than entertain the negative consequences of his creation, Victor imagines creating a race that will worship him.

    2. renew life

      Victor implies that life can be renewed from death, a theme present in biblical scripture. See Gen. 3:19, 18:27; Job 30:19; Eccl. 3:20) and in the Anglican Book of Common Prayer (Burial Rite 1:485, 2:501).

  8. Mar 2017
    1. Not all cards are created equal, even if you can get one – and not everyone can.

      Insightful, the company with the most market share would be the most readily available...