The premature sheen
I find Brian Eno to be a fascinating chap. His music isn’t my cup of tea, but I really enjoy hearing his thoughts on art, creativity, and culture.
I’ve always loved this short piece he wrote about singing with other people. I’ve passed that link onto multiple people who have found a deep joy in singing with a choir:
Singing aloud leaves you with a sense of levity and contentedness. And then there are what I would call “civilizational benefits.” When you sing with a group of people, you learn how to subsume yourself into a group consciousness because a capella singing is all about the immersion of the self into the community. That’s one of the great feelings — to stop being me for a little while and to become us. That way lies empathy, the great social virtue.
Then there’s the whole Long Now thing, a phrase that originated with him:
I noticed that this very local attitude to space in New York paralleled a similarly limited attitude to time. Everything was exciting, fast, current, and temporary. Enormous buildings came and went, careers rose and crashed in weeks. You rarely got the feeling that anyone had the time to think two years ahead, let alone ten or a hundred. Everyone seemed to be passing through. It was undeniably lively, but the downside was that it seemed selfish, irresponsible and randomly dangerous. I came to think of this as “The Short Now”, and this suggested the possibility of its opposite - “The Long Now”.
I was listening to my Huffduffer feed recently, where I had saved yet another interview with Brian Eno. Sure enough, there was plenty of interesting food for thought, but the bit that stood out to me was relevant to, of all things, prototyping:
I have an architect friend called Rem Koolhaas. He’s a Dutch architect, and he uses this phrase, “the premature sheen.” In his architectural practice, when they first got computers and computers were first good enough to do proper renderings of things, he said everything looked amazing at first.
You could construct a building in half an hour on the computer, and you’d have this amazing-looking thing, but, he said, “It didn’t help us make good buildings. It helped us make things that looked like they might be good buildings.”
I went to visit him one day when they were working on a big new complex for some place in Texas, and they were using matchboxes and pens and packets of tissues. It was completely analog, and there was no sense at all that this had any relationship to what the final product would be, in terms of how it looked.
It meant that what you were thinking about was: How does it work? What do we want it to be like to be in that place? You started asking the important questions again, not: What kind of facing should we have on the building or what color should the stone be?
I keep thinking about that insight: “It didn’t help us make good buildings. It helped us make things that looked like they might be good buildings.”
Substitute the word “buildings” for whatever output is supposedly being revolutionised by generative models today. Websites. Articles. Public policy.