The great blog Snarkmarket released a book 8 year ago called “The New Liberal Arts“. It’s kind of like a speculative course book for a fictional university. You can get it as a free PDF or .prc file (which Kindles can read).
I read it the other day. It’s short. Here are some parts I liked.
Attention Economics, by Andrew Fitzgerald
Fitzgerald says that in the new world of scarce attention we’ll need some new skills:
- multitasking (doing more than one thing at once)
- ambient consumption (figuring out how to cope with the stream)
- focus (how to stop multitasking)
- stillness (how to stop consuming from the firehose and turn it all off)
If you follow any of the social media discussion on task management and mindfulness, you’ll see these broader concepts sneaking in.
Food, by Gavin Craig and Theresa Mlinarcik
Food is a great lens through which to view the world, according to Craig and Milnarcik, because:
Food is intrinsically connected to nature, ecology, politics, pop culture, family values, and economics.
It’s hard to disagree. I think this might be why design students (in my experience), often end up doing projects about food.
Micropolitics, by Matt Thompson
Micropolitics explores the idea that:
So much of the texture of everyday life is hashed out in obscure municipal backchannels, by small groups of engaged citizens getting together on weekday evenings. The buildings you see every day, the restaurants you dine at, the closing time of your neighborhood bar, the bus routes to and from your home—these things are the way they are because of a complex system of professional networks and planning meetings that few have the know-how to navigate.
You can also see this idea of small, kind of hidden, aspects of everyday life having outsized influence in in books like Dan Hill’s Dark Matter and Trojan Horses.
Photography, by Tim Carmody
I am a very bad photographer, but I’m fascinated by it. Carmody says that photography is basically the way that we write the world today. Snap (and Facebook) think of themselves as camera companies which is partly right and a good enough reason to think harder about what photography means.
If I went back to uni, I’d study photography, I think.
Translation, by Rachel Leow
This is fascinating:
Every student would declare at least two languages: their native tongue and one or more languages of their choosing, however firm or tenuous their grasp of them. Seminar groups would consist of students who declared the same two languages, so that discussions could take place in two mutually intelligible languages, at varying levels of ability. These are the groups they’d work in, communicating in online forums and discussion groups, live chat, and video conferences.
Great post at The Nib about dressing like a duck.
“Everything he did he did with extraordinary intent, with great precision and fully confident that what he was doing was what he wanted to do and was as good as he could make it.”
— Jonathan Green on the comedian John Law, who died today. I don’t think there is anything higher to aspire to.
I did a workshop for a client about a week ago. 21 people came. After 20 minutes I knew everyone’s name. A few people commented on it, asking me what my trick was or saying that they could never do that.
If don’t have a lot of time, my short answer to “how do you remember names” is always “there’s no trick to it; it’s just a simple trick”.
If I have time, I give my long answer, which is can seem like a non-answer.
When I was in 3rd year undergrad, I had a lecturer, Helen, who knew everyone’s names in an 80 person class before the mid-semester break. When I was in 4th year undergrad, I tutored for Helen and I asked her what the trick was. She said that the trick to remembering people’s names is using people’s names.
In practice it can work a few different ways. Basically, you ask someone their name, repeat it back to them and then use it every subsequent time you interact with them. In a lecture it can sound a bit like this:
Ben: Who can tell me how Don Norman defines affordances?
…hands go up…
Ben: yes, you. Can you tell me your name?
Ben: Thank you, Kim. How does Norman define affordances?
Kim: some generally correct answer
Ben: Great! Thanks, Kim. Now, Kim’s answer is correct but is only half of Norman’s definition. What’s the other half? Yes, you. Can you tell me your name?
In a brief back and forth, I’ve said Kim’s name four times.
You also need to give the person you’re speaking to a level of almost-too-much undivided attention as you’re speaking with them. As they’re talking you’re noticing their distinguishing features, who they’re sitting next to, and so on. The name, the interaction and the attention you give the person lets you build enough associations that you have more than one way to match name to face. The next time you see Kim, you have more than one way to get back to “Kim”. When I’m trying to remember someone’s name, my thought process goes like this:
That is the person who gave the first half of the answer about affordances and they were sitting next to that guy with the good hair last week and that person is…Kim!
The point is to create a story about each person. The real answer is there’s no trick. It’s practice and effort. You need to practice the back and forth enough to make it seem natural.
There’s also a large amount of being unafraid of asking people their name again. When you need to do that, you say, “I’m sorry. I’ve forgotten your name. Can you remind me?” You need to be even more unafraid of getting someone’s name wrong at least once. When that happens, you say, “oh, I’m so sorry. Can you please tell me your name?” And then you work really hard to never forget that person’s name ever again.
In yesterday’s workshop, I picked up about half of the names as people came in to the room. As each subsequent person came in, I went back over the names of everyone else I had just met. I had a colleague with me and so I also made a point of introducing him to each new person, which gave me more opportunities to use people’s names. Because I’d seen the invitation list, which had people’s job titles, I could ask them for that piece of information and use that to create a story about them even before they sat down:
that’s Xavier who is a master plumber and he’s talking with Tom who is an art dealer.
Then, because I’d pre-assigned groups for the workshop activities, and I had some recollection of who was in which group, I had even more information to use to remember, or deduce, people’s names. For example, if I knew that this group was Andrew, Bob, Clare, David and Edward and I could put faces to Andrew, Bob, Clare and Edward then I could be pretty sure that the last person was David.
And that’s how I remember names.
Lella Vignelli died on 22 December 2016. Vignelli Associates released a beautiful tribute book (pdf) showing many of the amazing things, interiors, products and clothing, she designed over her life.
Julie Zhou’s post looking back on what she learned in 2016 was widely shared in my social media designery bubble. I thought this was a good insight:
you will always be treated as a service if you assume your role is to wait around for others to come to you with some specific problem to solve. The path to getting out of being a service is to have an opinion about which problems are worth solving and convincing other people of that.
This was good too:
Being a designer is like having a superpower that allows you to show other people the future.
With great power comes great responsibility, of course.