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  • Collected quotes, 2 of n

    Collected quotes, 2 of n

    This entry is part 2 of 6 in the series Quotes and Excerpts

    Things don’t have purposes, as if the universe were a machine, where every part has a useful function. What’s the function of a galaxy? I don’t know if our life has a purpose and I don’t see that it matters. What does matter is that we’re a part. Like a thread in a cloth or a grass-blade in a field. It is and we are. What we do is like wind blowing on the grass. […] We’re in the world, not against it. […] The world is, no matter how we think it ought to be. You have to be with it. You have to let it be.

    Le Guin, Ursula. (1971). The lathe of heaven. New York: Scribner’s.

    This was an unexpectedly comforting quote. The pointed question embedded within it startled me: “What’s the function of a galaxy?”

    If something is allowed to be that immense without being deliberately functional or useful, in that intentional, narrow sense of “usefulness” we’ve been taught to value, then I feel like there might be license for respite for the rest of us.

     In his book “The Sabbath,” rabbi and civil rights activist Abraham Heschel observes that “there is a realm of time where the goal is not to have but to be, not to own but to give, not to control but to share, not to subdue but to be in accord.” This, he says, is the point of taking a day off for rest and reflection and the company of loved ones: It’s when we manage to stop worrying about making a living that we start actually living.

    Grey, Sarah. (2014). Friday Night Meatballs: How to Change Your Life With Pasta. Retrieved 27 January 2020.

    What strikes me about this quote is how “old hat” all of it is. Not to knock on Mr. Heschel, who articulated the sentiment well, but he’s not the only one who has said so, and that bothers me.

    This is, apparently, a truth we’re all familiar with! We know it; we agree with it. Then why does the vast majority of the world still have to be shackled to the daily torture of making a living? Why haven’t more of us pooled our talents and poured our efforts into the challenge of allowing more people to “actually” live?

    The bigger the issue, the smaller you write. Remember that. You don’t write about the horrors of war. No. You write about a kid’s burnt socks lying on the road. You pick the smallest manageable part of the big thing, and you work off the resonance.

    Richard Price

  • The Plant Playthrough: Actual Game

    The Plant Playthrough: Actual Game

    If you’d like some background on The Plant, a free solitaire roleplaying game from Bully Pulpit Games, you can check out my previous post.


    The game begins.

    This post contains numerous excerpts and spoilers from The Plant. If you plan on playing the game, do that first!

    Area: Crawlspace

    The front doors are bolted shut, and the windows are too high to reach. There deserted yard offers no items for leverage. When they left this place, they took care to cover their tracks.

    You circle the plant, probing its grey, unyielding façade for a crack, an opening. You find it at the back of the building: the seam of some kind of access tunnel, rusted shut. With graceless hands, you pry it open.

    The strong, musty smell of industrial gunk long shut in hits your nose. You inspect the tunnel. It’s narrow, but you could probably squeeze in.

    This is the crawlspace, a claustrophobic access corridor filled with animal droppings and asbestos. Amid the ductwork are gaping, ragged holes where fans, bag houses, dust collectors and changeover dampers were once affixed, now presenting a deadly hazard to the unwary.

    The Plant by Jason Morningstar

    [25]

    It is the past. You spend a good amount of time above the factory floor, in cramped crawlspaces filled with metallic dust. Amid the ductwork are high temperature dust collectors and changeover dampers, enormous slowly-spinning fans, and bag houses with rotary valves. The roar of the plant is muffled down here. It is almost peaceful.

    You look down and see your partner, the love of your life.

    Who is your partner talking to, and about what?

    She’s left her safety goggles, is the first thing you notice. She’s hurtling along the factory floor, chasing after the plant director. It sounds like the continuation of an argument.

    “You know we don’t have enough personnel yet, and the new protocols — “

    Ah, yes. This argument. The new system. They’ve been arguing about it for a long time, and you’ve kept vigil over enough late nights to know that she’s had nothing on her mind these days. Plans called up for review, meetings barged into, personnel reassigned, and throughout all that, the director’s impatience, the threat of his displeasure.

    She has always been a force, and this was no different. It terrifies you to think that this is the day you might finally see her overcome.

    Area: Trunk Room

    The tight corners of the crawlspace give way to a wider space, and you emerge to find yourself surrounded by tangles of rusted pipes.

    You sigh as you think of your daughter. How far will you have to go?

    This is the trunk room. Both gas and water pipes of every dimension wend through this space, all of them lifeless and broken. A burst pipe long ago flooded the space, and a greasy black water line is visible at knee height on the walls. A jagged hole in the floor provides a view into the inky blackness of what was once a water well. Incongruous piles of shingles are stacked behind the door.

    [28]

    Draw, read, and discard a detail card.

    Drawn card: Taste of warm blood

    Why does the item on the card make you whoop with delight, eager to press on and take care of business?

    As you make your way to the door opposite, your foot catches on the edge of the water well. You pitch forward, knocking into overhanging pipes halfway through a yelp of surprise. Warm blood blooms on your tongue. You pick yourself up and wipe your cut lip with the back of your hand.

    A laugh escapes you. And why not? It’s funny. You spent God knows how many years working here, enough to make a life of it, and now all of this. It’s ridiculous.

    Area: Coil Room

    You burst into the coil room. You recognize the presses lined up along the wall in front of you. What you don’t remember is the giant hole in the ceiling. The crumpled remains of the heater you did know peek out from under the debris.

    This is the coil room. A bank of cylindrical extrusion presses stand like sentinels in the dust. The paraphernalia used to coil copper wire – control stands, take-up coilers, and long trolleys – have been torn apart, the more club-like pieces used to beat the electrical billet heater until it collapsed, taking large chunks of ceiling with it.

    [20]

    It’s a long time ago. The plant is buzzing with energy. Copper wire of all gauges snake everywhere – through a bank of cylindrical extrusion presses, down to control stands and into take-up coilers, and onto trolleys. The coiling line is a blur of activity as workers stamp, cut, bundle, and haul copper wire.

    Yeah, the good old days. That was a long time ago.

    Remember that thing in the last room? The last thing you experienced? Remember how easily you described and explained what happened? You were lying to yourself. Actual events were much, much worse. Ten times worse, horror show freak show worse. Come to grips with that and be honest with yourself at last. Keep it together. Do it for her.

    You stare at the heater a beat too long. You’ve had your fair share of peeking in this place.

    The engineer, out from behind one of the consoles late at night, catching you on the way out to mumble about maybe talking to her about rechecking the new protocols.

    The plant director, warily from behind the glass of his office window, the day before the new system had gone live.

    Her, finally, from behind all the plans she had been reviewing and the papers she had been signing — because she hadn’t been blocking them, had she?

    No, but it had been nice to pretend, for a while, and occasionally, still.

    Area: Furnace Room

    This is the furnace room. The massive annealing furnace squats on an iron trestle, with long-frozen hydraulic lifts poised like fat legs on either side. The walls are studded with support machinery – a huge oil pump, a 200-kilowatt inductor with its guts ripped out, and a rusting stand for cooling water three stories tall. Someone has dragged a shopping cart and a rotten canvas tarp in here.

    [15]

    It’s quite a few years ago. The massive annealing furnace squats on an even more massive iron trestle, with long-frozen hydraulic lifts poised like fat legs on either side. The walls are studded with support machinery – a huge oil pump, a 200-kilowatt inductor, and a stand for cooling water three stories tall. The room is filled with the sharp metallic tang of liquefied copper and the air is astonishingly hot.

    Your foreman just came in and told you that you were going to be a father. How did you take the news?

    You should have hated the furnace room. You did, for a long time, whenever you had to come in here. Until that day the foreman had burst in, curiosity and wonder and joy on his face, and thanked you for making him an uncle. He’d been in the break room when his sister had come in, fresh from the director’s office, and told him the news.

    You didn’t even wonder why he was the one telling you. Of course your wife couldn’t be in there, especially then. Of course your child would not be exposed to extreme temperatures. That part of family life, that protectiveness, has always come easy to you, even if following through has not.

    Drawn card: Down

    How do you get down there?

    Draw another card.

    You skirt around the pump, the inductor, the furnace, and emerge into a long corridor. It leads to a staircase heading down, and you press on.

    Area: Spin-Block Room

    This is the spin-block room. A pair of ominous-looking round cages, once yellow but now consumed with rust, hang from the ceiling, far enough off the floor that vandals could not reach them. The hydraulic machinery to raise and lower the spin-block cages has been removed, leaving only shadowy impressions on the walls, and stranding the cages forever.

    [26]

    Draw, read, and discard a detail card.

    Drawn card: Threadbare jacket

    Why does the item on the card make you break down and cry?

    You look up at the rusty cages. If pressed, the most that you can say is that this is a part of the plant you’re unfamiliar with. You wonder how long the cages have been there, what they’ve been used for. This level had borne most of the renovations when they’d installed the new system; that much you can remember.

    In the corner of your eye, you spot a bundle in the far corner of the room. Your chest constricts. Darting under the cages, you snatch up the bundle and shake it out, hold it up to the light. You’d recognize that threadbare jacket anywhere.

    Drawn card: Down

    How do you get down there?

    Draw another card.

    You scrub your face dry and sling the jacket over one shoulder. So she is here, or has been here. You scour every inch of the other rooms on the floor, but there’s nothing, no other trace. You shoulder your way past the heavy door of the last room and collapse against the wall, exhausted.

    A light blinks somewhere to your right. You look over. The elevator appears to be working, somehow. With nowhere else to go, you amble over and press the button to go down.

    Area: Control Room

    This is the control room. Banks of electrical equipment here have been forced open and gutted, their contents sold for scrap. At one end is an overturned metal desk, its contents now covering the floor in moldy paper pulp. A mummified rat peeks out of a waxed paper cup. You remember it in better times…

    [19]

    It is many years ago. The plant is spotlessly clean, brilliantly lit, and humming with power and purpose. Here in the control room, solid-looking electrical cabinets line the walls, and banks of instruments monitor the furnace, upcasting, and coiling workspace machinery. At one end is a battered metal desk with a telephone and paperwork on it. In its own way it is weirdly cheerful and realer than real. You remember it like it was yesterday. And then it all falls apart around you.

    She’s been here, that much is obvious. You can feel her nearby and it makes you relax for a moment. What happened before – that nonsense in the last room of the plant – couldn’t have happened, right? You have a dramatic disposition and tend to spin out tales for yourself. You imagined the whole thing. You must have. 

    You eye the desiccated rat and wince. Somehow it casts your thoughts back to those cages, to what could have been kept in them. They had been too big for rats, but a good size for —

    You shake your head and focus instead on inspecting the rest of the control room. She was here, too. As her mother had been, part of you thinks, but you push the thought away.

    Area: Break Room

    This level of the plant, you’re more familiar with. They’d put almost everything truly important down here — for safety, you’d assumed, the way it was only natural for bunkers and vaults to be placed underground. In any case, anyone who’s been here for long enough to need supplies would only go to one place.

    This is the break room. Faded safety and health posters vie for space with creeping mold and crudely scrawled graffiti on the walls. The hall even used to have a tree in it, growing in an enormous planter. Ornamental brickwork serves as a ladder of sorts, making this room easy to get to. It’s obviously been a popular shooting gallery – needles and syringes form a toxic constellation across the cracked linoleum floor.

    [27]

    You used to spend a lot of time here. You used to eat lunch here every day. The hall even used to have a tree in it, growing in an enormous planter. People would gather there to smoke, and you’d watch them.

    You ate alone after people found out about what happened.

    What happened?

    And you were always watching. Scanning the yellow, exhausted faces huddled around that miserable tree. Every day, you’d look, knowing eventually you’d catch a glimpse again.

    Who were you looking for?

    Calling it the break room was underselling it a bit. As dreary as any underground space was bound to be, the plant had tried to make this one impressive, at least. The facility had grown by that point, anyway, and the break room had been designed to hold as many of them as it could.

    You wander through the hall, and your memories fill in the long tables, the planters, that one corner where they had put an honest-to-goodness tree that somehow stayed alive for so, so long.

    After the accident, that tree had been the only thing you’d even come to the break room for.

    Technically the incident had just been a power surge, a result of the new system, understandable.

    Technically nobody had been hurt.

    Technically your conflicted feelings over it were only natural, because you had rushed over straight from the hospital, your shock wrestling with the joy of having just witnessed the birth of your child.

    Technically, technically, technically.

    You’d spent every day since then watching the people involved, searching for some sign of the people they’d been before the accident, before they’d started looking at you with those hollowed eyes.

    Drawn card: Down

    Last card

    You spy a faint opening in the wall, right behind where the tree used to be. The jacket slips from your shoulder as you run, but it doesn’t matter. Hope and apprehension drive you forward, erasing everything but the possibility of what you might find behind that wall.

    You know what crawlspace doors look like. You push this one wide open, and you fall to your knees. The softest, smallest sigh leaves your bloodied mouth.

    You find her in the last place you look – the furthest corner of the plant, as far from her life as it was possible for her to get.

    As far from you.

    Jammed in a corner, as if, even in her last moments, she was still trying to find more distance.

    She looks so small.

    You pick her up gently, cradle her in your arms as you make your way back. Past the tree, kept impossibly alive for so, so long. Past the control room, brushing dust off her mother’s plans and papers as you go. Up through the elevator, skipping the levels you have always skipped. Out through the front doors this time, and across the deserted yard.

    When you’d left this place, you’d taken care to cover the tracks.

    You should never have told her.

  • The Plant Playthrough

    The Plant Playthrough

    Fiasco, that tabletop game that plays more like a collaborative improvisational storytelling exercise than anything, has always been one of my favorite games. The company that publishes it, Bully Pulpit Games, carries a range of similarly story-driven titles, and it just so happens that some of these miraculously fulfill two criteria:

    1. They’re designed for a single player.
    2. They’re free.

    The Plant is one of these games, and I took some time out today to play through it.

    How the Game Works

    The Plant is “a solitaire roleplaying game,” and appropriately enough, you do play it like a game of solitaire.

    The premise is simple enough: You are looking for your daughter in a plant.

    The game’s engine consists of two types of cards, which you’ll make out of index cards (or whatever you have on hand):

    • Plant cards: These carry a number from 1-10 and have the letters A-B written on the edges. You explore the plant by drawing these cards and chaining them together to determine your next scenario or destination.
    • Detail cards: These can be anything from a person to an object to an emotion. You create these cards following some guidelines from the rulebook, and you’ll occasionally be prompted to draw these over the course of your journey.

    The rulebook carries scenarios that you will basically weave through according to the cards you’ve drawn. And that’s it!

    The Plant is a Story-Building Exercise

    There are no points to rack up or objectives to pursue. The Plant is a game in the vein of Gone Home: an exploratory journey, where the game’s twists and turns lead you to pieces of story that you cobble together as you go.

    What’s interesting here is that you create the game cards, and chance — you shuffle the cards and draw them to play — works with you to shape the game. The nature of the story you end up with is entirely up to you.

    Setting Up My Game

    I used some extra notepaper I had lying around. Here are the decks I gave myself for the game:

    One deck of 10 Plant cards: three Down cards and seven numbered ones (3, 8, 9, 6, 5, 1, 7)

    One deck of 10 Detail cards:

    • Threadbare jacket
    • Glimpse of your daughter in the distance
    • Somber corporate person
    • Feeling of regret on the skin
    • Forgotten letter to your daughter
    • Brand new wrench
    • Your daughter’s voice whispering, “Come back.”
    • Tattered astronomy book
    • Taste of warm blood
    • Smell of burnt toast

    In the following posts, I’ll document how the story played out for me.

  • Logged writing

    Logged writing

    Lately, there’s been some buzz about reviving the practice of blogging. Warren Ellis has posted about it, as has Chuck Wendig, and a bunch of other people, I’m sure. There seems to be a growing collective awareness of how ephemeral social media can be, and how devastating that can be when these social media platforms are already so ubiquitous.

    Or, in short, everyone seems to be asking: When we look back x years from now, what will we find? And that’s a question social media encourages us to avoid, if not resist altogether.

    It’s a big question. We humans aren’t wired to handle thoughts about our future. Little wonder that we tend to be bad at building answers — even in the smallest, most inconsequential way, like maintaining a blog.

    But as Chuck Wendig points out, we don’t own any of these social media platforms. Our tweets and Facebook posts are released into the ether, and if we wanted to leaf through them later on, maybe trawl for persistent threads in our thinking — we couldn’t. If we wanted to leave a platform, we’d decouple ourselves from everything we might’ve published there, too.1 I know: you can download copies of your data. But the downloaded data isn’t immediately available to anyone else, and migrating it to a new, publicly accessible home takes time.

    X years from now, none of us might be on the same platforms we’re using today–and even if we were, the trails we would’ve made would be so muddled and inchoate, they might as well be mush. The findings in that Slate article I linked up there cut both ways: our future selves might be strangers to us now, but so will we be to them x years from now, if we’re not careful.

    And so: blogging, a more lasting record of the people we are from day to day in the mad swirl of information that is the internet. Categories, tags, and other such systems assure us that we can make sense of whatever publications we accrue over time, but that kind of meta-organization is secondary. 2Consider the “log-like blogging” that Venkatesh Rao wrote about recently, which seems naturally resistant to most of these systems, at least in so much as these systems come to approximate the effects of naming.

    The point is that all of it is owned, in a space that you build and control–a space that you can return to and make sense of, time and again. However you choose to order that space is icing.

  • Sunday Share: The Greeting Committee

    Sunday Share: The Greeting Committee

    My best Sundays so far have all featured good music. There’s nothing like a quiet afternoon in, hot tea in your hands and an album setting the vibe.

    Today, that album was This Is It by The Greeting Committee. I found this Kansas City-based band through Spotify: one of my Discover Weekly playlists included their track, “You’ve Got Me.” Being a sucker for saxophones and indie pop, I fell hard. The best part? The rest of the album didn’t let me down.

    Here’s a live session they played at KJHK earlier this year, featuring four great tracks from This Is It. The audio mix isn’t the best, but this is a band that shines live, and this is the best set of tracks I’ve found from the recordings on YouTube.

    Cherry on top: “You’ve Got Me” kicks off the show.

  • Learning UX design basics

    Learning UX design basics

    Last week, I tuned in to General Assembly’s Intro to UX Design livestream for Asia-Pacific audiences. Technical hiccups aside, it was a good overview of what UX design is and what the work of a UX designer entails.

    SidebaR

    General Assembly (GA) is an education network that offers technical courses / bootcamps for fields like data science, product management, digital marketing, and UX design. It started in 2011 and has since grown to over 20 campuses worldwide.

    Most of these campuses are in North America, but there’s one in Singapore as well, which is how I came to hear of them.

    The talk addressed key questions like:

    • What is UX design?
    • What does a UX designer do?
    • How can someone get started in UX design?

    Here are my main takeaways from the session and the Q&A session that followed.

    What is UX design?

    UX design is the practice of crafting and enriching a user’s journey through a product, service, event, etc.

    Differentiating UX from UI can be challenging at first. The trick is to look at the scope:

    • UI: user interface, focuses on the visual and functional elements of a product or service
    • UX: user experience, focuses on how users interact and engage with a product or service

    UX tackles a broader range of concerns, most of which have to do with the “post-launch” life and everyday use of a product or service. UX design will usually involve digital touchpoints that audiences encounter as they use a product or service.

    The General Assembly talk went a step further to distinguish UX from usability and service design as well.

    Usability is goal-oriented; it answers the question, “Did the user accomplish what they needed to do?” By contrast, UX design goes beyond “Yes” or “No” here and looks into the quality of the process behind that accomplishment.

    Service design is the broadest concept of all these. It covers the whole user journey, from internal team organisation, to operational processes, to the physical and digital touchpoints that audiences engage with.

    What do we mean when we say delight?

    Delight is central to UX design, and it’s a concept that pops up a lot in conversations within the field. For most UX designers, the ultimate goal is to give audiences a delightful experience.

    But “delight” can be a nebulous term, especially when individual experiences and reactions can be so subjective. How do UX designers know what criteria they should hit, and how can they gauge if they’re crafting something truly delightful?

    Venturing out into the universe of UX design discussions a bit, Jared Spool’s blog post helped crystallize a simple but useful definition of delight in the context of UX design practice:

    Delight measures the fulfillment of user expectations.

    Of course, this is still tricky territory. Every user has different expectations, and a product or service can’t possibly fulfill them all. At the same time, there are situations where “delight” doesn’t seem to be the most appropriate aim (Spool uses life insurance and funeral arrangements as examples).

    This is where the thought-provoking discussions sparked by John Saito’s post on the “dangers” of delightful design come in. As many respondents pointed out, it can be easy to conflate delight with cute or twee — superficial details that try to be clever or amusing, but rarely do much for the core user experience.

    However, delight in the UX design sense runs much deeper. It’s the satisfaction that comes from a painless, well-executed solution.

    Delight and the UX honeycomb

    Just as there is no one-size-fits-all solution to every problem, there’s no universal list of user expectations. Instead, a UX designer must identify the intersection of:

    • Customer needs: What is the customer’s job to be done?
    • Product attributes: What can make the product or service a viable solution?
    • Business goals: What is the company hoping to achieve?

    The answers to these questions can help UX designers figure out the relative importance of each facet of the user experience honeycomb.

    Sourced from Dane Wesolko on Medium

    Developed by Peter Morville, the UX honeycomb framework illustrates various key elements of a user experience. These facets serve as buckets for sorting the customer needs and expectations that matter. With the UX honeycomb, designers can clarify project priorities and better navigate the decisions and trade-offs that come up throughout the design process.

    The weight of each facet will vary with each project. To successfully craft a delightful user experience, UX designers must take care to assign values to each facet based on careful research and data analysis.

    Delight is the product of an elegant alignment of business goals and relevant user expectations.

    What does a UX designer do?

    All this implies that a UX designer’s job involves more than just visual design. To craft a delightful user experience, UX practitioners carry out tasks like:

    • Audience research
    • Data collection and analysis
    • Product requirement documentation
    • Prototyping
    • Usability testing
    • Taxonomy creation
    • Interface design
    • Copywriting

    In bigger organisations, these functions may be assigned to different members of a UX team. For example, there could be dedicated UX researchers who work in collaboration with content strategists and interface designers. In some cases, however, all these functions might be rolled into one role, and the UX designer will need to wear multiple hats throughout a project.