Now we know what Willy Loman sold.*

In the Critique of Practical Reason, Kant's argument for belief in God is that we must represent the highest good as a state of affairs in which everyone is happy because they are virtuous (5:113–114, 124). But neither the laws of nature nor our best efforts can guarantee that happiness will result from virtue. Therefore, Kant thought, we must conclude that the highest good is impossible -- and thereby fail to be motivated to virtue -- unless we postulate "the existence of a cause of nature, distinct from nature, which contains the ground of this connection, namely the exact correspondence of happiness with morality" (5:125), i.e. unless we posit the existence of God (cf. Rohlf, SEP).

As far as I'm concerned, meditation of this kind is prompted by the image above.

Famously, R. Buckminster Fuller hoped that the geodesic dome would help address the postwar housing crisis: geodesic homes are extremely strong for their weight, their "omnitriangulated" surfaces provide an inherently stable structure, and spheres enclose the greatest volume for the least surface area.

Turns out, there are some serious problems with Geodesic homes. But suppose there weren't. What was the likelihood that the door-to-door salesman model would correctly apportion reward (i.e. sell homes) to virtue? Not much, it seems to me. A thought, then, for Monday: successful marketing is the practical postulate of all designers.

Consider, finally, that in adopting this postulate, we are motivated to get on with being virtuous.

* Thanks to Megan for pointing out this link, for the leading thought, and the conversation.

Photo by Wally Gobetz

1. The Lazy Designer’s Guide to Success

Pentagram's Michael Bierut offers seven ways designers can work smarter, not harder.

#4. Do as you’re told.
Simply following the client's instructions will yield wonders. For Bierut – who likes limitations – creating the gargantuan sign for Renzo Piano’s New York Times building was fairly straightforward. The Times Square Alliance mandates that all buildings in the neighbourhood feature bright, large signage, to "keep Times Square looking like Times Square,” says Bierut. (He adds that, for Piano, hearing the words large-sign-stuck-on-your-building must have been, "like, the biggest 6-word, ‘F--- you, architect’.”) And so, the almost 6 meter-tall logo was chopped into 893 pieces and applied to Piano’s ceramic rod façade.

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