When I arrived at Harvard, I wanted to design a course in political theory that would have interested me, back when I was started out, in a way that the standard things didn’t.
We have to design a health delivery system by actually talking to people and asking, ‘What would make this service better for you?’ As soon as you start asking, you get a flood of answers.
Give us detailed, testable, mechanistic accounts for the origin of life, the origin of the genetic code, the origin of ubiquitous bio macromolecules and assemblages like the ribosome, and the origin of molecular machines like the bacterial flagellum, and intelligent design will die a quick and painless death.
Intelligent design is a modest position theologically and philosophically. It attributes the complexity and diversity of life to intelligence, but does not identify that intelligence with the God of any religious faith or philosophical system.
Sculptures created from found materials like ice and thorns, driftwood, and even bleached kangaroo bones all presuppose that artistic design will yield to the cycles of time and climate, whether over an hour or a decade.
I tell my workshop students, ‘I want you to think of yourselves as artists. Then, when you’re writing, you’re painting, you’re crafting, you’re making a design, you’re sculpting, you’re creating choreography, sound, a sound script.’
My earliest interest in game design came when I was in primary school, and my parents bought a Commodore 128 computer. I taught myself to write programs in BASIC, and then I made my own games.
Beautiful Evidence is about the theory and practice of analytical design.
To me, it remains incomprehensible that a people who can design the Porsche 911 and sleek, white ice trains, who created the Bauhaus and speak at least three languages at birth, want to own twee Christmas figurines painted in gaudy colours, dress up in Bavarian lederhosen, and eat Haribo gummy bears.
Classical design is a mirror of the human mind. It’s how we see the world.