The more you watch users carefully and listen to them articulate their intentions, motivations, and thought processes, the more you realize that their individual reactions to Web pages are based on so many variables that attempts to describe users in terms of one-dimensional likes and dislikes are futile and counter-productive. Good design, on the other hand, takes this complexity into account.
The artist is a collector of things imaginary or real. He accumulates things with the same enthusiasm that a little boy stuffs his pockets. The scrap heap and the museum are embraced with equal curiosity. He takes snapshots, makes notes and records impressions on tablecloths or newspapers, on backs of envelopes or matchbooks. Why one thing and not another is part of the mystery, but he is omnivorous.
Sylvia would have taken it seriously- so strong was her devotion to the innate intelligence of form. Those pretty tools like glue and pens, pasting together look-books – for Sylvia it would have been like toy making or arranging jewels. Unfortunately, Sylvia’s flair for design and graphics went unnoticed by the Mademoiselle staff, who had already pigeonholed her as a “writer”.
Since the Leeburg Pike [at Tyson's Corner] carries six to eight lanes of fast-moving traffic and the mall lacks an obvious pedestrian entrance, I decided to negotiate the street in my car rather than on foot. This is a problem planners call the 'drive to lunch syndrome,' typical of edge nodes where nothing is planned in advance and all the development takes place in isolated 'pods'.
What I should have said is that he thinks that there is a conflict between evolutionary biology and theism. Dennett thinks that evolutionary theory shows that it is irrational to believe that God exists; he thinks that the theory has this consequence because he thinks that the Design Argument was the only remotely plausible argument for God’s existence and evolutionary theory destroyed that argument.
Further, the same Arguments which explode the Notion of Luck, may, on the other side, be useful in some Cases to establish a due comparison between Chance and Design: We may imagine Chance and Design to be, as it were, in Competition with each other, for the production of some sorts of Events, and many calculate what Probability there is, that those Events should be rather be owing to the one than to the other.
There's an old joke among software developers. When something works in an unexpected but strangely effective way, the developers often kid, "Oh, that's not a bug. That's a future." While this is usually a joke, designers can use the same technique of reframing the problem when tackling their own projects. In fact, there's an old joke among designers: "It's not a problem. It's an opportunity.
You all know the argument from design: everything in the world is made just so that we can manage to live in the world, and if the world was ever so little different, we could not manage to live in it. That is the argument from design. It sometimes takes a rather curious form; for instance, it is argued that rabbits have white tails in order to be easy to shoot. I do not know how rabbits would view that application.
I had a dream about you. You were a wholesale hole salesman, and I was a wholesale half salesman. I told you a half a hole is the same as a whole hole, and you said the pricing isn’t the same. I agreed and I disagreed, and I tried telling you this, but there isn’t a word that’s in the middle of agree and disagree that means you think both at the same time, so I just started talking about the newest shovel designs.
A person is not a closed system, they can never be fully self-sufficient. We need each other because we cannot make everything ourselves. Everything was invented, but it was not done alone, so we should revere the times we are able to fill this complementary role for others, and cherish when others do so for us. It's the words of others that teach us to speak, the expressions of life by other people that teach us how to express ourselves.
The Egyptians are inferior only to themselves. In all other styles we can trace a rapid ascent from infancy, founded on some bygone style, to a culminating point of perfection, when the foreign influence was modified or discarded, to a period of slow, lingering decline, feeding on it's own elements. In the Egyptian we have no traces of infancy or of any foreign influence; and we must, therefore believe that they went to inspiration directly from nature.
Design is a fundamental human activity, relevant and useful to everyone. Anything humans create—be it product, communication or system—is a result of the process of making inspiration real. I believe in doing what works as circumstances change: quirky or unusual solutions are often good ones. Nature bends and so should we as appropriate. Nature is always right outside our door as a reference and touch point. We should use it far more than we do.
You don’t get to decide the truth. Other people have their own experiences, just as valid. This is easy to forget. Your slice of life seems so large and unmistakeable, like a mirage of wholeness from where you stand. But it is your job to know better and not confuse your small piece for the whole, even if you sometimes forget. Life is big—much bigger than just yours. This is the only note to self: other people are real. That’s all there is to learn.
Let's say you're walking around and you find a watch on the ground. As you examine it, you marvel at the intricately complex interweaving of its parts, a means to an end. Surely you wouldn't think this marvel would have come about by itself. The watch must have a maker. Just as the watch has such complex means to an end, so does nature to a much greater extent. Just look at the complexity of the human eye. Thus we must conclude that nature has a maker too.
Ask one question: Would a Millennial (anyone born between 1980 and 2000) look forward to working here?Try this exercise. Take a group of people into a large, open room with tackable wall surfaces or whiteboards. Give them large sheets of paper, sticky notes, markers, and tape. Ask them to create a concept for a work environment (don't say “office”) using the following words: high-energy, collaborative, healthy, productive, engaging, innovative, interactive, high-tech, and regenerating.
