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By creating a character who can’t be written off as another predictably problematic man, “Tár” draws our attention to how Lydia learned to become one. And, by following Lydia closely, the film relieves the audience of a neurotic cultural obsession with the artistic legacies of real-life powerful figures, focussing instead on their tools. In lieu of asking “Can you separate the art from the artist?” or “But what will happen to these poor, bad men?,” “Tár” asks, “What does power look like, feel like, not only within an institution but within an individual psyche?”

At nineteen, I wrote in a private journal that “the knowledge that anything I feel has already been expressed in a work of art” was my version of feeling watched over by a higher power.

I do not mean to suggest that art works can be divorced from social context, only that our reactions to them are not, in themselves, public statements, acts of harm, or good deeds.

the desire to ship quickly was counterbalanced by a demanding, comprehensive perfectionism. Most commercial projects are driven by commercial values, where the goal is to maximize profits by outperforming your competition. In contrast, the Macintosh was driven more by artistic values, oblivious to competition, where the goal was to be transcendently brilliant and insanely great.

Unlike other parts of Apple, which were becoming more conservative and bureaucratic as the company grew, the early Mac team was organized more like a start-up company. We eschewed formal structure and hierarchy, in favor of a flat meritocracy with minimal managerial oversight, like the band of revolutionaries we aspired to be.

You need to make your case for what the problem or opportunity is—most often validated with at least directional data and/or research insights—and why your specific solution could work. You need to ensure it weaves into broader company initiatives as well as goals for your team and org. And you need a plan to get your product out there in a timely manner along with ways you'll further learn and validate your approach. An executive team won't be thrilled to hear you want to spend a year building something based solely on a hunch.

People hire services not just based on what they can do but how it makes them feel. Quality has a direct relationship to that. Quality products can take your users from "I'm merely using this thing to accomplish a task" to "this is something I love using and I'm telling everyone I know about it."

To maintain a shared, company-wide understanding of the company's specific stance is on quality, how does quality get rewarded, celebrated and prioritized? Is there a process in place for delaying a release and having a retro when the quality bar slips? Who decides when quality has slipped? Who's accountable for addressing it?

What does quality mean to them? How does it tie into the career ladder, promotions and prioritization frameworks? Do they focus more on execution speed over quality?

Is quality baked into the normal product development process, or is it often relegated to low priority "polish" tickets that pile up.

Do different roles (like engineering, product, design) have different motivations for getting their work done? This, again, ladders up to what the org thinks about quality.

Liberal use of "MVP" or "it's just an experiment". Does the team use those terms to skirt around typical quality standards and ship something subpar? Does everything worked on, even experiments, demand the same care as a more mainstream release that goes out to all users? That's a slippery slope because it's all too easy to simply ramp up that experiment to 100% of your users if it performs well, without addressing quality issues that were neglected prior to shipping to that initial set of users. No one wants a slice of cake that is just a piece of the bottom layer. You need to have a taste of each layer with each bite, including the icing. So even if it’s not your entire vision, it has all the right pieces involved. Ditch the term MVP and use SLC (Simple, Lovable, Complete).

I’m not saying designers, PMs and engineers should be holding up their projects for months to “get it right”. I'm saying that teams should be working in a way where everything is considered and there's a framework for identifying, discussing and prioritizing quality-related issues so that quality is a bit less of a sisyphian task.

Does your team have the skills and incentives to identify and adequately fix those issues? Does the organization continually reinforce and celebrate work that ladders up to quality, craft and great design?

have worked for myself over the 25+ years since, and similarly straddled design and development up until recently.Something I've found challenging is that in my projects and pricepoints, it's felt like there is no time for craft. Always harried, always spread thin. Never enough budget to do much more than burn through code. And working with clients who barely know what they expect, so it's hard to confidently spend time on design polish while the chance of concepts being rejected on a whim seems quite random.

Bikeshed refers to topics which have never recieved concensus and are likely to generate side-discussions and flames unless all participants are well-read on all the past history. It stems from the idea that big changes (like the building of a power plant) go through quickly, since everyone assumes that someone else has checked it out, while simple changes (like building a bikeshed) often get mired in bureaucracy, since everyone has an opinion on it.

When asked how often they decide not to post on social media out of fear of it being using against them, older teen girls stand out. For example, half of 15- to 17-year-old girls say they often or sometimes decide not to post something on social media because they worry others might use it to embarrass them, compared with smaller shares of younger girls or boys.

While 9% of teens think social media has had a mostly negative effect on them personally, that share rises to 32% when the same question is framed about people their age.

this survey reveals that only a minority of teens say they have been civically active on social media in the past year via one of the three means asked about at the time of the survey. One-in-ten teens say they have encouraged others to take action on political or social issues that are important to them or have posted a picture to show their support for a political or social issue in the past 12 months.

larger shares of Democrats than Republicans say they have posted pictures or used hashtags to show support for a political or social issue in the past year. In total, Democratic teens are twice as likely as Republican teens to have engaged in any of these activities during this time (20% vs. 10%).

Not only do small shares of teens participate in these types of activities on social media, relatively few say these platforms play a critical role in how they interact with political and social issues.

18% of Democratic teens say social media is extremely or very important to them when it comes to exposing them to new points of view, compared with 8% of Republican teens.

Despite feeling a lack of control over their data being collected by social media companies, teens are largely unconcerned. A fifth of teens (20%) say they feel very or extremely concerned about the amount of their personal information social media companies might have. Still, a notable segment of teens – 44% – say they have little or no concern about how much these companies might know about them.

Design thinking, in a slight divergence from the original model, suggests instead that the designer herself should generate information about the problem, by drawing on her experience of the people who will be affected by the design through the empathetic connection that she forges with them

In fact, problem-solving is always messy and most solutions are shaped by political agendas and resource constraints. The solutions that win out are not necessarily the best — they are generally those that are favored by the powerful or at least by the majority.

Design thinking has allowed us to celebrate conventional solutions as breakthrough innovations and to continue with business as usual.

In much the same way that the project shelters the young, it protects nascent ideas by providing a protected space for the on-going and collaborative engagement with the ambiguity and uncertainly

the Living Breakwaters project offers an alternative to the closure built into design thinking. It illustrates a design process where the designer is dethroned and where design is less a step-by-step march through a set of stages and more of a space where people can come together and interpret the ways that changing conditions challenge the meanings, patterns, and relationships that they had long taken for granted.

It represents a commitment to a process with no clear beginning and end, with a goal that is often no more explicitly defined than imaging and articulating new ways to meet changes that are still murky and immeasurable.

the monetary pressure of maintaining the American dream of homeownership is as powerful a weight on people’s psyches as the threat of being overcome by malignant spirits.

Cross-pollinate ideas from different industries, disciplines, and places. Surround yourself with a diversity of people and develop a variety of skills. The space between ideas will give you a fresh perspective that you can use to problem solve and come up with new ideas.

"I think there is something about women’s leadership styles that are built on listening, building consensus and listening not just to people — our constituents — but also to my colleagues that come from different districts, have different concerns, different pressures than I do," Clark told Axios in an interview last year.

The number one thing UBI doesn't handle well is rent inflation. You hand out $1000 dollars per person monthly, expect rents to go up by about $1000 monthly as landlords realise there is all this extra disposable income in peoples' hand right now.However, this is just an exaggerated effect of monopolies sucking out all aggregate disposable income out of economy that is already happening. Monopolies by definition don't have price down pressures, so they always price expand to capture anything people might have extra. Since landlording is the biggest aggregate monopoly in the world, landlords capture any disposable workers' income. No matter if they get a raise from their boss, the landlord always takes it away.

One of the biggest strengths of UBI is that it eliminates the beurocracy and waste associated with determining who "deserves" assistance. The dominant model in the US is expecting homeless people with drug problems to solve both their addiction and homelessness at the same time by themselves before they are deemed worthy of being helped, which needless to say is barely assistance at all. Having a gaurenteed income stream would make it easier to gain a foothold.

We fully acknowledge that it’s hard to be confident in any predictions at the pace the field is moving. Right now, though, it seems we’re much more likely to see applications full of creative images created strictly by programmers than applications with human-designed art built strictly by creators.

To a layman like myself technology seems to have slowed in its advance over the last few decades, with intellectual and financial resources that once turned out revolutions in agriculture, medicine, transportation, and energy now pooled mostly into computing. It seems as if attention shifted away from the “world of atoms” and into the “world of bits.”

So, the lesson is that when you run into an entrenched competitor with deep pockets who has essentially achieved regulatory capture of the corrupt legislators then you must be prepared to mount a counter campaign straight to the voters. It can be super expensive, but is definitely required in such situations.

Record and fashion labels use the actual word “label,” but publishing houses, art galleries, filmmakers, and other collectives are all examples of a category we might call “culture labels” — entities that exist to fund, distribute, and promote culture of one kind or another.Most culture labels exist to promote a specific aesthetic, region, or point of view. A punk label flies the flag for punk rock with every record it puts out. A postcolonial fiction publisher creates space for marginalized voices in wider culture. These labels establish this perspective incrementally, release by release.

Labels provide seed funding to new ideas. Labels find, sign, and support talent. Labels signal to the rest of their ecosystem what matters. Taken all together, we can better appreciate what labels are. Labels are startups and institutions for culture.

It’s no coincidence that the push against labels coincided with the rise of the so-called “Creator Economy” and its new heroic myth of the independent creator who out-hustles and out-competes their way to millions of subs and riches. But the truth of the Creator Economy myth has become clear: billion-dollar platforms turning people into content factories and offering little in the way of creative support, financial security, or context in return.