“graphs”
55 posts under this tag.
Now, of course I had no option but to post a just-found formista quote that links conceptualization and algebra with genius to spare. I’m predictable and then some.
Conceptualization is man’s method of organizing sensory material. To form a concept, one isolates two or more similar concretes from the rest of one’s perceptual field, and integrates them into a single mental unit, symbolized by a word. A concept subsumes an unlimited number of instances: the concretes one isolated, and all others (past, present, and future) which are similar to them.
Similarity is the key to this process. The mind can retain the characteristics of similar concretes without specifying their measurements, which vary from case to case. “A concept is a mental integration of two or more units possessing the same distinguishing characteristic(s), with their particular measurements omitted.”
The basic principle of concept-formation (which states that the omitted measurements must exist in some quantity, but may exist in any quantity) is the equivalent of the basic principle of algebra, which states that algebraic symbols must be given some numerical value, but may be given any value. In this sense and respect, perceptual awareness is the arithmetic, but conceptual awareness is the algebra of cognition.
Dr. Leonard Peikoff, The Philosophy of Objectivism: A Brief SummaryPDF
I shall read Ayn Rand soon, I can feel it’s just about the right momement for us to meet. (She surely is one polemical woman: there’s no shortage to people advising you against her and her massive—as in, it has so many damn references (~100) that it needs two-columns for footnotes—↓pedia↓ is currently protected until the bickering quiets down.)
As I mentioned a week ago, I am just starting to feel my way around McKinsey’s Quarterly but it’s been impressive so far. I recently finished reading the three complimentary articles I was granted upon registering (which is free) and they were all remarkable.
This may sound silly but I was happy to read such a well-crafted confirmation email. Notice the avoidance of empty superlatives, the non-patronizing, the effort, not to sound hip or flippant or “professional”, but to be useful. The complimentary premium articles were the extra touch that made me want to share this with the world. This is persuasive (marketing) writing at its best.
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http://www.mckinseyquarterly.com/links/18372
info@mckinseyquarterly.com, The McKinsey Quarterly Membership Confirmation
The McKinsey Quarterly is impressive by itself too, most interesting and with the best graphs I’ve seen since The Economist (and they present them inside sexy, useful Flash “exhibits” that allow you to zoom in/out and pan around).
This time a fascinating little gem from the cover article, The Expert Mind, of this month’s Scientific American: The month you were born plays decisive importance into whether you’ll become a professional soccer player or not. That’s a fact.
A 1999 study of professional soccer players suggests that they owe their success more to training than to talent. In Germany, Brazil, Japan and Australia, the players were much more likely than average to have been born in the first quarter (Q1) after the cutoff date for youth soccer leagues.. Because these players were older than their teammates when they joined the leagues, they would have enjoyed advantages in size and strength, allowing them to handle the ball and score more often. Their success in early years would have motivated them to keep improving, thus explaining their disproportionate representation in the professional leagues.
NOTE: The cutoff dates were August 1 for Germany, Brazil and Australia, and April 1 for Japan.
I’m reminded of Steven Pinker’s wonderful, mocking account of how he became a scientist (which appears in John Brockman’s Curious Minds, a book I’ve praised lavishly already).
Don’t believe a word of what you read in this essay on the childhood influences that led me to become a scientist. Don’t believe a word of what you read in the other essays, either. One of the curses of being an experimental psychologist is the habit of scrutinizing one’s own mental processes. Recounting childhood influences is a mental process no less subject to quirks and errors than falling for the visual illusions on the back of a cereal box. Everything I know about the recollection of childhood influences makes me approach this assignment with misgivings..
In a classic 1977 review, the psychologists Richard Nisbett and Timothy Wilson argued that many of the causes of our choices never enter our consciousness. Here is a simple example. If you present people with an array of articles of clothing and ask them to pick one to keep, they tend to pick the rightmost one. But if you then ask them to list the reasons they chose that article, no one says, “Because it was the one on the right.” They cite only the features of the objects themselves. Not having served in experiments in which the same items were presented in different orders, people have no grounds for knowing that a dumb factor like left-to-right position could be a cause of their behavior. And that’s a major problem for memories of what influenced us: None of us has taken part in the experiments that would isolate the causes of our choices in life.
[Ultimately,] chance must play an enormous role in development. We might be shaped by whether an axon zigged or zagged as our brains jelled in the womb, whether we got the top bunk or the bottom bunk, whether we were dropped on our head, whether we inhaled a virus. Needless to say, few people cite factors like these among their childhood influences..
Steven Pinker, How we may Have Become What We Are
“I have this great illusion of dying exhausted rather than bored” has become of late something like Andrea’s personal slogan. I love the phrase—wrapped in downbeat words, it’s a souvenir of our own mortality that still manages to resolve in cheerful (maudlin) upbeatness—and so I thought it was time for a personal logo too. This came out after some fiddling and I quite like it, if I say so myself. (You will notice I’m still deep in my Bembo phase.) Tomorrow we’ll see if Andrea likes it.
The girl’s Sandman’s Death, which adds a nice layer of meaning (and copyright infringement for good measure) to the logo.
I’ve been plowing through Humanized today and though it’s been somewhat less interesting than I thought it would be (perhaps my expectationsELZR were just too high), here are two very worthy text scraps:
Why do people use Google Maps? Because it’s just so nice to use. Microsoft’s Terraserver gave users access to high resolution satellite images many years before Google Maps did the same. (In fact, while attempting to be clever, I inadvertently terrified my to-be roommate: I used the service to view an aerial photograph of his home and asked him some leading questions about the stuff in his backyard. It took until the second quarter of college before he even talked to me, and then only warily.) But, it wasn’t until Google rethought online maps that the security and privacy issues of such a service came into the national conscience. Why? Because whereas Microsoft had given access to satellite imagery, Google made them accessible.
[Bracket Notation for Editing is] simply three sets of square brackets. The first set denotes deletion, the second set denotes addition, and the third set denotes a comment. It’s easiest to explain by example. Let’s start with a simple sentence plagued by two typical errors:
They called to say that their coming over in an quarter-hour.
An editor might revise the sentence to:
They called to say that the[ir][y’re] coming over in a[n] quarter-hour. [][][Be careful with “their” and “they’re”.]
Now, as we enter the tenth dimension, we have to imagine all the possible branches for all the possible timelines of all the possible universes and treat that as a single point in the tenth dimension..
Your head will hurt afterwards (mine does), but it’s really a fascinating theoretical-physics presentation.
The link is the first significant new form of punctuation to emerge in centuries..
Steven Johnson, Interface CultureAM, p110-1
Indeed it is, but then we might as well feel warranted to pose the seldom-asked question of why are hyperlinks underlined. Dull utilitarian answers aside, an intriguing yet plausible historical explanation (or rather, re-interpretation) herefollows.
I believe our answer traces back to the humble clothe buttonA, that immemorial “knoblike appendageWP used on wearing apparel either for ornament or for fastening,” forgotten (as much else) during the Middle Ages, dismissed as vanity by the Puritans, and traded to Native Americans by early settlers.
With society’s mechanization through the first and second Industrial RevolutionsWP, there was dire need to create appropriate interfaces for the control of the suddenly ubiquitous machines and one of the simplest, most versatile methods invented came to be called “button”WP, owing to its creative resemblance to the former fashion accessory (both were usually round after all).
One subtle point, which shall prove of great importance later, must be remarked now: Owing to human factorsWP, most control buttons are usually seen from a very specific angle. Words fail me to further describe it but perhaps some pictures can help to illustrate the matter:   the keyboard on the ←left shows the usual, canonical perspective of buttons we’ve grown accustomed to since the late 18th century, and any other perspective, say, the keyboard on the right→, feels immediately awkward.
But back to our story: When the turn came for society’s computerization, there was again dire need to come up with suitable interfaces for the novel symbolic devices. Abstruse command-lineWP interactions followed at first, but thanks to Xerox PARC’sWP bitmap revolution1 graphical interfacesWP were envisioned (and, eventually, accepted). The new art form required new metaphors2 and prompted a creativity explosion that continues to this day, but few metaphors proved more fertile or intuitive than the visual staple that became the “graphic button”. Beveled out, it’s “push affordance”3 invites interaction (a click, a push, a press) like nothing else we’ve come up with since.
With the advent of the inter-network, you guessed it, that direst of needs—the interface—made itself felt again. We needed a way to link geographically and semantically far-flung documentsEE together. So what if Ted NelsonWP himself, hypertext’s father, was thinking in our trusty ole friend, the button, when he came up with his gift to the world?
The hyperlink might just be the latest, abstract, stylized reincarnation of our centuries-old pal, the button.
A 16-page meaty interview with Edward R. Tufte from the Technical Communication Quarterly.
A big intellectual move in my work and my teaching came together in Envisioning Information, which I think is the most original of the books, the most theoretical. It essentially opened the entire world of visual evidence up so evidence was no longer statistical graphics—it was the whole world of seeing and thinking, bringing together how seeing and therefore thinking could be intensified.
Excellence in visual design is largely realized through the creation of graphics that correspond with the mental tasks they are meant to support.
The commonality between science and art is in trying to see profoundly—to develop strategies of seeing and showing. This seeing is not about “Aren’t these pictures of molecules beautiful?” Rather, the point is to recognize the tightness between seeing and thinking on an intellectual level not just a metaphorical level. That tightness is expressed in the very physiology of the eye: the retina is made from brain cells; the brain begins at the back of the eye. Seeing turns into thinking right there.
The purpose of analytical displays of evidence is to assist thinking. Consequently, in constructing displays of evidence, the first question is, “What are the thinking tasks that these displays are supposed to serve?”
My wife and I took our extended honeymoon in Japan in 1985 and lived there for a little while. The intellectual idea was to go to the farthest away, highest resolution, technically advanced culture— that is, to increase the variance of our seeing.
My view on self-publishing was to go all out, to make the best and most elegant and wonderful book possible, without compromise. Otherwise, why do it?
Robert Merton, the great sociologist,.. taught me a great deal about scholarship. It began when he looked over a manuscript of what ultimately became my book on political economy, Political Control of the Economy. Bob did a lot of editorial commenting and was a wonderful editor and kind critic, one-on-one. Near a completely undistinguished paragraph I had written, Bob wrote “an echo of Veblen,” a distinguished social theorist. What this said to me was not that the paragraph was good, but rather “Why don’t you try playing in the big leagues?”—that is, to do work that might last for a long time.
I like to give every student every day lots of pieces of paper, many handouts. For years I had a Xerox machine in my living room, running away the night before my lecture.
Along with thirty-two years of being a professor at Princeton and Yale, I also greatly enjoy teaching out on the road. I go about one week a month on tour and give a one-day course. This has been going on now for twelve years; 120,000 people have attended the one-day course. This does get the word out.
When most people begin their advice about communication, their first grand principle is “know your audience.” In practice, that statement too often leads toward underestimating the quality and interests of the audience. The know-your-audience philosophy can be a big step down the road to pandering to the audience. I think sometimes if we anticipate too much the characteristics of the reader, we are going to censor ourselves or change our work—and I think all too often wrongly.
Having grown up a bit, I try to get out of first-person singular when giving advice. It can be dangerous to listen to authors about how to write or establish communication; they can only say what has worked for them or how they work. With an N of 1, a sample size of 1, the variance is infinite.
In my work, there is an effort to raise standards-—by admiring excellence, saying that there are things that are good and there are things that are bad, so get out and tell the world about it.
A curious consequence [of my work] is that I have become a minor celebrity. I have a hint of what a real celebrity must go through every day—a flood of interesting, encouraging, importuning, angry, weird, scary communications. I am not sure quite how to respond to all this. Now and then I ungratefully mutter Bob Dylan’s remark: “Just because you like my stuff doesn’t mean I owe you anything.”
For those going into the corporate world, the key choice point is where you go to work. You had better, for example, see what clients the company has. Once you start working for the company it is probably too late. The socialization is strong, and the masking of responsibility is strong, so that it is probably a little bit late and a bit hard to ask people to change jobs because we don’t think the companies they work for are doing the right thing.
It is straightforward for me to be ethical, responsible, and kind-hearted because I have the resources to support that. I have a lot of privilege and plenty of resources that enable me to try to do good. I admire President Kennedy’s thought: “To whom much is given, much is expected.”
Probably the only generalization about the Internet is that there is none, which is to say that users can have nearly any experience they desire. Internet users are not prisoners—they are responsible for their experience since they can generate nearly any experience they wish (other than an in-depth historical analysis).
One problem from the user’s point of view is that any given manual may be perfectly fine, but most of us are confronted with a multiplicity of interfaces. Just start to add up all the interfaces: that stove, this dishwasher, that microwave, those cameras, that cell phone, this and that computer, and so on. All the differences among those interfaces make a difference. While all the interfaces can be perfectly good when viewed individually, in aggregate it is hard to have much retained learning. For example, when I get a new camera, I take it with me on a trip and dutifully work through the manual. I am the master of that camera in two to three hours and take a few good pictures. I put the camera down and come back a month later, and there is little that has been retained. Somehow we need to have interfaces and explanatory explanations of interfaces that lead to retention and avoid interference from the multiplicity of interfaces.
The top level of most product interfaces is quite good these days. The lower-down levels, where the featuritis fungus thrives, are too often jungles.
I’m trying a different style of highlighting here, sticking to blue and white, and remarking the key word of each paragraph/fragment. What do you think of it? Is it helpful?
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