Design Quotes - Page 69

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When all the words have been written, and all the phrases have been spoken, the great mystery of life will still remain. We may map the terrains of our lives, measure the farthest reaches of the universe, but no amount of searching will ever reveal for certain whether we are all children of chance or part of a great design. And who among us would have it otherwise? Who would wish to take the mystery out of the experience of looking into a newborn infant's eyes?

We do know from our intelligence community that Russia had a design to discredit the U.S. elections, and took sides in favor of Mr. Donald Trump over Hillary Clinton. We do now that they engaged individuals and entities to do cyber-attacks to get as much information as they possibly could, and of course, also used WikiLeaks to accumulate information, and released it in a strategic way that could affect our election, and certainly the credibility of our election.

There's an old saying - you'll never hit a target you can't see. Defining a Creative Challenge is an important step in focusing your creativity toward a specific problem or opportunity. A Creative Challenge can be something big such as a revolutionary new product or a cure for disease. However, it can also be much smaller such as a new package design or an efficiency gain in a manufacturing process. It starts with clearly defining the challenge and desired outcome.

I love the idea of engaging the object, whether it be architecture or a piece of good graphic design, or a good painting, or piece of sculpture, or even a piece of industrial manufactured object. A piece of engineering can be quite beautiful, too, or a photomicrograph, or a cosmic photograph. We're physical beings and why deny that. So in that sense, it's very sensual to have an object that has the power to communicate some emotion or a state or give you some sense.

The question of whether a device will come into being depends upon three things: first, whether there is a practical use for it that warrants its development and manufacturing costs; second, whether the laws of physics applying to the elements available for its design allow the attainment of the needed ranges, sensitivities, or the like; and third, whether the pertinent art of manufacture has advanced sufficiently to allow a useful embodiment to be built successfully.

Today it's not strange to see an artist 30 years old having her first retrospective! Different time, different speed. After having been the key point of recognition for an artist, the museum today is just another place to experiment and work, like we can do in any art fair. The king or queen of the moment is completely ignored and replaced by the new one a few years later. Contemporary novelty in art disappears faster than the seasonable changes of the fashion designs.

This Law -- whether Conscious or Unconscious --predestines nothing and no one. It exists from and in Eternity, truly, for it is ETERNITY itself; and as such, since no act can be co-equal with eternity, it cannot be said to act, for it is ACTION itself...Karma creates nothing, nor does it design. It is man who plans and creates causes, and Karmic law adjusts the effects; which adjustment is not an act, but universal harmony, tending ever to resume its original position.

Let an ultraintelligent machine be defined as a machine that can far surpass all the intellectual activities of any man however clever. Since the design of machines is one of these intellectual activities, an ultraintelligent machine could design even better machines; there would then unquestionably be an 'intelligence explosion,' and the intelligence of man would be left far behind. Thus the first ultraintelligent machine is the last invention that man need ever make.

The cause of the six-sided shape of a snowflake is none other than that of the ordered shapes of plants and of numerical constants; and since in them nothing occurs without supreme reason-not, to be sure, such as discursive reasoning discovers, but such as existed from the first in the Creators's design and is preserved from that origin to this day in the wonderful nature of animal faculties, I do not believe that even in a snowflake this ordered pattern exists at random.

The relationship with actor and director is probably closer to theater, in that, when we record the dialogue, there is very little in the way of the creative collaboration - no cameras, lighting or even locations. Then, once we record, the post process is very similar to the post flow in filmmaking - editing, sound design, mixing, etc. At the end of the day, it's all about storytelling and honing in on a tone by developing a rhythm and structure that suits the storytelling.

Cartooning is completely different from other media: it is closely related to film and prose, other narrative forms, but the skills needed to realize a story are very different, and include not only drawing and writing dialogue and narration, but graphic design and the ability to depict time passing visually. It's a whole suite of skills that has to go into making a comics page, skills that are quite distinct from those that go into writing a page of prose, or making a film.

An atheist before Darwin could have said, following Hume: I have no explanation for complex biological design. All I know is that God isn't a good explanation, so we must wait and hope that somebody comes up with a better one. I can't help feeling that such a position, though logically sound, would have left one feeling pretty unsatisfied, and that although atheism might have been logically tenable before Darwin, Darwin made it possible to be an intellectually fulfilled atheist.

As many critics of religion have pointed out, the notion of a creator poses an immediate problem of an infinite regress. If God created the universe, what created God? To say that God, by definition, is uncreated simply begs the question. Any being capable of creating a complex world promises to be very complex himself. As the biologist Richard Dawkins has observed repeatedly, the only natural process we know of that could produce a being capable of designing things is evolution.

Good information architecture enables people to find and do what they came for. Great information architecture takes find out of the equation: the site behaves as the visitor expects. Poor or missing information architecture neuters content, design, and programming and devalues the site for its owners as well as the audience it was created to serve. It’s like a film with no director. The actors may be good, the sets may be lovely, but audiences will leave soon after the opening credits.

Spaceflight will never tolerate carelessness, incapacity, and neglect. Somewhere, somehow, we screwed up. It could have been in design, build, or test. Whatever it was, we should have caught it. We were too gung ho about the schedule and we locked out all of the problems we saw each day in our work. Every element of the program was in trouble and so were we. The simulators were not working, Mission Control was behind in virtually every area, and the flight and test procedures changed daily.

The particular aspect of history which both attracts and benefits its readers is the examination of causes and the capacity, which is the reward of this study, to decide in each case the best policy to follow. Now in all political situations we must understand that the principle factor which makes for success or failure is the form of a state's constitution: it is from this source, as if from a fountainhead, that all designs and plans of action not only originate but reach their fulfillment.

Many of the products which create a modern standard of living are only the physical incorporations of ideas- not only the ideas of an Edison or a Ford but the ideas of innumerable anonymous people who figure out the design of supermarkets, the location of gasoline stations, and the million mundane things on which our material well-being depends. Societies which have more people carrying out physical acts and fewer people supplying ideas do not have higher standards of living. Quite the contrary.

The Enemy wants to bring the man to a state of mind in which he could design the best cathedral in the world, and know it to be the best, and rejoice in the fact, without being any more (or less) or otherwise glad at having done it than he would be if it had been done by another. The Enemy wants him, in the end, to be so free from any bias in his own favour that he can rejoice in his own talents as frankly and gratefully as in his neighbour's talents--or in a sunrise, an elephant, or a waterfall.

One thing that is very different technically is that you don't get a lot of coverage in television. Not like you do on a film. I know we don't have time for separate set-ups, so I will design a scene where I'm hiding multiple cameras within that set-up. That way, if I don't have time to do five set-ups, I can do four cameras in one set-up. It's a different kind of approach for that. For the most part, a lot of television, in a visual sense, lacks time for the atmosphere and putting you in a place.

Both life-planning and the adoption of lifestyle options become (in principle) integrated with bodily regimes. It would be quite short-sighted to see this phenomenon only in terms of changing ideals of bodily appearance (such as slimness or youthfulness), or as solely brought about by the commodifying influence of advertising. We become responsible for the design of our own bodies, and in a certain sense noted above are forced to do so the more post-traditional the social contexts in which we move.

Amory Lovins says the primary design criteria he uses is the question How do we love all the children? Not just our children, not just the ones who look like us or who have resources, not just the human children but the young of birds and salmon and redwood trees. When we love all the children, when that love is truly sacred to us in the sense of being most important, then we have to take action in the world to enact that love. We are called to make the earth a place where all the children can thrive.

Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, That (a) the President of the United States is authorized to present, on behalf of the Congress, a gold medal of appropriate design to the family of the late Honorable Leo J. Ryan in recognition of his distinguished service as a Member of Congress and the fact of his untimely death by assassination while performing his responsibilities as a Member of the United States House of Representatives.

Julian sincerely abhorred the system of oriental despotism which Diocletian, Constantine, and the patient habits of four score years, had established in the empire. A motive of superstition prevented the execution of the design which Julian had frequently meditated, of relieving his head from the weight of a costly diadem; but he absolutely refused the title of Dominus or Lord, a word which was grown so familiar to the ears of the Romans, that they no longer remembered its servile and humiliating origin.

When we think of design, we usually imagine things that are chosen because they are designed. Vases or comic books or architecture... It turns out, though, that most of what we make or design is actually aimed at a public that is there for something else. The design is important, but the design is not the point. Call it "public design"... Public design is for individuals who have to fill out our tax form, interact with our website or check into our hotel room despite the way it's designed, not because of it.

Rather, the master question from which the mission of education research is derived: What should be taught to whom, and with what pedagogical object in mind? That master question is threefold: what, to whom, and how? Education research, under such a dispensation, becomes an adjunct of educational planning and design. It becomes design research in the sense that it explores possible ways in which educational objectives can be formulated and carried out in the light of cultural objectives and values in the broad.

Dawkins asserts that final causes and design don't really exist. Unguided evolution explains it all. Francis Crick thought the same thing but was afraid people would be misled by what they actually saw. So he issued this warning: "Biologists must constantly keep in mind that what they see was not designed, but rather evolved." What? A warning to ignore the obvious? Absolutely. Because if we don't ignore the obvious, we might be tempted to follow common sense and attribute the "appearance" of design to actual design.

The question is: exactly how did life get here? Was it by natural selection and random mutation or was it by something else? Everybody - even Richard Dawkins - sees design in biology. You see this design when you see co-ordinated parts coming together to perform a function - like in a hand. And so it's the appearance of design that everybody's trying to explain. So that if Darwin's theory doesn't explain it we're left with no other explanation than maybe it really was designed. That's essentially the design argument.

I love theater, a performance and designing a visual spectacle. It is like creating a composition with clothes, which have to fit the psychology as well as the body of characters. The performance is frozen in time, the clothes have to stay reliable and help to define the story. Fashion can be much more abstract. It needs no story because the woman is the story. She supplies the text and content. Fashion for retail is the opposite of frozen, it has to change and morph constantly to stay relevant - to be the "fashion.".

Our design, not respecting arts, but philosophy, and our subject, not manual, but natural powers, we consider chiefly those things which relate to gravity, levity, elastic force, the resistance of fluids, and the like forces, whether attractive or impulsive; and therefore we offer this work as mathematical principles of philosophy; for all the difficulty of philosophy seems to consist in this from the phenomena of motions to investigate the forces of nature, and then from these forces to demonstrate the other phenomena.

Come, don't be in a fright, but put on your clothes, and I'll let you into a secret. You must know that I am Captain of this ship now, and this is my cabin, therefore you must walk out. I am bound to Madagascar, with a design of making my own fortune, and that of all the brave fellows joined with me...if you have a mind to make one of us, we will receive you, and if you'll turn sober, and mind your business, perhaps in time I may make you one of my Lieutenants, if not, here's a boat alongside and you shall be set ashore.

Obviously a garden is not the wilderness but an assembly of shapes, most of them living, that owes some share of its composition, it’s appearance, to human design and effort, human conventions and convenience, and the human pursuit of that elusive, indefinable harmony that we call beauty. It has a life of its own, an intricate, willful, secret life, as any gardener knows. It is only the humans in it who think of it as a garden. But a garden is a relationship, which is one of the countless reasons why it is never finished.

Of course, even if the directors like my ideas or the designs I do, they may end up changing the story so much, that those characters have to change, or get cut out altogether, and that's just the way it is. Sometimes the directors are designers themselves, or they want to work with a character designer who will do things in their own distinct way - sometimes the most important thing I do is figure out what they don't want to do, by experimenting. Either way, whether they use my ideas or not, I get paid, so it's all good.

Bird taxonomy is a difficult field because of the severe anatomical constraints imposed by flight. There are only so many ways to design a bird capable, say, of catching insects in mid-air, with the result that birds of similar habitats tend to have very similar anatomies, whatever their ancestry. For example, American vultures look and behave much like Old World vultures, but biologists have come to realize that the former are related to storks, the latter to hawks, and that their resemblances result from their common lifestyle.

Because it is a national landmark, there is only one way to judge the Kennedy Center - against the established standard of progressive and innovative excellence in architectural design that this country is known and admired for internationally. Unfortunately, the Kennedy Center not only does not achieve this standard of innovative excellence; it also did not seek it. The architect opted for something ambiguously called 'timelessness' and produced meaninglessness. It is to the Washington manner born. Too bad, since there is so much of it.

If you do not want what I want, please try not to tell me that my want is wrong. Or if my beliefs are different from yours, at least pause before you set out to correct them. Or if my emotion seems less or more intense than yours, given the same circumstances, try not to ask me to feel other than I do. Or if I act, or fail to act, in the manner of your design for action, please let me be. I do not, for the moment at least, ask you to understand me. That will come only when you are willing to give up trying to change me into a copy of you.

My upringing did influence me to a certain extent. I grew up going to private school, and we'd have these really cute uniforms, but you'd only have so much sway over how you could "customize" them. I would line my blazers, I would dart my skirts, I'd change the buttons, I would do anything I could to make them unique. And when I started designing, I found myself referencing those roots. I love a sort of preppy, gender-bender vibe. I wanted to incorporate the feel of menswear into the looks. That definitely comes from my private school days.

The argument from design is ultimately an appeal to miraculous causes, i.e., causes that do not, and cannot, occur in the natural course of events. This is why an explanation via design is not a legitimate alternative to scientific and other naturalistic modes of explanation. To refer to a miraculous cause is to refer to something that is inherently unknowable, and this sanctuary of ignorance explains nothing at all. However much it may soothe the imagination of the ignorant, it does nothing to satisfy the understanding of a rational person.

Action is cool but it's all down to the director's interpretation at the end of the day, so you have to serve his visions and do what you can. So, you do your job to the best of your ability, you perform the fight and then it's out of your hands. It's then down to the director or the producer. You can give your opinion but often it's not heard. Actors have their riders and all kinds of contract terms and one of my big ones as I continue to make a name for myself as a top action guy is that I design my own action in films and oversee the edit.

The folly of Interpreters has been, to foretell times and things by this Prophecy, as if God designed to make them Prophets. By this rashness they have not only exposed themselves, but brought the Prophecy also into contempt. The design of God was much otherwise. He gave this and the Prophecies of the Old Testament, not to gratify mens curiosities by enabling them to foreknow things, but that after they were fulfilled they might be interpreted by the event, and his own Providence, not the Interpreters, be then manifested thereby to the world.

I have a fairly unwieldy set of concerns that go into determining what I do in the paintings, such as the history of the decorative, patterns of cultural migration, Islamic art and design, Byzantine architecture, the annals of natural history, as well as contemporary painting. All of these things are filtered through my own sense of cultural urgency. How I proceed with the work has to do with how I respond to this instinctively chosen mass of materials. I'm weighing many things and making many decisions before I even get started on a painting.

With action in Hollywood, a choreographer will be hired to design an amazing fight, with all these cool little narrative bits, such as a fighter having to perform a certain move because he's been injured and can only move that way, but it can all get lost in translation because the director then does what he wants with it and then passes it on to the editor, who does his interpretation of the fight. It becomes almost like Chinese whispers, so sometimes the end fight you see on film is so different to how it was conceived and looked on the day.

Designing for me is a very complex process. There are many ideas that I want to express in one object, very often contradictory. The creative process in Miu Miu is completely different from that of Prada. Miu Miu is not as complicated and thought out as Prada. Rather than being young, Miu Miu is immediate Prada is very sophisticated and considered; Miu Miu is much more naive. The solution, when I am working on Miu Miu, has to come immediately, instinctively, spontaneously with whatever is available at the moment. If I think three times, I stop.

To plot is to live. […] We start out lives in chaos, in babble. As we surge up into the world, we try to devise a shape, a plan. There is dignity in this. Your whole life is a plot, a scheme, a diagram. It is a failed scheme but that's not the point. To plot is to affirm life, to seek shape and control. Even after death, most particularly after death, the search continues. Burial rites are an attempt to complete the scheme, in ritual. Picture a state funeral, Jack. It is all precision, detail, order, design. The nation holds its breath. - (WN 292)

Every disruptive innovation is powered by a simplifying technology, and then the technology has to get embedded in a different kind of a business model. The first two decades of digital computing were characterized by the huge mainframe computers that filled a whole room, and they had to be operated by PhD Computer Scientists. It took the engineers at IBM about four years to design these mainframe computers because there were no rules. It was an intuitive art and just by trial and error and experimentation they would evolve to a computer that worked.

And last of all we have the secondary forms of crystals bursting in upon us, and sparkling in the rigidity of mathematical necessity and telling us, neither of harmony of design, usefulness or moral significance, nothing but spherical trigonometry and Napier's analogies. It is because we have blindly excluded the lessons of these angular bodies from the domain of human knowledge that we are still in doubt about the great doctrine that the only laws of matter are those which our minds must fabricate, and the only laws of mind are fabricated for it by matter.

The results of life are uncalculated and uncalculable. The years teach much which the days never know. The persons who compose our company, converse, and come and go, and design and execute many things, and somewhat comes of it all, but an unlooked for result. The individual is always mistaken. He designed many things, and drew in other persons as coadjutors, quarrelled with some or all, blundered much, and something is done; all are a little advanced, but the individual is always mistaken. It turns out somewhat new, and very unlike what he promised himself.

Throughout his last half-dozen books, for example, Arthur Koestler has been conducting a campaign against his own misunderstanding of Darwinism. He hopes to find some ordering force, constraining evolution to certain directions and overriding the influence of natural selection. [...] Darwinism is not the theory of capricious change that Koestler imagines. Random variation may be the raw material of change, but natural selection builds good design by rejecting most variants while accepting and accumulating the few that improve adaptation to local environments.

Design and the urgency to preserve it - not as a museum relic, as a living experience. And for me, something that lives alongside mass-produced goods. I'm not saying get away from it. My battle is there is a marketplace for what people wear and what they eat and care about how things are made and not just that they were made, and that's the core focus. I know where things come from, I know their families. I do that throughout my life - I know who makes my suits, and I know where my eggs come from. Everyone and everything is accounted for and has accountability.

Consequently, citizen legislators, rotating back to their communities after a short period of public service—considered an indispensable and routine characteristic and design of representative government at the time of the founding, and for a century thereafter—have been replaced with a professional ruling class led by governing masterminds. For the most part, they are isolated from the communities from which they hail and are consumed with the daily jockeying for position and power within their ranks. Moreover, they both pander to and lord over their constituents.

One of the best things I ever did was to train in a practical skill. I love computers and they've become such a part of life, especially to the world of design. But it's important to understand that they are a tool, as much as a hammer or a saw is a tool. Computers don't help you design. There needs to be more emphasis on training young designers in how to build things. A good writer needs a good vocabulary. A good designer needs to understand his materials and processes. You can't, as a successful designer, pretend to get any respect if you don't know how things are made.

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