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    <h1>Designing Branch: Sustainable Interaction Design Principles</h1>
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      <a href="/david/" title="Aller à l’accueil">🏠</a> •
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  <p>There’s a need to reconnect the digital to the physical, from minerals and energy to the physical infrastructure that powers the internet. We have to repurpose our digital design processes to consider and reflect these ecological needs, instead of optimising only for business and growth objectives, to achieve more transactions, interactions and attention. </p>

 <p>One of the ways we can do this is by lowering the energy demand of the digital products and services we’re designing, making it more accessible to people with slower internet connections or on older devices.  For <em>Branch</em> we wanted to design something that still looked designed, and worked at a low bandwidth environment, but didn’t end up looking too anodyne.</p>

 <p><em>Branch</em> was also designed to be ‘Demand Responsive’ to adapt to and reflect the physical infrastructure of the internet and the energy behind it. Utilising data from a grid intensity API and the user’s location, <em>Branch</em> has different interface designs that are shown dependent on the current energy demand and fossil fuels on the grid where the user is.  There are 4 different design states:<br></p>

 <h3>1. <strong>Lower grid demand, more renewables</strong></h3>

 <p>The first design state is when grid demand is lower and has a higher concentration of renewables, here the site shows the full experience with all images, videos and media content automatically loaded.  </p>

 <h3>2. <strong>Medium grid demand, fewer renewables</strong></h3>

 <p>If the grid demand increases and is medium intensity with fewer renewables, we display lighter unicode renderings of images and videos. </p>

 <h3>3. <strong>Higher grid demand, less renewables </strong></h3>

 <p>When grid demand is high and less renewables are being used we reverse the way media content is shown by emphasising the alt text instead. The user can click to reveal the content if they wish, but it is not automatically loaded for them, this also creates the need to craft alt texts to make them much more descriptive than they may usually be.</p>

 <h3>4. <strong>Grid data unavailable </strong></h3>

 <p>Sometimes the technology we rely on goes down or simply doesn’t work, and that’s another important reflection of the physical infrastructure behind it. So when the grid intensity API we use for <em>Branch</em> is down or unavailable, we designed a state to show this too. <br><br></p>

 <figure class="wp-block-image size-large"><img loading="lazy" src="https://branch.climateaction.tech/wp-content/uploads/2020/10/xbranch_designs_process_tom_jarrett-694x1024.png.pagespeed.ic.JmUqcpn2Eb.png" alt="Four mockups show the different designs for low, medium and high grid intensity as well as if no data is available" class="wp-image-482" srcset="https://branch.climateaction.tech/wp-content/uploads/2020/10/xbranch_designs_process_tom_jarrett-694x1024.png.pagespeed.ic.JmUqcpn2Eb.png 694w, https://branch.climateaction.tech/wp-content/uploads/2020/10/xbranch_designs_process_tom_jarrett-203x300.png.pagespeed.ic.5gQxh-rKS4.png 203w, https://branch.climateaction.tech/wp-content/uploads/2020/10/xbranch_designs_process_tom_jarrett-768x1133.png.pagespeed.ic.8Pm6IsdXct.png 768w, https://branch.climateaction.tech/wp-content/uploads/2020/10/xbranch_designs_process_tom_jarrett-1041x1536.png.pagespeed.ic.sg75yRRhvF.png 1041w, https://branch.climateaction.tech/wp-content/uploads/2020/10/xbranch_designs_process_tom_jarrett-1388x2048.png.pagespeed.ic.PjF8C3Gqwz.png 1388w, https://branch.climateaction.tech/wp-content/uploads/2020/10/branch_designs_process_tom_jarrett.png 1500w" sizes="(max-width: 694px) 100vw, 694px"></figure>

 <p>The logo was designed to indicate these different states, with the graphical branch element getting greener to show when more renewables are on the grid.</p>

 <figure class="wp-block-image"><img src="https://lh5.googleusercontent.com/ewbzm0mXaW119Hr7b8HWuwEqxp5bq0-gShEeKCF8sT3h4u1rcLiyv9REYSCYKAZ3uoePRp0IpoiVNlTDkTPjHg7JwFII_Ebswjr1IIjfPtBDUPDvHeGDoqbJgCayUDMc2s1ge_2Z" alt=""></figure>

 <p>As well as this responsiveness the<em> Branch</em> site has also been designed to be as low energy as possible. This includes using a limited number of fonts and utilizing system fonts, reducing image weight when they’re shown and designing in a way that doesn’t need lots of javascript to render.</p>

 <p>Another feature is that <em>Branch</em> is  that it is “available offline”,  this allows users to access the site even without an internet connection by caching. This often forgotten feature is a simple counter to the idea of being constantly connected and could even become increasingly necessary if the physical infrastructure of the internet becomes more unreliable due to environmental changes.</p>

 <p>Hopefully <em>Branch</em> can demonstrate some ways of thinking about designing digital technology in a more ecologically aware way and continue the conversations that are happening in this area to try and help build out some design principles. I have started by laying out some of the design principles I think may be worth considering when designing digital products and services in a more carbon aware and sustainable way</p>

 <h3><strong>Carbon and energy conscious design</strong></h3>

 <p>A slower and more energy intensive internet benefits no one. If we’re going to build an internet that is future-proof and runs off renewables, it needs to be lighter, less energy intensive and decentralised, moving away from a reliance on a handful of tech stack monopolies.</p>

 <h3><strong>Not putting the burden on the users</strong></h3>

 <p>This shouldn’t be about shaming individual habits, it’s counter-productive to data shame users. Those of us designing and building these digital products and services should be the ones taking responsibility for ensuring that they’re fit for a more sustainable world.</p>

 <h3><strong>You don’t have to sacrifice experience</strong></h3>

 <p> A lot of design is ultimately problem solving and we shouldn’t shy away from constraints, instead consider them a gift and use them to still create incredible and usable experiences. The idea of designing with no concern to weight or restrictions is a relatively new phenomenon anyway.</p>

 <h3><strong>Disconnect from the ad networks</strong></h3>

 <p>Analytics, ads and tracking are energy intensive components of a site or platform. Disconnecting from these allows us to make digital products and services lighter and data privacy clearer and more transparent. Try using cookie free, independent analytics platforms such as <a href="https://withcabin.com/" target="_blank" rel="noreferrer noopener">Cabin</a>.</p>

 <h3><strong><s>Attention-economy</s> </strong></h3>

 <p>Digital interfaces have seemingly morphed into a homogeneous digital feed, a sea of scrolling images, videos and content optimised to keep users attention, this is also very energy intensive. We need to cut the noise and provide users with a calmer and more considered experience that allows them to choose what they look at rather than an algorithm deciding and auto-loading what might keep a user’s attention the longest.</p>

 <h3><strong>Challenge infinite digital growth</strong></h3>

 <p>Consider asking if what we’re designing extends the reach and power of the existing tech monopolies and their privatisation of this infrastructure. Also do the benefits of the digital product or service balance or outweigh the energy and carbon cost and does it encourage the use or extraction of more finite resources.</p>

 <h4>About the author</h4>

 <p>Tom Jarrett is a designer exploring sustainable interaction design and designing digital products and services to work within ecological limits. See more at<a href="http://tomjarrett.earth" target="_blank" rel="noreferrer noopener"> tomjarrett.earth</a></p>
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 title: Designing Branch: Sustainable Interaction Design Principles
 url: https://branch.climateaction.tech/2020/10/15/designing-branch-sustainable-interaction-design-principles/
 hash_url: 2057ddcf3fd20edd602cee1b08ac17e8

 <p>There’s a need to reconnect the digital to the physical, from minerals and energy to the physical infrastructure that powers the internet. We have to repurpose our digital design processes to consider and reflect these ecological needs, instead of optimising only for business and growth objectives, to achieve more transactions, interactions and attention. </p>



 <p>One of the ways we can do this is by lowering the energy demand of the digital products and services we’re designing, making it more accessible to people with slower internet connections or on older devices.  For <em>Branch</em> we wanted to design something that still looked designed, and worked at a low bandwidth environment, but didn’t end up looking too anodyne.</p>



 <p><em>Branch</em> was also designed to be ‘Demand Responsive’ to adapt to and reflect the physical infrastructure of the internet and the energy behind it. Utilising data from a grid intensity API and the user’s location, <em>Branch</em> has different interface designs that are shown dependent on the current energy demand and fossil fuels on the grid where the user is.  There are 4 different design states:<br></p>



 <h3>1. <strong>Lower grid demand, more renewables</strong></h3>



 <p>The first design state is when grid demand is lower and has a higher concentration of renewables, here the site shows the full experience with all images, videos and media content automatically loaded.  </p>



 <h3>2. <strong>Medium grid demand, fewer renewables</strong></h3>



 <p>If the grid demand increases and is medium intensity with fewer renewables, we display lighter unicode renderings of images and videos. </p>



 <h3>3. <strong>Higher grid demand, less renewables </strong></h3>



 <p>When grid demand is high and less renewables are being used we reverse the way media content is shown by emphasising the alt text instead. The user can click to reveal the content if they wish, but it is not automatically loaded for them, this also creates the need to craft alt texts to make them much more descriptive than they may usually be.</p>



 <h3>4. <strong>Grid data unavailable </strong></h3>



 <p>Sometimes the technology we rely on goes down or simply doesn’t work, and that’s another important reflection of the physical infrastructure behind it. So when the grid intensity API we use for <em>Branch</em> is down or unavailable, we designed a state to show this too. <br><br></p>



 <figure class="wp-block-image size-large"><img loading="lazy" src="https://branch.climateaction.tech/wp-content/uploads/2020/10/xbranch_designs_process_tom_jarrett-694x1024.png.pagespeed.ic.JmUqcpn2Eb.png" alt="Four mockups show the different designs for low, medium and high grid intensity as well as if no data is available" class="wp-image-482" srcset="https://branch.climateaction.tech/wp-content/uploads/2020/10/xbranch_designs_process_tom_jarrett-694x1024.png.pagespeed.ic.JmUqcpn2Eb.png 694w, https://branch.climateaction.tech/wp-content/uploads/2020/10/xbranch_designs_process_tom_jarrett-203x300.png.pagespeed.ic.5gQxh-rKS4.png 203w, https://branch.climateaction.tech/wp-content/uploads/2020/10/xbranch_designs_process_tom_jarrett-768x1133.png.pagespeed.ic.8Pm6IsdXct.png 768w, https://branch.climateaction.tech/wp-content/uploads/2020/10/xbranch_designs_process_tom_jarrett-1041x1536.png.pagespeed.ic.sg75yRRhvF.png 1041w, https://branch.climateaction.tech/wp-content/uploads/2020/10/xbranch_designs_process_tom_jarrett-1388x2048.png.pagespeed.ic.PjF8C3Gqwz.png 1388w, https://branch.climateaction.tech/wp-content/uploads/2020/10/branch_designs_process_tom_jarrett.png 1500w" sizes="(max-width: 694px) 100vw, 694px"></figure>



 <p>The logo was designed to indicate these different states, with the graphical branch element getting greener to show when more renewables are on the grid.</p>



 <figure class="wp-block-image"><img src="https://lh5.googleusercontent.com/ewbzm0mXaW119Hr7b8HWuwEqxp5bq0-gShEeKCF8sT3h4u1rcLiyv9REYSCYKAZ3uoePRp0IpoiVNlTDkTPjHg7JwFII_Ebswjr1IIjfPtBDUPDvHeGDoqbJgCayUDMc2s1ge_2Z" alt=""></figure>



 <p>As well as this responsiveness the<em> Branch</em> site has also been designed to be as low energy as possible. This includes using a limited number of fonts and utilizing system fonts, reducing image weight when they’re shown and designing in a way that doesn’t need lots of javascript to render.</p>



 <p>Another feature is that <em>Branch</em> is  that it is “available offline”,  this allows users to access the site even without an internet connection by caching. This often forgotten feature is a simple counter to the idea of being constantly connected and could even become increasingly necessary if the physical infrastructure of the internet becomes more unreliable due to environmental changes.</p>



 <p>Hopefully <em>Branch</em> can demonstrate some ways of thinking about designing digital technology in a more ecologically aware way and continue the conversations that are happening in this area to try and help build out some design principles. I have started by laying out some of the design principles I think may be worth considering when designing digital products and services in a more carbon aware and sustainable way</p>



 <h3><strong>Carbon and energy conscious design</strong></h3>



 <p>A slower and more energy intensive internet benefits no one. If we’re going to build an internet that is future-proof and runs off renewables, it needs to be lighter, less energy intensive and decentralised, moving away from a reliance on a handful of tech stack monopolies.</p>



 <h3><strong>Not putting the burden on the users</strong></h3>



 <p>This shouldn’t be about shaming individual habits, it’s counter-productive to data shame users. Those of us designing and building these digital products and services should be the ones taking responsibility for ensuring that they’re fit for a more sustainable world.</p>



 <h3><strong>You don’t have to sacrifice experience</strong></h3>



 <p> A lot of design is ultimately problem solving and we shouldn’t shy away from constraints, instead consider them a gift and use them to still create incredible and usable experiences. The idea of designing with no concern to weight or restrictions is a relatively new phenomenon anyway.</p>



 <h3><strong>Disconnect from the ad networks</strong></h3>



 <p>Analytics, ads and tracking are energy intensive components of a site or platform. Disconnecting from these allows us to make digital products and services lighter and data privacy clearer and more transparent. Try using cookie free, independent analytics platforms such as <a href="https://withcabin.com/" target="_blank" rel="noreferrer noopener">Cabin</a>.</p>



 <h3><strong><s>Attention-economy</s> </strong></h3>



 <p>Digital interfaces have seemingly morphed into a homogeneous digital feed, a sea of scrolling images, videos and content optimised to keep users attention, this is also very energy intensive. We need to cut the noise and provide users with a calmer and more considered experience that allows them to choose what they look at rather than an algorithm deciding and auto-loading what might keep a user’s attention the longest.</p>



 <h3><strong>Challenge infinite digital growth</strong></h3>



 <p>Consider asking if what we’re designing extends the reach and power of the existing tech monopolies and their privatisation of this infrastructure. Also do the benefits of the digital product or service balance or outweigh the energy and carbon cost and does it encourage the use or extraction of more finite resources.</p>



 <h4>About the author</h4>



 <p>Tom Jarrett is a designer exploring sustainable interaction design and designing digital products and services to work within ecological limits. See more at<a href="http://tomjarrett.earth" target="_blank" rel="noreferrer noopener"> tomjarrett.earth</a></p>
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  <p>It’s a common narrative in tech to design products with the assumption that users are stupid and lazy. I think that is both disrespectful and wrong.</p>

 <p>The idea is rooted in a lot of research around product usability, but it has been bastardized. Think of it as a perversion of the <a href="https://en.wikipedia.org/wiki/Don%27t_Make_Me_Think">Don’t Make Me Think</a> thesis.</p>

 <p><em>Don’t Make Me Think</em>, the seminal web usability book by Steve Krug, tells us that products should be as simple as possible for users to use. Products shouldn’t be self-explanatory (ie understandable given a set of instructions), they should be self-evident (ie so obvious that they can be used <em>without</em> having to read instructions). A good door has a push/pull sign to make it self-explanatory, but it still requires you to read and think. An even better door wouldn’t even need that label at all—you know what to do instinctively.</p>

 <p>But somehow, we’ve perverted that idea. Users are lazy, even stupid, we say. They just want to flick their fingers down an infinite feed, letting their eyes wander from item to item.</p>

 <p>But in <em>Don’t Make Me Think</em>, Krug never refers to users in a derogatory way. He tells us how good products should work, and why basic psychology supports that. People want to reduce cognitive friction as much as possible. People don’t like unneeded cognitive friction. People skim quickly and “muddle through” products. And, most of all, people won’t undertake effort unless they believe it’s worth the cost. These are all facts backed by usability research and psychology.</p>

 <p>In other words, he tells us <em>what</em> good products should look like, and <em>how</em> people use them. But he doesn’t pass judgment on users. That’s up to us.</p>

 <p>And so naturally, we apply our view of the world, our values. If you view your users with contempt, then the reason behind why people don’t like complicated products is because they are stupid and lazy. If, on the other hand, you <em>respect</em> your users, you might view things differently.</p>

 <p>Firstly, our brains have been wired, through millions of years of evolution, to conserve effort and time. That’s actually not being lazy, it’s being smart and protective of one of our most valuable assets. Naturally, we don’t undertake an activity unless we believe it’s worth the cost (though there are ways to trick us, more on that later). And if it takes effort to even figure out how much effort an activity will require, we’ll avoid that activity altogether. That’s the functional, practical piece of our brain at work.</p>

 <p>Secondly, we are a complex bundle of emotions. Even if we’re smart, we don’t like <em>feeling</em> stupid. And complex, difficult things makes us feel stupid. They strike at our very identity and self-worth. So we try to avoid them like we avoid that hard topic we were never good at in school. <em>That</em> part is the emotional piece of our brain at work.</p>

 <p>So what explains the rise of products like Facebook, which have gotten a large part of humanity mindlessly scrolling through feeds of what can most easily be described as garbage content? Well, we humans aren’t perfect. If you’ve got billions of dollars, some of the brightest minds, and a lot of data at your disposal, you can get a lot of people to do what you want. If you treat users as stupid and lazy, you can turn them into stupid and lazy people in the context of your product… but that’s a subject for another post.</p>

 <p>So here’s how I think about people and product design.</p>

 <p>Firstly, products should definitely be as simple as possible. Because I <em>respect </em>users’ time, not because I look down on their intelligence.</p>

 <p>Second, have a theory of how people behave. I’m a big fan of <a href="https://en.wikipedia.org/wiki/Self-determination_theory">Self-determination Theory</a>, which states that people value autonomy, relatedness, and competence. And I love building product that help people improve all those three dimensions.</p>

 <p>Three, have a set of principles for your product. For instance, of the three axes of self-determination, I particularly care about autonomy (control). And I’ve found that good products, ones that respect their users, <em>give them more control</em>. Bad products <em>take away control</em>. Simplicity can fulfill both of those purposes. It can give people control by abstracting away things they don’t care about and helping them focus. Or it can take away control by only letting users do things the product’s designers want them to do. So that’s one of my principles: give people control. Help them do things <em>they </em>want to do, not things <em>you</em> want them to do.</p>

 <p>Let’s respect our users. Technology can bring out the best or worst in us, both individually and collectively. Let’s focus on the best.</p>

 <hr class="wp-block-separator">

 <p><strong>EDIT:</strong> The above article is what I wrote, in its half-formed state on a Sunday morning. It looks like it’s blowing up on HackerNews, so I wanted to just add a few points.</p>

 <ul><li>I know I can come across as idealistic. I’ve even gotten that as feedback on a formal performance review (but also, I’ve gotten that I’m cynical, so *shrug*). I’m not saying people can’t be lazy, entitled, or stupid. We can. We have that <em>capacity</em>. But we have the <em>capacity</em> for so much more than that. And we should focus our tools, our technology, on our best capacities.</li><li>If Self-determination Theory resonates with you, I’d urge you to think about how it applies to building teams or even parenting. Your employees and colleagues, or your children and family members, have all the human capacities as well (though obviously, for children, they are still under development). Since I’m much more experienced at managing teams (dozen years) than being a parent (two years), I’ll just say that companies that view employees as lazy and incompetent are a scourge. If you can afford to avoid working at companies like that, try your best. And if you’re tasked with building companies or teams, you get to choose. You still need rules, hierarchies, and processes, but if you give people autonomy and relatedness/purpose, and trust their competence, I hope you’ll be pleasantly surprised. If you treat employees as stupid and lazy, they will be.</li><li>On simplicity vs. control/flexibility: I’m a big fan of the Alan Kay quote that “<a href="https://en.wikiquote.org/wiki/Alan_Kay">simple things should be simple, complex things should be possible</a>.” I think great products find a way of achieving both those objectives. You keep things simple, but don’t throw out the baby with the bath-water. Like the word processor. 99% of the time, you just want to type some text, so you get a cursor and WYSIWIG typing. But sometimes, you want to style, you want to indent, you want to program macros. We apply this principle often at <a href="https://www.monarchmoney.com/">Monarch Money</a> (personal finance platform that I’m working on) and so far have found it to be quite successful.</li></ul>
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 <p>It’s a common narrative in tech to design products with the assumption that users are stupid and lazy. I think that is both disrespectful and wrong.</p>



 <p>The idea is rooted in a lot of research around product usability, but it has been bastardized. Think of it as a perversion of the <a href="https://en.wikipedia.org/wiki/Don%27t_Make_Me_Think">Don’t Make Me Think</a> thesis.</p>



 <p><em>Don’t Make Me Think</em>, the seminal web usability book by Steve Krug, tells us that products should be as simple as possible for users to use. Products shouldn’t be self-explanatory (ie understandable given a set of instructions), they should be self-evident (ie so obvious that they can be used <em>without</em> having to read instructions). A good door has a push/pull sign to make it self-explanatory, but it still requires you to read and think. An even better door wouldn’t even need that label at all—you know what to do instinctively.</p>



 <p>But somehow, we’ve perverted that idea. Users are lazy, even stupid, we say. They just want to flick their fingers down an infinite feed, letting their eyes wander from item to item.</p>



 <p>But in <em>Don’t Make Me Think</em>, Krug never refers to users in a derogatory way. He tells us how good products should work, and why basic psychology supports that. People want to reduce cognitive friction as much as possible. People don’t like unneeded cognitive friction. People skim quickly and “muddle through” products. And, most of all, people won’t undertake effort unless they believe it’s worth the cost. These are all facts backed by usability research and psychology.</p>



 <p>In other words, he tells us <em>what</em> good products should look like, and <em>how</em> people use them. But he doesn’t pass judgment on users. That’s up to us.</p>



 <p>And so naturally, we apply our view of the world, our values. If you view your users with contempt, then the reason behind why people don’t like complicated products is because they are stupid and lazy. If, on the other hand, you <em>respect</em> your users, you might view things differently.</p>



 <p>Firstly, our brains have been wired, through millions of years of evolution, to conserve effort and time. That’s actually not being lazy, it’s being smart and protective of one of our most valuable assets. Naturally, we don’t undertake an activity unless we believe it’s worth the cost (though there are ways to trick us, more on that later). And if it takes effort to even figure out how much effort an activity will require, we’ll avoid that activity altogether. That’s the functional, practical piece of our brain at work.</p>



 <p>Secondly, we are a complex bundle of emotions. Even if we’re smart, we don’t like <em>feeling</em> stupid. And complex, difficult things makes us feel stupid. They strike at our very identity and self-worth. So we try to avoid them like we avoid that hard topic we were never good at in school. <em>That</em> part is the emotional piece of our brain at work.</p>



 <p>So what explains the rise of products like Facebook, which have gotten a large part of humanity mindlessly scrolling through feeds of what can most easily be described as garbage content? Well, we humans aren’t perfect. If you’ve got billions of dollars, some of the brightest minds, and a lot of data at your disposal, you can get a lot of people to do what you want. If you treat users as stupid and lazy, you can turn them into stupid and lazy people in the context of your product… but that’s a subject for another post.</p>



 <p>So here’s how I think about people and product design.</p>



 <p>Firstly, products should definitely be as simple as possible. Because I <em>respect </em>users’ time, not because I look down on their intelligence.</p>



 <p>Second, have a theory of how people behave. I’m a big fan of <a href="https://en.wikipedia.org/wiki/Self-determination_theory">Self-determination Theory</a>, which states that people value autonomy, relatedness, and competence. And I love building product that help people improve all those three dimensions.</p>



 <p>Three, have a set of principles for your product. For instance, of the three axes of self-determination, I particularly care about autonomy (control). And I’ve found that good products, ones that respect their users, <em>give them more control</em>. Bad products <em>take away control</em>. Simplicity can fulfill both of those purposes. It can give people control by abstracting away things they don’t care about and helping them focus. Or it can take away control by only letting users do things the product’s designers want them to do. So that’s one of my principles: give people control. Help them do things <em>they </em>want to do, not things <em>you</em> want them to do.</p>



 <p>Let’s respect our users. Technology can bring out the best or worst in us, both individually and collectively. Let’s focus on the best.</p>



 <hr class="wp-block-separator">



 <p><strong>EDIT:</strong> The above article is what I wrote, in its half-formed state on a Sunday morning. It looks like it’s blowing up on HackerNews, so I wanted to just add a few points.</p>



 <ul><li>I know I can come across as idealistic. I’ve even gotten that as feedback on a formal performance review (but also, I’ve gotten that I’m cynical, so *shrug*). I’m not saying people can’t be lazy, entitled, or stupid. We can. We have that <em>capacity</em>. But we have the <em>capacity</em> for so much more than that. And we should focus our tools, our technology, on our best capacities.</li><li>If Self-determination Theory resonates with you, I’d urge you to think about how it applies to building teams or even parenting. Your employees and colleagues, or your children and family members, have all the human capacities as well (though obviously, for children, they are still under development). Since I’m much more experienced at managing teams (dozen years) than being a parent (two years), I’ll just say that companies that view employees as lazy and incompetent are a scourge. If you can afford to avoid working at companies like that, try your best. And if you’re tasked with building companies or teams, you get to choose. You still need rules, hierarchies, and processes, but if you give people autonomy and relatedness/purpose, and trust their competence, I hope you’ll be pleasantly surprised. If you treat employees as stupid and lazy, they will be.</li><li>On simplicity vs. control/flexibility: I’m a big fan of the Alan Kay quote that “<a href="https://en.wikiquote.org/wiki/Alan_Kay">simple things should be simple, complex things should be possible</a>.” I think great products find a way of achieving both those objectives. You keep things simple, but don’t throw out the baby with the bath-water. Like the word processor. 99% of the time, you just want to type some text, so you get a cursor and WYSIWIG typing. But sometimes, you want to style, you want to indent, you want to program macros. We apply this principle often at <a href="https://www.monarchmoney.com/">Monarch Money</a> (personal finance platform that I’m working on) and so far have found it to be quite successful.</li></ul>
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    <h1>Un février artistique !</h1>
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      <a href="/david/" title="Aller à l’accueil">🏠</a> •
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          <h1>Artfevre revient !</h1>

 <p>Et oui, ça fait un an. On aurait pas dit hein ?</p>

 <p>Vu qu’on a adoré l’année dernière, on relance le challenge pour 2021. On reprend les mêmes ingrédients et on recommence, <strong>donc</strong> ça donnera quelque chose de différent !</p>

 <p>En Février il y a 28 Jours. On vous propose d’utiliser chacun d’entre eux pour créer — de manière intensive et sans jugement — hors de notre zone de confort, et avec des contraintes imposées.</p>

 <p>L’idée, c’est qu’à la fin du mois, chacun⋅e puisse se retourner (c’est une image hein) et se dire : « Ouah, j’ai fait tout ça !? »</p>

 <p>C’est donc une liste de 28 thèmes (un par jour du mois) : chaque jour, on doit faire quelque chose d’artistique à partir du thème proposé.</p>

 <p>Voici une liste d’idées de « trucs » à faire chaque jour (mais vous êtes libres de faire autre chose) :</p>

 <ul>
  <li>Faire un dessin</li>
  <li>Composer (et enregistrer ?) une musique</li>
  <li>Filmer quelque chose</li>
  <li>Inventer une chorégraphie</li>
  <li>Écrire un texte</li>
  <li>Inventer une origami</li>
  <li>Se faire un tatouage (en fonction du thème, pas conseillé)</li>
  <li>Inventer un exercice de théâtre</li>
  <li>Créer un jeu</li>
  <li>Faire une sculpture d’argile</li>
  <li>Créer une position de Yoga</li>
  <li>Prendre une photo</li>
  <li>inventer une recette de cuisine</li>
  <li>Écrire un slam</li>
  <li>Etc etc.</li>
 </ul>

 <p>Vous pouvez décider de ne choisir qu’une forme artistique (par exemple que la musique) pour vous forcer à explorer un médium en dehors de votre zone de confort (« je sais faire une musique rapidement, mais sais-je faire 28 fois une musique différente rapidement ? »), ou alors changer d’expression artistique tous les jours. Voyez ce qui vous amuse le plus !</p>

 <p>On mettra nos production en commun en ligne, pour voir comment chacun·e s’est approprié un même thème ! Bien sur c’est tout à fait optionnel : libre à vous de participer sans publier vos créations.</p>

 <p>Ça vous dit ? Envoyez-nous un petit mail a <a href="mailto:artfevre@notmyidea.org">artfevre@notmyidea.org</a> et on vous tiens au courant !</p>

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 title: Un février artistique !
 url: https://artfevre.notmyidea.org/
 hash_url: 94923f2d3ecd28b40745665c9cbe8393

 <div class="container ">
          <h1>Artfevre revient !</h1>

 <p>Et oui, ça fait un an. On aurait pas dit hein ?</p>

 <p>Vu qu’on a adoré l’année dernière, on relance le challenge pour 2021. On reprend les mêmes ingrédients et on recommence, <strong>donc</strong> ça donnera quelque chose de différent !</p>

 <p>En Février il y a 28 Jours. On vous propose d’utiliser chacun d’entre eux pour créer — de manière intensive et sans jugement — hors de notre zone de confort, et avec des contraintes imposées.</p>

 <p>L’idée, c’est qu’à la fin du mois, chacun⋅e puisse se retourner (c’est une image hein) et se dire : « Ouah, j’ai fait tout ça !? »</p>

 <p>C’est donc une liste de 28 thèmes (un par jour du mois) : chaque jour, on doit faire quelque chose d’artistique à partir du thème proposé.</p>

 <p>Voici une liste d’idées de « trucs » à faire chaque jour (mais vous êtes libres de faire autre chose) :</p>

 <ul>
  <li>Faire un dessin</li>
  <li>Composer (et enregistrer ?) une musique</li>
  <li>Filmer quelque chose</li>
  <li>Inventer une chorégraphie</li>
  <li>Écrire un texte</li>
  <li>Inventer une origami</li>
  <li>Se faire un tatouage (en fonction du thème, pas conseillé)</li>
  <li>Inventer un exercice de théâtre</li>
  <li>Créer un jeu</li>
  <li>Faire une sculpture d’argile</li>
  <li>Créer une position de Yoga</li>
  <li>Prendre une photo</li>
  <li>inventer une recette de cuisine</li>
  <li>Écrire un slam</li>
  <li>Etc etc.</li>
 </ul>

 <p>Vous pouvez décider de ne choisir qu’une forme artistique (par exemple que la musique) pour vous forcer à explorer un médium en dehors de votre zone de confort (« je sais faire une musique rapidement, mais sais-je faire 28 fois une musique différente rapidement ? »), ou alors changer d’expression artistique tous les jours. Voyez ce qui vous amuse le plus !</p>

 <p>On mettra nos production en commun en ligne, pour voir comment chacun·e s’est approprié un même thème ! Bien sur c’est tout à fait optionnel : libre à vous de participer sans publier vos créations.</p>

 <p>Ça vous dit ? Envoyez-nous un petit mail a <a href="mailto:artfevre@notmyidea.org">artfevre@notmyidea.org</a> et on vous tiens au courant !</p>

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 <article>
  <header>
    <h1>Épuiser la pratique</h1>
  </header>
  <nav>
    <p class="center">
      <a href="/david/" title="Aller à l’accueil">🏠</a> •
      <a href="https://www.quaternum.net/2020/02/29/epuiser-la-pratique/" title="Lien vers le contenu original">Source originale</a>
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  <hr>
  <p>Un accident artistique.</p>

 <p><img src="https://www.quaternum.net/images/2019-epuiser-01.jpg" alt=""></p>

 <p>L’idée était venue presque par hasard.
 Profiter de deux mois dans une autre ville pour produire quelque chose.
 Avec une contrainte à s’imposer, et une certaine dimension de régularité.
 Le carnet comme support.
 Même si l’exploration de l’intime est souvent attirante l’écriture n’était pas une option viable à ce moment-là.
 Apprendre à dessiner.
 En deux mois
 Chaque jour.
 Projet saugrenu dont il était facile de se détacher, au besoin.</p>

 <p>L’expérience passe vite.
 Dans la douleur et dans la satisfaction.
 Les progrès sont rapides, le style s’affirme vite, le résultat est palpable.
 Montrable aussi.
 Pourquoi ne pas continuer, comme une opportunité de créer, avec de maigres moyens mais un horizon flamboyant.
 Transcrire un bâtiment, proposer un cadrage, rendre compte de la ville, capter les détails, garder une trace.
 Dessiner dehors, s’appuyer sur le regard.
 L’atelier est le carnet.
 Dessiner sur une table est exclu.</p>

 <p>Dessiner au moins une fois par jour, remplir le carnet, chercher le trait juste.
 La répétition comme moyen d’aboutir à un moment de félicité : un geste graphique et artistique remarquable, sinon parfait.
 Parfois quelques détours, comme ajouter de la couleur, modifier le rythme du trait, changer de format, trouver une autre technique, mais toujours créer dans un geste continu, sans casser l’intention.
 Pas de crayonné, mais un trait noir indélébile.
 Pas de feuille volante, mais un carnet dont les pages sont reliées.
 Garder la rature si elle advient, conserver les ébauches, archiver les échecs.
 Tout ça, mélangé.</p>

 <p>Forcément ça implique d’investir sa personne.
 Marcher longtemps avant de trouver le détail qui attire l’œil, ou le modèle qui sera reproductible.
 Et le corps dans tout ça : rester assis presque une heure dans une position inconfortable, négocier avec le froid l’hiver, et parfois entrer en conflit.
 Accroupi près d’une usine, ça surprend.
 Pas d’intérêt pour le tracteur autre que sa représentation.
 Quelques points de suture après avoir dessiné une carcasse de voiture derrière un camp de fortune.
 Non il n’était pas question de voler des enfants, juste dessiner.
 Et les nombreuses sollicitations qui se veulent bienveillantes.
 C’est joli, c’est beau.
 Pourtant le dessin pour le dessin, être son propre lecteur.
 Le reste est autre chose, possible, mais autre chose.</p>

 <p>Se satisfaire de feuilleter les pages noircies.
 Grimacer souvent, prendre du plaisir à voir les dessins se suivre.
 Les bons comme les moins bons.
 Être le premier à constater que quelque chose se passe.
 Être le créateur, le spectateur, le critique.
 Fabriquer un livre à édition limitée, le seul exemplaire disponible.
 Maîtriser cette chaîne de la création.
 Et pourtant.
 Parfois.
 Dévoiler aux proches l’achèvement, quand tout est figé et seulement bon à montrer.
 Alors qu’au creux de soi le geste n’en finit plus.
 Il y a toujours un dessin à inscrire dans le carnet.
 Toujours un immeuble à dessiner, une usine à représenter, un panneau tordu à conserver.</p>

 <p>Les carnets se suivent, se multiplient.
 Dessiner n’est pas vital, dessiner était une contrainte et devient une obligation.
 Peut-être par nécessité de produire, quel que soit le résultat et sa qualité.
 Un dessin raté c’est mieux que pas de dessin.
 Avec tous ces carnets il est possible de constater l’ampleur de la tâche.
 De mesurer l’effort, le temps passé, la réussite, l’évolution, la chute.
 Le dessin est-il là pour autre chose ?
 Passer des heures à traverser une ville, à se perdre dans ses recoins ?
 Être le touriste de son propre quotidien atteint vite une limite.
 La discipline devient pesante.</p>

 <p>La création en voyage est un moyen, pas une fin.
 Ne pas tomber dans les clichés des vues attendues.
 Ça aurait pu être au coin de la rue, mais ce fut dans cette capitale européenne facile à dessiner.
 Ne pas rendre reconnaissable ce bâtiment.
 Proposer une autre interprétation, jouer avec les préjugés.
 Les carnets deviennent des boussoles.
 Là, à ce moment, il s’est passé autre chose que le dessin.
 Les amis, les amours, les sentiments, les émotions.
 À côté, autour, dedans.
 Plus dedans que ce qui était prévu.</p>

 <p><img src="https://www.quaternum.net/images/2019-epuiser-03.jpg" alt=""></p>

 <p>C’est un univers qui prend forme.
 Plus seulement les pages remplies ou la tentation de la perfection.
 Noter les signaux faibles.
 De ceux qui sont d’habitude écartés.
 Plutôt que de regarder les photos pour se souvenir, feuilleter les carnets.
 La maîtrise est une supercherie.
 C’est le stylo qui tient tout, qui dirige.
 Chaque périple est anticipé dans l’objectif d’une nouvelle création.
 À l’occasion d’un déplacement trouver quelques heures pour s’échapper.
 Se plaindre des jours de pluie.
 Attendre le printemps.
 Guetter les prochains voyages.</p>

 <p>L’anticipation de la création devient pollution, ça prend toute la place.
 Partir à la chasse au dessin.
 Le pas lourd, la main hésitante.
 Les dessins se font plus rares.
 C’était pourtant un moyen de se retrouver.
 Une ascèse vers l’extérieur, une retraite à l’intérieur du monde, un <em>break</em>.
 D’autres pratiques pointent.
 Tester l’écriture, le journal.
 La pire contrainte, abandonnée plus tard.
 Le texte fait son chemin.
 Aussi froid que le dessin d’observation.
 Rien dire de soi, en apparence.</p>

 <p>Le dessin brûlait les doigts d’excitation.
 Il est devenu un poids, une charge mentale.
 Quelque chose s’est usé en chemin.
 La recette devenait trop prévisible, le résultat moins aléatoire.
 Les ratures rares.
 Celles qui subsistent ont comme origine l’hésitation, pas la tentative.
 Est-ce que c’est triste ?
 Regrettable ?
 Dommage ?</p>

 <p>Ça se passerait ailleurs.
 Si tant est que la création soit une quantité d’énergie disponible.
 Alors allons voir ailleurs plutôt que rien du tout.
 Hésiter, c’est vraiment rater.
 L’échec est un bel essai.
 Il faut négocier avec l’univers créé.
 Celui-ci n’est pas détaché du reste.
 S’il y a un reste.
 Tout se réagençait déjà.
 Les carnets cachaient les métamorphoses à l’œuvre.
 L’urgence de s’écouter.</p>

 <p>Le dessin n’est pas un vieux copain.
 Il n’y a pas eu d’amitié.
 Une porte ouverte, d’autre couloirs empruntés.
 Regretter c’est croire que le chemin est balisé.
 Tout le monde est perdu mais personne ne le sait.
 Les carnets étaient une boussole.
 Il y a en d’autres, des boussoles.
 Aussi des phares, des lumières dans la nuit.
 Tout se superpose, s’entrechoque.
 C’est beau.</p>

 <p><img src="https://www.quaternum.net/images/2019-epuiser-02.jpg" alt=""></p>

 <p><em>Texte de création rédigé dans le cadre du séminaire de Jean-Simon Desrochers, Département des littératures de langues française, Université de Montréal, novembre 2019.</em></p>
 </article>


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--- a/cache/2021/fd776407232cd6fd7627bac7dba39755/index.md
+++ b/cache/2021/fd776407232cd6fd7627bac7dba39755/index.md
@@ -0,0 +1,150 @@
 title: Épuiser la pratique
 url: https://www.quaternum.net/2020/02/29/epuiser-la-pratique/
 hash_url: fd776407232cd6fd7627bac7dba39755

 <p>Un accident artistique.</p>



 <p><img src="https://www.quaternum.net/images/2019-epuiser-01.jpg" alt=""></p>

 <p>L’idée était venue presque par hasard.
 Profiter de deux mois dans une autre ville pour produire quelque chose.
 Avec une contrainte à s’imposer, et une certaine dimension de régularité.
 Le carnet comme support.
 Même si l’exploration de l’intime est souvent attirante l’écriture n’était pas une option viable à ce moment-là.
 Apprendre à dessiner.
 En deux mois
 Chaque jour.
 Projet saugrenu dont il était facile de se détacher, au besoin.</p>

 <p>L’expérience passe vite.
 Dans la douleur et dans la satisfaction.
 Les progrès sont rapides, le style s’affirme vite, le résultat est palpable.
 Montrable aussi.
 Pourquoi ne pas continuer, comme une opportunité de créer, avec de maigres moyens mais un horizon flamboyant.
 Transcrire un bâtiment, proposer un cadrage, rendre compte de la ville, capter les détails, garder une trace.
 Dessiner dehors, s’appuyer sur le regard.
 L’atelier est le carnet.
 Dessiner sur une table est exclu.</p>

 <p>Dessiner au moins une fois par jour, remplir le carnet, chercher le trait juste.
 La répétition comme moyen d’aboutir à un moment de félicité : un geste graphique et artistique remarquable, sinon parfait.
 Parfois quelques détours, comme ajouter de la couleur, modifier le rythme du trait, changer de format, trouver une autre technique, mais toujours créer dans un geste continu, sans casser l’intention.
 Pas de crayonné, mais un trait noir indélébile.
 Pas de feuille volante, mais un carnet dont les pages sont reliées.
 Garder la rature si elle advient, conserver les ébauches, archiver les échecs.
 Tout ça, mélangé.</p>

 <p>Forcément ça implique d’investir sa personne.
 Marcher longtemps avant de trouver le détail qui attire l’œil, ou le modèle qui sera reproductible.
 Et le corps dans tout ça : rester assis presque une heure dans une position inconfortable, négocier avec le froid l’hiver, et parfois entrer en conflit.
 Accroupi près d’une usine, ça surprend.
 Pas d’intérêt pour le tracteur autre que sa représentation.
 Quelques points de suture après avoir dessiné une carcasse de voiture derrière un camp de fortune.
 Non il n’était pas question de voler des enfants, juste dessiner.
 Et les nombreuses sollicitations qui se veulent bienveillantes.
 C’est joli, c’est beau.
 Pourtant le dessin pour le dessin, être son propre lecteur.
 Le reste est autre chose, possible, mais autre chose.</p>

 <p>Se satisfaire de feuilleter les pages noircies.
 Grimacer souvent, prendre du plaisir à voir les dessins se suivre.
 Les bons comme les moins bons.
 Être le premier à constater que quelque chose se passe.
 Être le créateur, le spectateur, le critique.
 Fabriquer un livre à édition limitée, le seul exemplaire disponible.
 Maîtriser cette chaîne de la création.
 Et pourtant.
 Parfois.
 Dévoiler aux proches l’achèvement, quand tout est figé et seulement bon à montrer.
 Alors qu’au creux de soi le geste n’en finit plus.
 Il y a toujours un dessin à inscrire dans le carnet.
 Toujours un immeuble à dessiner, une usine à représenter, un panneau tordu à conserver.</p>

 <p>Les carnets se suivent, se multiplient.
 Dessiner n’est pas vital, dessiner était une contrainte et devient une obligation.
 Peut-être par nécessité de produire, quel que soit le résultat et sa qualité.
 Un dessin raté c’est mieux que pas de dessin.
 Avec tous ces carnets il est possible de constater l’ampleur de la tâche.
 De mesurer l’effort, le temps passé, la réussite, l’évolution, la chute.
 Le dessin est-il là pour autre chose ?
 Passer des heures à traverser une ville, à se perdre dans ses recoins ?
 Être le touriste de son propre quotidien atteint vite une limite.
 La discipline devient pesante.</p>

 <p>La création en voyage est un moyen, pas une fin.
 Ne pas tomber dans les clichés des vues attendues.
 Ça aurait pu être au coin de la rue, mais ce fut dans cette capitale européenne facile à dessiner.
 Ne pas rendre reconnaissable ce bâtiment.
 Proposer une autre interprétation, jouer avec les préjugés.
 Les carnets deviennent des boussoles.
 Là, à ce moment, il s’est passé autre chose que le dessin.
 Les amis, les amours, les sentiments, les émotions.
 À côté, autour, dedans.
 Plus dedans que ce qui était prévu.</p>

 <p><img src="https://www.quaternum.net/images/2019-epuiser-03.jpg" alt=""></p>

 <p>C’est un univers qui prend forme.
 Plus seulement les pages remplies ou la tentation de la perfection.
 Noter les signaux faibles.
 De ceux qui sont d’habitude écartés.
 Plutôt que de regarder les photos pour se souvenir, feuilleter les carnets.
 La maîtrise est une supercherie.
 C’est le stylo qui tient tout, qui dirige.
 Chaque périple est anticipé dans l’objectif d’une nouvelle création.
 À l’occasion d’un déplacement trouver quelques heures pour s’échapper.
 Se plaindre des jours de pluie.
 Attendre le printemps.
 Guetter les prochains voyages.</p>

 <p>L’anticipation de la création devient pollution, ça prend toute la place.
 Partir à la chasse au dessin.
 Le pas lourd, la main hésitante.
 Les dessins se font plus rares.
 C’était pourtant un moyen de se retrouver.
 Une ascèse vers l’extérieur, une retraite à l’intérieur du monde, un <em>break</em>.
 D’autres pratiques pointent.
 Tester l’écriture, le journal.
 La pire contrainte, abandonnée plus tard.
 Le texte fait son chemin.
 Aussi froid que le dessin d’observation.
 Rien dire de soi, en apparence.</p>

 <p>Le dessin brûlait les doigts d’excitation.
 Il est devenu un poids, une charge mentale.
 Quelque chose s’est usé en chemin.
 La recette devenait trop prévisible, le résultat moins aléatoire.
 Les ratures rares.
 Celles qui subsistent ont comme origine l’hésitation, pas la tentative.
 Est-ce que c’est triste ?
 Regrettable ?
 Dommage ?</p>

 <p>Ça se passerait ailleurs.
 Si tant est que la création soit une quantité d’énergie disponible.
 Alors allons voir ailleurs plutôt que rien du tout.
 Hésiter, c’est vraiment rater.
 L’échec est un bel essai.
 Il faut négocier avec l’univers créé.
 Celui-ci n’est pas détaché du reste.
 S’il y a un reste.
 Tout se réagençait déjà.
 Les carnets cachaient les métamorphoses à l’œuvre.
 L’urgence de s’écouter.</p>

 <p>Le dessin n’est pas un vieux copain.
 Il n’y a pas eu d’amitié.
 Une porte ouverte, d’autre couloirs empruntés.
 Regretter c’est croire que le chemin est balisé.
 Tout le monde est perdu mais personne ne le sait.
 Les carnets étaient une boussole.
 Il y a en d’autres, des boussoles.
 Aussi des phares, des lumières dans la nuit.
 Tout se superpose, s’entrechoque.
 C’est beau.</p>

 <p><img src="https://www.quaternum.net/images/2019-epuiser-02.jpg" alt=""></p>

 <p><em>Texte de création rédigé dans le cadre du séminaire de Jean-Simon Desrochers, Département des littératures de langues française, Université de Montréal, novembre 2019.</em></p>
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