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The Plenitude: A Companion

The Plenitude: A Companion

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Published by The MIT Press
Lessons from the creative professions of and for art, science, design, and engineering: how to live in and with the Plenitude, that dense, knotted ecology of human-made stuff that creates the need for more of itself.

In this companion to The Plenitude, published by MIT Press in 2007, Rich Gold presents the autobiographical perspective of an artist, scientist, designer, and engineer of stuff.
Lessons from the creative professions of and for art, science, design, and engineering: how to live in and with the Plenitude, that dense, knotted ecology of human-made stuff that creates the need for more of itself.

In this companion to The Plenitude, published by MIT Press in 2007, Rich Gold presents the autobiographical perspective of an artist, scientist, designer, and engineer of stuff.

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Published by: The MIT Press on Jun 05, 2008
Copyright:Attribution Non-commercial

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01/06/2013

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 T h e
 P l e n i t u d e
Rich Gold
 
Design and Engineeringin the era ofUbiquitous Computing
©
2008 Marina de Bellagente LaPalma
 
The
 MIT 
 Press
 
 
I.INTRODUCTIONII.THE 4 CREATIVE HATSIII.MY LIFE IN THE PLENITUDE (A)IV.SMART HOUSE?V.MY LIFE IN THE PLENITUDE (B)VI.SEVEN PATTERNS OF INNOVATIONVII.MY LIFE IN THE PLENITUDE (C)VIII.THE MUSEUM AS A BOOKIX.DESIRE IN CONTEXTX.MY LIFE IN THE PLENITUDE (D)XI.THE PLENITUDE
 
TABLE OF CONTENTS
:
 
I think this is a good place to note that throughout this book I make heavy use of afont I got off the web called MOM’S TYPEWRITER. Frankly, I’ve got a font Jonesand spend way too much time routing about the web looking for new fonts, notunlike how driftwood artists scour the shores looking for new bleached branches.Christoph Mueller designed MOM’S TYPEWRITER by scanning in the output of his mother’s old machine. One of its charms is that it has neither a
 zero
nor a
one
.Just like real old typewriters you are supposed to use an upper case “O” and a lowercase “L” to complete the numerics. Fine, except that it makes automatic pagenumbering impossible. Whenever I use MOM’S TYPEWRITER it reminds me thatevery technology has a proclivity.Chapters III, V, VII and X together form the autobiography of my life and areincluded as proof of what I say elsewhere in the book about the Plenitude. Thisautobiography is, as many readers have noted, too plenitudinous itself. It cancertainly be skimmed, skipped, or flipped through.What the autobiography proves, BTW, is that the Plenitude exists because it is joyful to make.
 
 
 I I I.  M Y  L I F E  I N  T H E P L E N I T U D E  (A )
 
1950 -1975
 For most people the Plenitude is an envelope that surrounds and buffers them fromthe rest of the galaxy. Going out at night and seeing the stars directly is not onlyunsatisfying due to ambient light, but hardly a competitor to what’s on TV. Forlarge numbers of people helping to construct or maintain a small part of thePlenitude is how they pay for their homes, cars, clothing, vacations in Anaheim.How else can you make a living? A smaller number of people have jobs which wouldbe called
creative
in the broad sense: inventing new stuff for the malls andmultiplexes, the new and improved, the must-see. And a really small percentage of people have jobs where they are tasked with making new categories of things, thingswhich may require new stores, or new laws, or new manufacturing plants, or whichchange how a family spends its Saturday night.What’s curious about my life is that I have done all these things while wearing thehats of the artist, designer, engineer and scientist. It has been a lucky life. It ishardly an exemplary life, I haven’t landed on 60 Minutes as either a role model or acriminal; my bank account is not full; it is hardly a life to be followed. I present ithere, instead, as an
example life,
one that helps us see how and why this denseenvelope was constructed. I want to expose
the pleasure of creation
as well as itsconsequence.
1

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