Millions of people are unable to work because of a disability, but that has as much to do with the changing nature of work as with the disabilities themselves:
When I said things like, what about a job where you don’t have to lift people, or a job where you don’t have to use your shoulder or where you don’t have to stand all night long, or just simply, have you thought about other jobs that you could do, people gave me such bewildered looks. It was as if I was asking well, how come you didn’t consider becoming an astronaut…
Being poorly educated in a rotten place, that in and of itself has become a disability. This is a new reality. This gap between workers who are fit for the US economy and millions of workers who are increasingly not. And it’s a change that’s spreading to towns and cities that have thrived in the American economy.
It’s sadly ironic that while tech workers are proud about the health benefits of their new standing desks, people with real health issues can’t get jobs that allow them to sit.
A good argument for why our culture can feel so rushed, unifying individual perception, widening economic classes, new technologies, changes in parenting, politics, and more. Alas, no magic cure is mentioned.
Why the rich often feel busier than the poor:
Ever since a clock was first used to synchronise labour in the 18th century, time has been understood in relation to money. Once hours are financially quantified, people worry more about wasting, saving or using them profitably. When economies grow and incomes rise, everyone’s time becomes more valuable. And the more valuable something becomes, the scarcer it seems…
While the wages of most workers, and particularly uneducated workers, have either remained stagnant or grown slowly, the incomes at the top—and those at the very top most of all—have been rising at a swift rate. This makes leisure time terribly expensive.
How the glut of “leisure” activities makes all of them less relaxing:
The explosion of available goods has only made time feel more crunched, as the struggle to choose what to buy or watch or eat or do raises the opportunity cost of leisure (ie, choosing one thing comes at the expense of choosing another) and contributes to feelings of stress. The endless possibilities afforded by a simple internet connection boggle the mind. When there are so many ways to fill one’s time, it is only natural to crave more of it.
Parenting has become even more time-intensive as well, especially for those with the other time crunches:
American mothers with a college degree, for example, spend roughly 4.5 hours more per week on child care than mothers with no education beyond high school…As for fathers, those with a job and a college degree spend far more time with their children than fathers ever used to, and 105% more time than their less-educated male peers.
I’ve written before about how I think about and talk about design. While in general I find it important to be specific about the practice you’re doing, there are some broader definitions that are useful.
One that occurred to me this morning: The first act of product design is deciding what effect you want to have in the world.
This definition sidesteps the distinction between solving problems and cultural impact, and focuses not on the product but on the opportunity.
We live in a fascinating time, where with new tools we have the power to build almost anything. Meanwhile, design practice is emerging in many disciplines and fields. The question is then less about “what should we build” and more about “why should we build?” Make sure you know your answer.
“The muse visits during the act of creation, not before” – Roger Ebert
Elizabeth Kolbert summarizes the new book Overwhelmed with a comparison to what John Maynard Keynes expected our society to become.
By 2028, he predicted, the “standard of life” in Europe and the United States would be so improved that no one would need to worry about making money. “Our grandchildren,” Keynes reckoned, would work about three hours a day, and even this reduced schedule would represent more labor than was actually necessary…
In the future, Keynes imagined, the fruits of capitalism would redeem capitalism…
It is, to say the least, disappointing that things haven’t turned out that way—that inequality has grown, that leisure is scarce, that even the rich complain of being overwhelmed. And yet so much of what we do, collectively and individually, suggests that we still believe more wealth is the answer. Reexamining this belief would probably be a good idea—that is, if anyone had the time for it.
It feels to me that software design, despite its intense cultural focus, huge business opportunity, and worldwide effort, isn’t as beautiful, elegant, or compelling as other forms of art and design. Held up against films, music, fashion, physical products and even video games, almost all software feels flat, utilitarian, and uninspired. Why is that? I have a few hypotheses:
- Not enough people are designing software – This is changing fast, but software design has been a very small and elite field for most of its history. When a larger and more diverse set of a population gets involved in something, the results quickly get better. Think about how most top runners are Kenyan; many top baseball players Puerto Rican–in each case, that is the dominant sport and goal for the youth of the country. We need more people to design software.
- We don’t yet have the right tools – We admire the very first cave painters, movie makers, and book publishers because the act of creating anything was hard for them. But we’d hardly call that artwork “beautiful” by today’s standards. The tools to create paintings, films, and prints today are so advanced that almost anyone can learn and practice those art forms. Software, however, is still impossible to create without significant technical training.
- Beauty isn’t useful – My friend Chris often invokes “the Pepsi Challenge”–namely, the difference between liking something for a minute and living with it for weeks. The same design that looks great up on a foamcore board, or in a science fiction movie, starts to grate on you when its ornamentations get in your way for the hundredth time. That’s the reason we had, and abandoned, long cool Flash intros on websites.
- Utility isn’t sexy – Similarly, a design that quickly and efficiently takes care of things and gets out of your way doesn’t even give you a chance to admire it. You might feel satisfaction with the results, but that’s a long way from awe and lust at its form.
- We don’t have the right support and organizational structures – Painters and writers generally work alone; filmmakers and video games have a producer/director split. But most software is designed by a triad of project managers, software engineers, and interface designers.
- We don’t really try – This is a tough one to swallow, but I think it’s fair to say that right now most software designers don’t really pursue beauty as a central goal. Many designers care deeply about elegance, simplicity, and craft, but I’ve rarely met one who speaks about the emotional journey of the viewer, or who thinks about the storyline of their interactions.
Overall, it does seem that software design is quickly improving. Perhaps it will just take more time to get to the place that these other mediums have reached.
Obama, in David Remnick’s New Yorker article:
I have yet to see something that we’ve done, or any President has done, that was really important and good, that did not involve some mess and some strong-arming and some shading of how it was initially talked about to a particular member of the legislature who you needed a vote from.
Because, if you’re doing big, hard things, then there is going to be some hair on it—there’s going to be some aspects of it that aren’t clean and neat and immediately elicit applause from everybody. And so the nature of not only politics but, I think, social change of any sort is that it doesn’t move in a straight line, and that those who are most successful typically are tacking like a sailor toward a particular direction but have to take into account winds and currents and occasionally the lack of any wind, so that you’re just sitting there for a while, and sometimes you’re being blown all over the place.”
“I had some time on my hands, I wasn’t working much in my, ahem, chosen profession. An aspect of fortune is that, when it’s raining, then you gotta work inside the barn, you know?” – Robert Downey Jr. on recording an album
An interesting perspective:
Glass didn’t earn a living from his music, in fact, until he was 42. Until then, he drove cabs, shifted furniture and worked as a plumber. “I was careful,” he explains, “to take a job that couldn’t have any possible meaning for me.”