A Moral
FOREWORD
I had the fortune of meeting Rich Gold at a National Academies of Science meeting held in San Francisco in 2002. Rich was the invited dinner speaker for our small study group, which was engaged in looking at the intersection of information technology and creativity. It was there that I first encountered the Plenitude and the phi losophy of Richs four hats of creativity: scientist, artist, designer, and engineer. My immediate impression on hearing his lecture was one of delight as I realized I was staring at a real anomaly in the worlda person who had crossed many worlds and lived to tell the tale of his wearing of the four hats. No matter how he leaned while telling his stories, none of the hats ever fell off of his head. It was as if each hat were specially fitted to each of his four personalities.
A few months later, I heard that Rich had passed away. This came as a shock to me, not because I knew him well personally, as I regretfully didnt, but because the world had lost such a rare resource.
Rich was a pure hybridized thinker in a world where monospecialties are the norm.
Achieving simplicity in design is a complex journey that requires many skills spanning from the wildly creative to the purely practical. Good design is something that is best defined when not prescribed, but asked as a series of questionsas Rich asks aloud in this book. Richs lifework is his unique understanding of the world as something so simple as making more stuff, but also asking the complex questions of why we still bother to make stuff at all. The answers are still to come from all of us. Get ready for the open slate of the Plenitude that awaits you.
PREFACE
This book was written during the last year of Rich Golds life. The illustrations are selected from those he prepared for the many lectures he gave to a wide diversity of audiences over the past decade. Drawing on his experiences, he summarizes in a playful yet profound way his ideas about art, science, design, and engineering and how these produce the stuff of the junk tribe or global corporate consumer capitalism. The Plenitude is a graphic textbook, a cartoon treatise, a speculative autobiography. It is also a very practical essay in moral philosophy, rich with ideas and feeling. It is my hope that publication of this work by MIT Press will make this richness (pun intended) known to a wider audience.
Given the volume of Richs output, the stretch of his imagination, and the diverse arenas in which he pursued his activities, Id like to give the reader some background and context for pondering the questions that he touches upon.
THE AVANT GARDE TRADITION
Richs highly original work is deeply rooted in the tradition of the avant garde: the leading edge of a group of practices developed in early twentieth-century Europe under the rubric of modernism. An interplay between originality and continuity is the key to understanding his long strange trajectory: dadaist performer, faux scientist, computer geek, toy designer, cartoonist, project manager, museum exhibit producer, corporate branding theorist, futurologist, and World Economic Forum Fellow. Rich embodied universal roles such as artist-as-trickster, which is present in avant garde art but harks back to ancient sources. Someone with access to the more ineffable experiential realms who also has the gift of sharing those visions with others, whether through story, song, dance, architecture, sculpture, mathematical equation, or any combination of these, merges the functions of artist, scholar, and priest.
Gordon McKenzie, in his book Orbiting the Giant Hairball: A Corporate Fools Guide to Surviving with Grace, talks about his long career at the enormously successful Hallmark greeting card company, where he acts as a sort of shaman, pushing the edges of what people can conceive, challenging the locked-in practices, assumptions, and restraints (the hairball) to release creative energy. Seen as everything from a spiritual advisor to saboteur of meetings or even charlatan, McKenzie feels that he provides creative dissonance, serving as an irritant or disruptor to the business-as-usual approach that in any large organization works against innovation. When Rich visited Hallmark, McKenzie recognized Rich as also being an orbiter, someone with the ability to work within the constraints of a corporate culture while connecting it to larger cultural patterns, new ideas, different ways of conceiving the business at hand and the business of the future.
Having made more than a few people enormously wealthy, thinking outside the box became the self-important mantra of pre- and postmillennial silicon valley. But most often the person who dares to do it is slapped down by risk-averse management, quashed by economic realities, or rendered inert by a climate of deja-cool. As MacKenzie put it, an organization can officially laud the generation of new ideas while covertly subverting their implementation. Like some dadaist provocateur, Rich was frequently able to slightly stretch the membranes of the box and nudge people into questioning what the box is and what it holds.