Essays
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- Programming Bottom-Up - Страница 1
- Lisp for Web-Based Applications - Страница 3
- Beating the Averages - Страница 6
- Java's Cover - Страница 12
- Being Popular - Страница 14
- Five Questions about Language Design - Страница 24
- The Roots of Lisp - Страница 28
- The Other Road Ahead - Страница 29
- What Made Lisp Different - Страница 44
- Why Arc Isn't Especially Object-Oriented - Страница 45
- Taste for Makers - Страница 46
- What Languages Fix - Страница 52
- Succinctness is Power - Страница 53
- Revenge of the Nerds - Страница 57
- A Plan for Spam - Страница 65
- Design and Research - Страница 72
- Better Bayesian Filtering - Страница 76
- Why Nerds are Unpopular - Страница 82
- The Hundred-Year Language - Страница 90
- If Lisp is So Great - Страница 97
- Hackers and Painters - Страница 98
- Filters that Fight Back - Страница 105
- What You Can't Say - Страница 107
- The Word "Hacker" - Страница 114
- The Python Paradox - Страница 117
- Great Hackers - Страница 118
- The Age of the Essay - Страница 125
- What the Bubble Got Right - Страница 131
- Bradley's Ghost - Страница 136
- Made in USA - Страница 137
- What You'll Wish You'd Known - Страница 140
- How to Start a Startup - Страница 147
- A Unified Theory of VC Suckagepad - Страница 159
- Undergraduation - Страница 161
- Writing, Briefly - Страница 166
- Return of the Mac - Страница 167
- Why Smart People Have Bad Ideas - Страница 169
- The Submarine - Страница 173
- Hiring is Obsolete - Страница 177
- What Business Can Learn from Open Source - Страница 183
- After the Ladder - Страница 189
- Inequality and Risk - Страница 190
- What I Did this Summer - Страница 194
- Ideas for Startups - Страница 198
- The Venture Capital Squeeze - Страница 203
- How to Fund a Startup - Страница 205
- Web 2.0 - Страница 217
- How to Make Wealth - Страница 222
- Good and Bad Procrastination - Страница 233
- How to Do What You Love - Страница 236
- Are Software Patents Evil? - Страница 242
- The Hardest Lessons for Startups to Learn - Страница 248
- How to Be Silicon Valley - Страница 255
- Why Startups Condense in America - Страница 260
- The Power of the Marginal - Страница 267
- The Island Test - Страница 275
- Copy What You Like - Страница 276
- How to Present to Investors - Страница 278
- A Student's Guide to Startups - Страница 282
- The 18 Mistakes That Kill Startups - Страница 290
- Mind the Gap - Страница 297
- How Art Can Be Good - Страница 305
- Learning from Founders - Страница 310
- Is It Worth Being Wise? - Страница 311
- Why to Not Not Start a Startup - Страница 316
- Microsoft is Dead - Страница 324
- Two Kinds of Judgement - Страница 326
- The Hacker's Guide to Investors - Страница 327
- An Alternative Theory of Unions - Страница 336
- The Equity Equation - Страница 337
- Stuff - Страница 339
- Holding a Program in One's Head - Страница 341
- How Not to Die - Страница 344
- News from the Front - Страница 347
- How to Do Philosophy - Страница 350
- The Future of Web Startups - Страница 357
- Why to Move to a Startup Hub - Страница 362
- Six Principles for Making New Things - Страница 364
- Trolls - Страница 366
- A New Venture Animal - Страница 368
- You Weren't Meant to Have a Boss - Страница 371
It helps to have a medium that makes change easy. When oil paint replaced tempera in the fifteenth century, it helped painters to deal with difficult subjects like the human figure because, unlike tempera, oil can be blended and overpainted.
Good design can copy.Attitudes to copying often make a round trip. A novice imitates without knowing it; next he tries consciously to be original; finally, he decides it's more important to be right than original.
Unknowing imitation is almost a recipe for bad design. If you don't know where your ideas are coming from, you're probably imitating an imitator. Raphael so pervaded mid-nineteenth century taste that almost anyone who tried to draw was imitating him, often at several removes. It was this, more than Raphael's own work, that bothered the Pre-Raphaelites.
The ambitious are not content to imitate. The second phase in the growth of taste is a conscious attempt at originality.
I think the greatest masters go on to achieve a kind of selflessness. They just want to get the right answer, and if part of the right answer has already been discovered by someone else, that's no reason not to use it. They're confident enough to take from anyone without feeling that their own vision will be lost in the process.
Good design is often strange.Some of the very best work has an uncanny quality: Euler's Formula, Bruegel's Hunters in the Snow, the SR-71, Lisp. They're not just beautiful, but strangely beautiful.
I'm not sure why. It may just be my own stupidity. A can-opener must seem uncanny to a dog. Maybe if I were smart enough it would seem the most natural thing in the world that ei*pi = -1. It is after all necessarily true.
Most of the qualities I've mentioned are things that can be cultivated, but I don't think it works to cultivate strangeness. The best you can do is not squash it if it starts to appear. Einstein didn't try to make relativity strange. He tried to make it true, and the truth turned out to be strange.
At an art school where I once studied, the students wanted most of all to develop a personal style. But if you just try to make good things, you'll inevitably do it in a distinctive way, just as each person walks in a distinctive way. Michelangelo was not trying to paint like Michelangelo. He was just trying to paint well; he couldn't help painting like Michelangelo.
The only style worth having is the one you can't help. And this is especially true for strangeness. There is no shortcut to it. The Northwest Passage that the Mannerists, the Romantics, and two generations of American high school students have searched for does not seem to exist. The only way to get there is to go through good and come out the other side.
Good design happens in chunks.The inhabitants of fifteenth century Florence included Brunelleschi, Ghiberti, Donatello, Masaccio, Filippo Lippi, Fra Angelico, Verrocchio, Botticelli, Leonardo, and Michelangelo. Milan at the time was as big as Florence. How many fifteenth century Milanese artists can you name?
Something was happening in Florence in the fifteenth century. And it can't have been heredity, because it isn't happening now. You have to assume that whatever inborn ability Leonardo and Michelangelo had, there were people born in Milan with just as much. What happened to the Milanese Leonardo?
There are roughly a thousand times as many people alive in the US right now as lived in Florence during the fifteenth century. A thousand Leonardos and a thousand Michelangelos walk among us. If DNA ruled, we should be greeted daily by artistic marvels. We aren't, and the reason is that to make Leonardo you need more than his innate ability. You also need Florence in 1450.
Nothing is more powerful than a community of talented people working on related problems. Genes count for little by comparison: being a genetic Leonardo was not enough to compensate for having been born near Milan instead of Florence. Today we move around more, but great work still comes disproportionately from a few hotspots: the Bauhaus, the Manhattan Project, the New Yorker, Lockheed's Skunk Works, Xerox Parc.
At any given time there are a few hot topics and a few groups doing great work on them, and it's nearly impossible to do good work yourself if you're too far removed from one of these centers. You can push or pull these trends to some extent, but you can't break away from them. (Maybe you can, but the Milanese Leonardo couldn't.)
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