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On Fri, 13 Aug 1999 10:21:35 GMT, lehman@javanet.com (Todd Lehman)
wrote:
> In lugnet.cad.dev, lehman@javanet.com (Todd Lehman) writes:
> > [...]
> > In lugnet.admin.general, "Selçuk <teyyareci>" <sgore@nospam.superonline.com>
> > writes:
> > > Smelling bad and looking bad are not the same things. If someone smells bad,
> > > you sure want him/her to go out and never come back without taking a bath,
> > > since you can't make all the other people squeeze their noses. But if
> > > somebody has a harmless but stupid and irritating clothes, just looking at
> > > the other side is the way to go.
> >
> > That's a nice analogy, but it doesn't apply. The situation here is more
> > like someone has walked into a room where things are trying to get done, and
> > they sit there and muck things up -- asking annoying questions all the time,
> > treating people rudely, and making ridiculous demands.
> > [...]
>
> OK, here's the analogy.
>
> Imagine that there is this magnificent glass building in a pleasant corner
> of town. It's ten stories tall with clear windows going up all the sides
> and covering all the insides. The rooms inside are all sorts of neat
> shapes, and each room is a little different from the next. It's a giant
> evolving-art museum where anyone can go in and other like-minded people,
> share ideas, and make things for others to enjoy.
>
> To be admitted to the building, first you have to agree to a set of basic
> principles. You won't throw rocks at the windows. You won't put chewing
> gum in the light sockets. You won't push anyone down the stairs. You won't
> go door-to-door selling vacuum cleaners in the building. And you won't
> claim to be someone who you aren't.
>
> Oh, and your use of the building is a privilege which may be revoked if you
> don't play well with others in the building.
>
> All of the rooms are glass, and you can see everything that's going on in
> each room, but all the rooms have locks. Upon agreeing to the rules for the
> building, you're given a complete set of keys for every room. So you can go
> into any room and talk to people, paint things on the walls, whatever you
> want, as long as you don't break any of the building's rules.
>
> On the first floor there's a giant hall where people do all sorts of
> creative and wonderful things. On the second floor there's a marketplace
> where people can buy and sell art-related things from one another. On the
> third floor you draw with colored pencils. On the fourth floor you paint
> with oils. On the fifth floor you paint with watercolors, and on the sixth
> floor you have to get by with charcoal. On the seventh floor, you get to
> use whatever materials you want. On the eighth floor you have to draw only
> animals. On the ninth floor you draw only people. And on the tenth floor
> you draw about drawing or paint about painting. (The tenth floor is kind of
> weird.)
>
> Now the ninth floor is divided up into several rooms. One room is for
> teaching and learning about drawing and painting. Lots of friendly people
> hang out there, eager to help and share. The next room over is a bit more
> serious. This room is set up for the study of and experimentaion with new
> techniques, new methods. Many brilliant masters hang out in this room and
> create absolutely wonderful things. The rest of the rooms on the ninth
> floor are galleries of various types of art involving people. One gallery
> is for the human figure, another is for individual body elements, another is
> for scenes of many people together.
>
> This whole building exists, for the most part, in peace and harmony and
> zest, as many people come and go as they please and do neat things. Some
> people come to learn, some people come to express themselves, some people
> come to see what other people have done...purely to enjoy.
>
> Lately, the ninth floor has been losing some of its gusto. It used to be
> that the ninth floor was a place you could go to see beautiful paintings of
> hands and figures created the masters. You could always count on seeing and
> hearing great things on the ninth floor. Today, however, if you visit the
> ninth floor, you'll still see all of the beautiful paintings, but among the
> delicately crafted masterpieces are ... how shall we say ... randomly placed
> stick figures. Now, it's not against the law or against the rules of the
> building to draw stick figures on the ninth floor, because stick figures are
> people -- so no one is "in trouble" as it were. But it's generally agreed
> upon that the ninth floor definitely seems less enjoyable -- and less
> seriously devoted to the craft.
>
> In fact, fewer visitors have begun to stop by the ninth floor lately because
> of all the stick figures. Somehow, the stick figures just don't have the
> same appeal as the masterpieces. What's worse, some of the masters
> themselves have begun to show up less frequently, and some have even begun
> not to show up at all. They just can't bear the thought of someone drawing
> stick figures all over the place. The person drawing the stick figures was
> even overheard once berating a master for taking his jolly old time on a
> masterpiece. How absurd.
>
> The people who frequent the ninth floor have talked to the stick-figure
> artist many, many times about quality, attitude, love of the figure, and
> devotion to the craft. They've even offered helpful hints and constructive
> feedback many times, but and while it seems to help a little, it just
> doesn't seem to help enough. Sometimes the stick figures do end up with a
> little flesh on them, but most of the time they just end up with two heads,
> an especially short arm, or extra toes.
>
> Is there any solution to this problem?
>
> Obviously, everyone could simply ignore all the stick-figures and the
> stick-figure artist. How reasonable is that? Some of the masters have
> decided that they can't ignore it, and that they're happier just leaving.
>
> Or, everyone could get together and pose an ultimatum to the stick-figure
> artist, asking him to knock it off -- to pursue a different field, or to
> somehow magically improve straight to the master level overnight.
>
> Or, everyone could get together ask the building manager to request the key
> back to the rooms on the ninth floor. Since all of the rooms in the
> building are glass, taking away a key to a room doesn't mean that someone
> still can't watch what goes on in the room and learn from watching; it just
> means that someone simply can no longer go in to a room and jump around and
> make a fuss or mess things up. They're left to sit on the outside looking
> in, so that the masters can get back to focusing on what they do best and
> enjoy most: creating works of art, unfettered by the frustration of working
> with a stick-figure artist in the room.
>
> This is how I see it.
>
> --Todd
Sorry, but I can't snip this masterpiece. Nice anology?..No!..This is
wonderful...:-)
I can see your point, of course (it is not possible after reading
this). Actually, I could already see it before my post, too. You are
of course right, but may be I'm more ignorant and less anal retentive
(more tolerant to winning brats) due to my past (I had been lived in
dormitories since I was 13 - between 1985-1990- and shared my home
with many different and weird characters till I married (last november
you know).
Anyway, thanks for the nice and well thought reply.
Selçuk
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Message is in Reply To:
 | | Re: i admit i was wrong
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| (...) OK, here's the analogy. Imagine that there is this magnificent glass building in a pleasant corner of town. It's ten stories tall with clear windows going up all the sides and covering all the insides. The rooms inside are all sorts of neat (...) (25 years ago, 13-Aug-99, to lugnet.cad.dev, lugnet.admin.general)
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