How Not to Listen to Yourself

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This post is part of the Inspiration series, made possible by Veer.com.

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This article is the last in the Veer series and it’s appropriate to wrap up our series of rather wordy articles with a counterpoint. So far the Veer series has engaged the verbal parts of the brain by talking about concepts accompanied by visual images. The neuroanatomy of visual processing, however, is far more complex. Simplifying somewhat, in most people the right hemisphere processes visuals, the left hemisphere uses words and hunts for reason. Even when your visual field feasts on the bounty of changing stimuli the world offers, the left hemisphere constantly tries to rationalize and verbalize what it sees. For creatives, rationalization is the enemy of inspiration, so perhaps some tools can be found in the world of science to aid in the process.

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Pencil to Paper to Product

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This post is part of the Inspiration series, made possible by Veer.com.

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We here at Core77 were recently asked by an aspiring designer to explain the two or three biggest time wasters and mistakes a beginner might make. While the old adage “measure twice, cut once” certainly applies to carpentry, the easy space for virtual prototyping provided by the computer allows precise measurement and even visualization without any actual cutting. Precisely because the virtual world is so easy to interact with, computers offer an illusion of finished products convincing enough that it’s easy to get stuck in the digital world. The endless refinement of infinite virtual prototypes lends the impression of iterative prototyping without any real-world lessons.

A virtual object can be refined ad nauseam in committee, but the most important avenue for feedback is the real world rather than the nourishing glow of an LCD screen. As we alluded in our discussion of the power of undo on a Wacom Cintiq monitor, it’s easy to get preoccupied with perfection in the digital world, but perfect virtual prototypes offer little from which to learn.

A classic business school case on pacemakers contrasted the success of one firm from that of their rival. For the rival, the engineering team constantly developed new and interesting features, many of which could easily be framed as “critical” for inclusion into the next generation of pacemakers. Consequently, their development cycle was constantly dragged out such that releases became sporadic and plagued by delays. The successful firm placed less value in the new, instead implementing a rigid release cycle with inflexible drop dead dates for new feature inclusion. No matter how world-changing a promising feature appeared, it was not allowed to delay the product cycle. Features took a backseat to the release cycle and were simply rolled into the next version when they could be guaranteed completion in a finished state.

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Seeing the World Differently, or Just Seeing the World

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This post is part of the Inspiration series, made possible by Veer.com.

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While in Europe recently, we couldn’t help but notice the narrower streets, the increased volume of pedestrian traffic and the incomprehensibly more efficient rail system. So far we have talked principally about sources of inspiration, but we would be remiss to neglect the discussion of historical precedents and structural constraints. As authors like Jared Diamond and Richard Wright have rightly observed, a variety of factors shape both the location and timing of revolutionary insights. European infrastructure, with cities reliant on foot and animal traffic, lent itself to narrow streets and non-orthogonal city plans, while massive public road projects in the (then) less-developed New World paved the way for the multi-lane roadways that spawned drive-in “cuisine.” Even the seating arrangements in modern cars weren’t structured to be the most effective possible location for a driver, but instead a consequence of the legacy seating arrangements of carriages dating back to the Roman era for the British Empire and carriage wagons in the 18th Century for everyone else.

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Biomimicry, or "Nature Did it Better"

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This post is part of the Inspiration series, made possible by Veer.com.

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In exploring this series on inspiration, certain recurrent themes come to light. We’ve repeatedly stressed that inspiration shouldn’t be thought of as coming from a sudden divine jolt. Indeed, surrendering inspiration to forces beyond our control would imply a near nihilistic randomness to success. That’s good news and bad news, because it implies that we can actually work toward inspiration. But right there is the bad news. Inspiration doesn’t come magically; it requires hard work.

Nowhere is the amount of work that’s required for progress made clearer than in the natural world. In his book Out of Control, Kevin Kelly quotes David Ackley of Bell Labs as saying “I can’t imagine any dumber type of learning than natural selection.” So that’s the good news. If natural selection can create brains smarter than computers, wings more efficient than planes and tongues as sharp as mass spectrometers, then there’s hope for even the densest of us. The trouble is that none of us has 3.5 billion years to experiment.

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