The germ of an idea doesn't make the sculpture that stands up... so the next stage is hard work
Mihaly CsikszentmihalyiRead
Good design is a visual statement that maximizes the life goals of the people in a given culture (or, more realistically, the goals of a certain subset of people in the culture) that draws on a shared symbolic expression for the ordering of such goals.
Interpretation
Good design reflects cultural values and aspirations.
This quote emphasizes the importance of design as a form of visual communication that not only represents but also enhances the life goals of specific groups within a culture. It suggests that effective design is not just about aesthetics, but about aligning visual expression with the aspirations and values shared by a community.
In practice
In a design class, the professor quoted Csikszentmihalyi to inspire students to think about the societal impact of their work.
The germ of an idea doesn't make the sculpture that stands up... so the next stage is hard work
It is not the skills we actually have that determine how we feel but the ones we think we have.
To know oneself is the first step toward making flow a part of one's entire life. But just as there is no free lunch in the material economy, nothing comes free in the psychic one. If one is not willing to invest psychic energy in the internal reality of consciousness, and instead squanders it in chasing external rewards, one loses mastery of one's life, and ends up becoming a puppet of circumstances.
To live means to experience-through doing, feeling, thinking. Experience takes place in time, so time is the ultimate scarce resource we have. Over the years, the content of experience will determine the quality of life. Therefore one of the most essential decisions any of us can make is about how one's time is allocated or invested.
It is as if evolution has built a safety device in our nervous system that allows us to experience full happiness only when we are living at 100%-when we are fully using the physical and mental equipment we have been given.
Our jobs determine to a large extent what our lives are like. Is what you do for a living making you ill? Does it keep you from becoming a more fully realized person? Do you feel ashamed of what you have to do at work? All too often, the answer to such questions is yes. Yet it does not have to be like that. Work can be one of the most joyful, most fulfilling aspects of life. Whether it will be or not depends on the actions we collectively take.
When you use film, you use accidents, but there aren't any accidents with digital photography. I don't mind that it's easy. But I do mind that there is a sort of consensus with the camera and the subject and the light, and you look at something, and you photograph it, and you get what you see.
I'm not interested in seeing a film just made by a woman - not unless she is looking for new images.
I believe the right question to ask, respecting all ornament, is simply this; was it done with enjoyment, was the carver happy while he was about it?
With cold eyes and indifferent mind the spectators regard the work. Connoissers admire the "skill" (as one admires a tightrope walker), enjoy the "quality of painting" (as one enjoys a pasty). But hungry souls go hungry away. The vulgar herd stroll through the rooms and pronounce the pictures "nice" or "splendid." Those who could speak have said nothing, those who could hear have heard nothing.
Early on, a story's meaning and rationale seem pretty obvious, but then, as I write it, I realize that I know the meaning/rationale too well, which means that the reader will also know it - and so things have to be ramped up.
I'm more comfortable writing traditional protagonists. But 'Steve Jobs' and 'The Social Network' have antiheroes. I like to write antiheroes as if they're making their case to God about why they should be allowed into heaven. I have to find something in that character that is like me and write to that.
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