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Gelernter suggests that the dichotomy between art/beauty and science/technology has led to inadequate academic training of computer-science students. He points out that the greatest minds in science and industry have always pursued beauty. "Machine beauty is the driving force behind technology and science," he says, and yet "beauty bothers us." Somehow it's perceived to be softer and less rigorous to train computer scientists in art, music, architecture, and design. However, Gelernter sees these disciplines as closely aligned with the mathematics and science that are the foundation of technology. Because of this lack of aesthetic education, much user interface has been poorly designed.
Gelernter's persuasive arguments are far-reaching as he casts a shrewd eye on everything from postmodernism to architecture to the nature of beauty itself. This short, often witty book is written by someone who has paid a price for his opinion--Gelernter was a target of the Unabomber and was critically injured in a mail-bomb attack in 1993. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
From Library Journal
-?Hilary Burton, Lawrence Livermore National Lab., Livermore, Cal.
Copyright 1997 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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The sense of beauty is a tuning fork in the brain that hums when we stumble on something beautiful. Lesen Sie die erste Seite
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Gelernter knows computer programming. But I found his knowledge of art to be too shallow for a book with such a deep topic. He makes an effort in the beginning to define "beauty", which is obviously important to the theme of his book. He doesn't make a convincing argument. For example, when he tries to argue that beauty is not just a matter of ephemeral fashions and trends, his main argument is that gothic architecture was considered beautiful 150 years ago, so it can't be a matter of trends (although, earlier, he admits that gothic architecture was abhorred in the 18th century). He flippantly suggests that "150 years on the best seller list ain't bad!", or something to that effect, and that's the end of that argument.
Some people make analogies that are so obvious that they clarify a point that is already clear. Gelernter's analogies, however, are just plain wrong: e.g., "When you contemplate the evils of technology, my advice is to think liquor...Liquor brings out the worst in us. TV does too, and so do computers. Used wisely, on the other hand, liquor produces a modicum of pleasure and makes life somewhat better, and the same holds for computers and TV." Pretty weak, Gelernter.
The rest of the book seems like his own personal contemplations on what constitutes a beautiful code or hardware. One chapter, entitled "Beyond the Desktop", is exclusively focused on one of his pet projects at Yale. For such a broad chapter title, the writing itself was a disappointment and not at all what the title sugested. That pretty much describes the whole book.
Gelernter also has a sharp and incisive mind. Consider this quote on the nature of consciousness found on page 23. He is talking about computers and brains, debunking the notion that a brain is an "information processor" like a computer. He writes: "...the brain is no mere information processor, it is a meaning creator-and meaning creation is a trick no computer can accomplish. The brain is a lump of hardware artfully arranged so as to produce an I-to create the illusion that some entity inside you is observing the world that your senses conjure up. That rose over there merely triggered, when you saw it, a barrage of neuron firings in your brain. But you have the sensation that some entity-namely, you, not to put too fine a point on it-actually saw the rose. Computers, so far as we can tell, are capable of no such trick." Nicely put!
This is an original and delightful book that might be compared favorably to the work of Henry Petroski who wrote the much admired The Pencil: a History of Design and Circumstance (1990).
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