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In Conversation with Mahmood Mamdani | Warscapes
"MM: One night. They let you make one phone call, and I called the Ugandan Ambassador in Washington, DC, talked to him, and he said, “What are you doing interfering in the affairs of a foreign country?” I said, “What? We just got our independence! This is the same struggle. Have you forgotten?” Anyway, he got me out. Two or three weeks later, I was in my room. There was a knock at the door. Two gentlemen in trench coats and hats said, “FBI.” I thought, “Wow, just like on television.” They sat down. They were there to find out why I had gone – because this turned out to be big – it is after Montgomery that King organized his march on Selma. They wanted to know who had influenced me. After one hour of probing, the guy said, “Do you like Marx?” 

I said, “I haven’t met him.” 

Guy said, “No, no, he’s dead.” 

“Wow, what happened?” 

“No, no, he died long ago.” 

I thought the guy Marx had just died. So then, “Why are you asking me if he died long ago?”  

“No, he wrote a lot. He wrote that poor people should not be poor.”  

I said, “Sounds amazing.” 

I’m giving you a sense of how naïve I was. After they left, I went to the library to look for Marx. So that was my introduction to Karl Marx.

BS: The FBI. 

MM: The FBI. Then, of course, I took a class on Marx. Couldn’t just get Marx out of the library. But, basically, it is the US – the civil rights movement and the anti-war movement – which gave me a new take on my own experience, and on the Asian experience in east Africa. It gave me a way of rethinking my own experience of growing up in east Africa and growing up in an Africa with a lens crafted by the civil rights movement."
colonialism  academia  history  mahmoodmamdani  karlmarx  marxism  2013  interviews  fbi  radicalization  ideas  inequality  poverty  capitalism  unintendedconsequences 
8 weeks ago by robertogreco
James Luckett en Instagram: ““The world we want to transform has already been worked on by history and is largely hollow. We must nevertheless be inventive enough to…”
“The world we want to transform has already been worked on by history and is largely hollow. We must nevertheless be inventive enough to change it and build a new world. Take care and do not forget ideas are also weapons.” - subcomandante insurgente Marcos
subcomandantemarcos  change  reform  ideas 
august 2018 by robertogreco
Ideas in cars, honking
[To these examples, I’d add what Earl Sweatshirt says about moments and his process in this interview:
https://www.npr.org/sections/microphonecheck/2015/03/24/394987116/earl-sweatshirt-im-grown
https://pinboard.in/u:robertogreco/b:30b20a46fed3 ]

"There was one great spot in the Dave Chappelle episode, though, that I felt was worth transcribing and sharing. Seinfeld asks Chappelle whether he feels like, knowing he can do a great TV show, he shouldn’t try to do another one.
CHAPPELLE: Sometimes the offering drives. If I [have] an idea, it should drive. It’s like the idea says, “Get in the car.” And I’m like, “Where am I going?” And the idea says, “Don’t worry, I’m driving.” And then you just get there.

SEINFELD: The idea’s driving.

CHAPPELLE: Sometime’s I’m shotgun. Sometimes I’m in the f—ing trunk. The idea takes you where it wants to go.

SEINFELD: That’s great.

CHAPPELLE: And then other times, there’s me, and it’s my ego, like, “I should do something!”

SEINFELD: “I should be driving!”

CHAPPELLE: Yeah.

SEINFELD: That’s not good.

CHAPPELLE: No, ‘cause there’s no idea in the car. It’s just me. That formula doesn’t work.

SEINFELD: If the idea is in the car honking, going, “Let’s go…” It pulls up in front of your house.

CHAPPELLE: That’s exactly right.

SEINFELD: “You’re in your pajamas. Get dressed!”

CHAPPELLE: “I’m not ready!” “You can go like this.” “Where are we going? What are we doing?” “Don’t worry about it. You’ll see.”

Although, there’s another great story about cars and ideas, told by Elizabeth Gilbert:
Tom [Waits], for most of his life, he was pretty much the embodiment of the tormented contemporary modern artist, trying to control and manage and dominate these sort of uncontrollable creative impulses that were totally internalized.

But then he got older, he got calmer, and one day he was driving down the freeway in Los Angeles, and this is when it all changed for him. And he’s speeding along, and all of a sudden he hears this little fragment of melody, that comes into his head as inspiration often comes, elusive and tantalizing, and he wants it, it’s gorgeous, and he longs for it, but he has no way to get it. He doesn’t have a piece of paper, or a pencil, or a tape recorder.

So he starts to feel all of that old anxiety start to rise in him like, “I’m going to lose this thing, and I’ll be be haunted by this song forever. I’m not good enough, and I can’t do it.” And instead of panicking, he just stopped. He just stopped that whole mental process and he did something completely novel. He just looked up at the sky, and he said, “Excuse me, can you not see that I’m driving?”

“Do I look like I can write down a song right now? If you really want to exist, come back at a more opportune moment when I can take care of you. Otherwise, go bother somebody else today. Go bother Leonard Cohen.”

And his whole work process changed after that. Not the work, the work was still oftentimes as dark as ever. But the process, and the heavy anxiety around it was released when he took the genie, the genius out of him where it was causing nothing but trouble, and released it back where it came from, and realized that this didn’t have to be this internalized, tormented thing.

Gilbert interviewed Waits in 2002 and he elaborated on his attitude:
“Kids are always working on songs and throwing them away, like little origami things or paper airplanes. They don’t care if they lose it; they’ll just make another one.” This openness is what every artist needs. Be ready to receive the inspiration when it comes; be ready to let it go when it vanishes. He believes that if a song “really wants to be written down, it’ll stick in my head. If it wasn’t interesting enough for me to remember it, well, it can just move along and go get in someone else’s song.” “Some songs,” he has learned, “don’t want to be recorded.” You can’t wrestle with them or you’ll only scare them off more. Trying to capture them sometimes “is trying to trap birds.” Fortunately, he says, other songs come easy, like “digging potatoes out of the ground.” Others are sticky and weird, like “gum found under an old table.” Clumsy and uncooperative songs may only be useful “to cut up as bait and use ’em to catch other songs.” Of course, the best songs of all are those that enter you “like dreams taken through a straw.’ In those moments, all you can be, Waits says, is grateful.

Brian Eno puts it in terms of surrender and control:
On one side of Eno’s scale diagram, he writes “control”; on the other “surrender”. “We’ve tended to dignify the controlling end of the spectrum,” he says. “We have Nobel prizes for that end.” His idea is that control is what we generally believe the greats – Shakespeare, Picasso, Einstein, Wagner – were about. Such people, the argument goes, controlled their chosen fields, working in isolation, never needing any creative input from others. As for surrender, that idea has become debased: it’s come to mean what the rest of us do when confronted by a work of genius. “We’ve tended to think of the surrender end as a luxury, a nice thing you add to your life when you’ve done the serious work of getting a job, getting your pension sorted out. I’m saying that’s all wrong.”

He pauses, then asks: “I don’t know if you’ve ever read much about the history of shipbuilding?” Not a word. “Old wooden ships had to be constantly caulked up because they leaked. When technology improved, and they could make stiffer ships because of a different way of holding boards together, they broke up. So they went back to making ships that didn’t fit together properly, ships that had flexion. The best vessels surrendered: they allowed themselves to be moved by the circumstances.

“Control and surrender have to be kept in balance. That’s what surfers do – take control of the situation, then be carried, then take control. In the last few thousand years, we’ve become incredibly adept technically. We’ve treasured the controlling part of ourselves and neglected the surrendering part.” Eno considers all his recent art to be a rebuttal to this attitude. “I want to rethink surrender as an active verb,” he says. “It’s not just you being escapist; it’s an active choice. I’m not saying we’ve got to stop being such controlling beings. I’m not saying we’ve got to be back-to-the-earth hippies. I’m saying something more complex.”
austinkleon  davechappelle  jerryseinfeld  elizabethgilbert  tomwaits  brianeno  control  flow  ideas  howwethink  creativity  neoteny  children  surrender  tension  howwework  howwelearn  productivity  earlsweatshirt  2018  rap  hiphop  thebenerudakgositsile 
july 2018 by robertogreco
Are we overthinking general education? – Jonathan D. Becker, J.D., Ph.D.
"Many colleges and universities are trying to figure out new ways to tackle general education requirements. My own employer, VCU, has been undergoing an effort “to re-imagine our general education curriculum.” The proposed framework that my VCU colleagues came up with isn’t bad, but it still feels like picking courses out of individual boxes and checking boxes to complete a checklist. It feels like what happens when universities try to be innovative and break out of boxes, but turf wars ensue and departments dig in their heels. The result is an overwrought compromise that doesn’t serve anyone particularly well.

Here is something I wrote on Twitter back in 2015.

[embedded tweet: https://twitter.com/jonbecker/status/670360697105174529
@gsiemens I seriously want to teach a course where all we do is read and discuss @brainpicker and @Longreads.
]

Imagine this learning experience: 1 faculty member with 20-25 students just reading and discussing the Longreads Weekly Top 5. They’d meet once a week, in a meeting room or a coffee shop or outside on a lawn or in the forest; it doesn’t matter. And they’d just talk about what they learned. And maybe they’d blog about it so they could expand their discussion beyond the designated class time and space and could get others outside the class to weigh in. That’s it; that’s the whole instructional design. No predetermined curriculum; very little by way of planning. Learning outcomes? How about curiosity, wonder, critical thinking? Those are your “learning outcomes.” I’d bet students would learn more by reading and deeply discussing those 5 articles each week than they would in most other tightly-designed, pre-packaged curriculum-driven course.

I would also love to involve students in a learning experience built around food shows like Alton Brown’s Good Eats. Seriously. Watch just the first few minutes of this episode. In just the first 3+ minutes, we get history (information about the Ottoman Empire), science (cooking and surface area), and math (computing surface area). In a show about kabobs.

[embedded video: "Good Eats S09E2 Dis-Kabob-Ulated"
https://www.dailymotion.com/video/x5skv9x ]

What if general education was more like this? What if students read Longreads and watched episodes of Good Eats as part of an effort around interdisciplinary studies?

And then there’s Anthony Bourdain. To me, Parts Unknown was, at its heart, educational media.

I’m not from West Virginia like Craig Calcaterra (see below) is. But, I spent a lot of time in that state doing field research at the end of the 20th century. When I watched the episode of Parts Unknown that Calcaterra shares, I felt like Bourdain had really captured what I had come to know about the state and then some. Watch the episode and tell me that you didn’t learn a ton. The way Bourdain juxtaposes New York City and his fellow New Yorkers with the “existential enemy” in West Virginia is classic Bourdain."

[embedded tweet: https://twitter.com/craigcalcaterra/status/1005077364131422208
Anthony Bourdain went to West Virginia last year. In one hour he did way better capturing my home state than 1,000 poverty porn tourist journalists with pre-written stories parachuting in from coastal publications have ever done. https://www.dailymotion.com/video/x6inwh4
]

Parts Unknown is an interdisciplinary curriculum. It is about culture, food, history, politics, economics, etc. It’s about people.

[embedded tweet: https://twitter.com/ablington/status/1005056496609169409
Anthony Bourdain had one of the only shows on tv that tried with all its might to teach Americans not to be scared of other people.
]

And isn’t that what general education is?

Replace the word “travel” with the word “learning” in the following quote from Anthony Bourdain.

[embedded tweet: https://twitter.com/Tribeca/status/1005073364531269633
“Travel isn’t always pretty. It isn’t always comfortable. Sometimes it hurts, it even breaks your heart. But that’s okay. The journey changes you; it should change you... You take something with you. Hopefully, you leave something good behind.” — Anthony Bourdain #RIP
]

Maybe we’re overthinking general education in higher education. Probably, in fact.
jonbecker  education  generaleducation  anthonybourdain  2018  interdisciplinary  learning  travel  sharing  ideas  unschooling  deschooling  cv  culture  exploration  conversation  longreads  lcproject  openstudioproject  howweteach  howwelearn 
june 2018 by robertogreco
Jacob Sam-La Rose on Twitter: "Spent part of the week on a research dive into platforms for collaborative research, networked learning and collective intelligence. Changed my thinking on the way I use the web (w/ thanks to @rogre and @nomadpoet). (Faceboo
Spent part of the week on a research dive into platforms for collaborative research, networked learning and collective intelligence. Changed my thinking on the way I use the web (w/ thanks to @rogre and @nomadpoet).

(Facebook: Twitter link = full thread)
#alt_springbreak

One of the outcomes: it took me a while to see it, but http://Are.na (@AREdotNA) is now and the future for this kind of effort. I needed to shift my thinking around tagging and categorisation of items.

This blows my mind, and I'm keen to play with it further:
http://pilgrim.are.na/

...and: https://github.com/hxrts/spider is something I've been trying to figure out how to do with my own personal knowledge management system in order to be able to visualise links between notes/ideas. Exciting stuff.

Put simply, I'm thinking of http://Are.na as the publicly accessible place I go to synthesise meaning from a range of sources, and collaborate with others in doing so.

I think my jetpack just arrived.

From https://www.are.na/blog/hello%20world/2017/12/21/to-2018.html "
jacobsam-larose  2018  are.na  learning  cv  howwelearn  collectiveintelligence  friends  collaboration  collaborativeresearch  research  web  online  socialbookmaking  bookmarks  bookmarking  constructivism  ideas  api  meaning  meaningmaking 
june 2018 by robertogreco
On how to grow an idea – The Creative Independent
"In the 1970s, a Japanese farmer discovered a better way to do something—by not doing it. In the introduction to Masasobu Fukuoka’s One-Straw Revolution, Frances Moore Lappé describes the farmer’s moment of inspiration:
The basic idea came to him one day as he happened to pass an old field which had been left unused and unplowed for many years. There he saw a tangle of grasses and weeds. From that time on, he stopped flooding his field in order to grow rice. He stopped sowing rice seed in the spring and, instead, put the seed out in the autumn, sowing it directly onto the surface of the field when it would naturally have fallen to the ground… Once he has seen to it that conditions have been tilted in favor of his crops, Mr. Fukuoka interferes as little as possible with the plant and animal communities in his fields.


Fukuoka’s practice, which he perfected over many years, eventually became known as “do nothing farming.” Not that it was easy: the do-nothing farmer needed to be more attentive and sensitive to the land and seasons than a regular farmer. After all, Fukuoka’s ingenious method was hard-won after decades of his own close observations of weather patterns, insects, birds, trees, soil, and the interrelationships among all of these.

In One Straw Revolution, Fukuoka is rightly proud of what he has perfected. Do-nothing farming not only required less labor, no machines, and no fertilizer—it also enriched the soil year by year, while most farms depleted their soil. Despite the skepticism of others, Fukuoka’s farm yielded a harvest equal to or greater than that of other farms. “It seems unlikely that there could be a simpler way of raising grain,” he wrote. “The proof is ripening right before your eyes.”

One of Fukuoka’s insights was that there is a natural intelligence at work in existing ecosystems, and therefore the most intelligent way to farm was to interfere as little as possible. This obviously requires a reworking not only of what we consider farming, but maybe even what we consider progress.

“The path I have followed, this natural way of farming, which strikes most people as strange, was first interpreted as a reaction against the advance and reckless development of science. But all I have been doing, farming out here in the country, is trying to show that humanity knows nothing. Because the world is moving with such furious energy in the opposite direction, it may appear that I have fallen behind the times, but I firmly believe that the path I have been following is the most sensible one.”

The One Straw Revolution by Masanobu Fukuoka

✶✶

In my view, Fukuoka was an inventor. Typically we associate invention and progress with the addition or development of new technology. So what happens when moving forward actually means taking something away, or moving in a direction that appears (to us) to be backward? Fukuoka wrote: “This method completely contradicts modern agricultural techniques. It throws scientific knowledge and traditional farming know-how right out the window.”

This practice of fitting oneself into the greater ecological scheme of things is almost comically opposite to the stories in John McPhee’s Control of Nature. There, we find near-Shakespearean tales of folly in which man tries and fails to master the sublime powers of his environment (e.g. the decades-long attempt to keep the Mississippi river from changing course).

Any artist or writer might find this contrast familiar. Why is it that when we sit down and try to force an idea, nothing comes—or, if we succeed in forcing it, it feels stale and contrived? Why do the best ideas appear uninvited and at the strangest times, darting out at us like an impish squirrel from a shrub?

The key, in my opinion, has to do with what you think it is that’s doing the producing, and where. It’s easy for me to say that “I” produce ideas. But when I’ve finished something, it’s often hard for me to say how it happened—where it started, what route it took, and why it ended where it did. Something similar is happening on a do-nothing farm, where transitive verbs seem inadequate. It doesn’t sound quite right to say that Fukuoka “farmed the land”—it’s more like he collaborated with the land, and through his collaboration, created the conditions for certain types of growth.

“A great number, if not the majority, of these things have been described, inventoried, photographed, talked about, or registered. My intention in the pages that follow was to describe the rest instead: that which is generally not taken note of, that which is not noticed, that which has no importance: what happens when nothing happens other than the weather, people, cars, and clouds.”

Attempt at Exhausting a Place in Paris by George Perec

✶✶

I’ve known for my entire adult that going for a walk is how I can think most easily. Walking is not simply moving your thinking mind (some imagined insular thing) outside. The process of walking is thinking. In fact, in his book Spell of the Sensuous: Perception and Language in a More-than-Human World, David Abram proposes that it is not we who are thinking, but rather the environment that is thinking through us. Intelligence and thought are things to be found both in and around the self. “Each place is a unique state of mind,” Abram writes. “And the many owners that constitute and dwell within that locale—the spiders and the tree frogs no less than the human—all participate in, and partake of, the particular mind of the place.”

This is not as hand-wavy as it sounds. Studies in cognitive science have suggested that we do not encounter the environment as a static thing, nor are we static ourselves. As Francisco Varela, Evan Thompson, and Eleanor Rosch put it in The Embodied Mind (a study of cognitive science alongside Buddhist principles): “Cognition is not the representation of a pre-given world by a pre-given mind but is rather the enactment of a world and a mind… “ (emphasis mine). Throughout the book, the authors build a model of cognition in which mind and environment are not separate, but rather co-produced from the very point at which they meet.

[image]

“The Telegarden is an art installation that allows web users to view and interact with a remote garden filled with living plants. Members can plant, water, and monitor the progress of seedlings via the tender movements of an industrial robot arm.”

✶✶

Ideas are not products, as much as corporations would like them to be. Ideas are intersections between ourselves and something else, whether that’s a book, a conversation with a friend, or the subtle suggestion of a tree. Ideas can literally arise out of clouds (if we are looking at them). That is to say: ideas, like consciousness itself, are emergent properties, and thinking might be more participation than it is production. If we can accept this view of the mind with humility and awe, we might be amazed at what will grow there.


breathing [animation]

✶✶

To accompany this essay, I’ve created a channel on Are.na called “How to grow an idea.” There you’ll find some seeds for thought, scattered amongst other growths: slime molds, twining vines, internet gardens, and starling murmurations. The interview with John Cage, where he sits by an open window and rejoices in unwritten music, might remind you a bit of Fukuoka, as might Scott Polach’s piece in which an audience applauds the sunset. The channel starts with a reminder to breathe, and ends with an invitation to take a nap. Hopefully, somewhere in between, you might encounter something new."
intelligence  methodology  ideas  jennyodell  2018  are.na  masasobufukuoka  francesmoorelappé  farming  slow  nothing  idleness  nature  time  patience  productivity  interdependence  multispecies  morethanhuman  do-nothingfarming  labor  work  sustainability  ecosystems  progress  invention  technology  knowledge  johnmcphee  collaboration  land  growth  georgesperec  walking  thinking  slowthinking  perception  language  davidabram  cognitivescience  franciscovarela  evanthompson  eleanorrosch  buddhism  cognition  johncage  agriculture 
april 2018 by robertogreco
Survival of the Kindest: Dacher Keltner Reveals the New Rules of Power
"When Pixar was dreaming up the idea for Inside Out, a film that would explore the roiling emotions inside the head of a young girl, they needed guidance from an expert. So they called Dacher Keltner.

Dacher is a psychologist at UC Berkeley who has dedicated his career to understanding how human emotion shapes the way we interact with the world, how we properly manage difficult or stressful situations, and ultimately, how we treat one another.

In fact, he refers to emotions as the “language of social living.” The more fluent we are in this language, the happier and more meaningful our lives can be.

We tackle a wide variety of topics in this conversation that I think you’ll really enjoy.

You’ll learn:

• The three main drivers that determine your personal happiness and life satisfaction
• Simple things you can do everyday to jumpstart the “feel good” reward center of your brain
• The principle of “jen” and how we can use “high-jen behaviors” to bootstrap our own happiness
• How to have more positive influence in our homes, at work and in our communities.
• How to teach your kids to be more kind and empathetic in an increasingly self-centered world
• What you can do to stay grounded and humble if you are in a position of power or authority
• How to catch our own biases when we’re overly critical of another’s ideas (or overconfident in our own)

And much more. We could have spent an hour discussing any one of these points alone, but there was so much I wanted to cover. I’m certain you’ll find this episode well worth your time."
compassion  kindness  happiness  dacherkeltner  power  charlesdarwin  evolution  psychology  culture  society  history  race  racism  behavior  satisfaction  individualism  humility  authority  humans  humanism  morality  morals  multispecies  morethanhuman  objects  wisdom  knowledge  heidegger  ideas  science  socialdarwinism  class  naturalselection  egalitarianism  abolitionism  care  caring  art  vulnerability  artists  scientists  context  replicability  research  socialsciences  2018  statistics  replication  metaanalysis  socialcontext  social  borntobegood  change  human  emotions  violence  evolutionarypsychology  slvery  rape  stevenpinker  torture  christopherboehm  hunter-gatherers  gender  weapons  democracy  machiavelli  feminism  prisons  mentalillness  drugs  prisonindustrialcomplex  progress  politics  1990s  collaboration  canon  horizontality  hierarchy  small  civilization  cities  urban  urbanism  tribes  religion  dogma  polygamy  slavery  pigeons  archaeology  inequality  nomads  nomadism  anarchism  anarchy  agriculture  literacy  ruleoflaw  humanrights  governance  government  hannah 
march 2018 by robertogreco
Brian Selznick: By the Book - The New York Times
"I learned that Leonardo da Vinci was a failure. Walter Isaacson’s wonderful biography turns Leonardo from an icon into a human being. For me Leonardo becomes the most human in the explorations of his endless failures: unfinished paintings and statues, ruined frescoes, unpublished ideas, unbuilt machines. Michelangelo even made fun of Leonardo for never managing to finish a giant bronze horse. Of course, these failures are tied to Leonardo’s deep curiosity, which kept him endlessly moving forward, questing for more knowledge and understanding, while the things that we recognize as his “work” often seemed to suffer. Isaacson points out that many experts bemoan all the unfinished work left in the wake of Leonardo’s self-education, but he also points out that it’s the same self-education that enabled Leonardo to create the “Vitruvian Man,” the “Mona Lisa” and “The Last Supper.” Not bad for a failure, I guess."
failure  leonardodavinci  2018  brianselznick  unfinished  curiosity  michelangelo  messiness  self-education  education  howwelearn  learning  distraction  art  invention  ideas 
february 2018 by robertogreco
The tools matter and the tools don’t matter
"What I love about Gardner and Barry is that they believe that the tools you use do matter, but the point, for them, is finding the proper tools that get you to a certain way of working in which you can get your conscious, mechanical mind out of the way so that your dreaming can go on, undeterred.

You have to find the right tools to help your voice sing.

For Lynda, it was the paintbrush that allowed her to get to the point where she could basically take dictation—“to dream it out” without editing—but it could’ve been anything, really. (I should note that Lynda happily details the exact sumi-e brush and ink she used to make One! Hundred! Demons! in the back of the book.) While I don’t myself use a brush and legal paper to draft my work, I keep a page from the manuscript hanging in my bedroom to remind me of the importance of handwriting and slowing down."



"As for non-fiction writing, my friend Clive Thompson took the “pencil vs. typewriter” thing literally and researched when you should write with a pencil and when you should type on the keyboard.

What he discovered was that handwriting is great for coming up with ideas, for note-taking and big picture thinking. So, when you’re at lectures or in meetings or brainstorming ideas, it’s a good idea to scribble or doodle in your notebook. So always carry a pencil. (Clive got me into Palamino Blackwings.)

Typing, on the other hand, is great for producing writing for other people, say, writing an article. The faster you type, Clive said, the better your ideas will be. There’s a thing called “transcription fluency,” which boils down to: “when your fingers can’t move as fast as your thoughts, your ideas suffer.” If you help people increase their typing speed, their thoughts improve. (Learn to type faster!)

So, yes, the tools matter, but again, it’s all about what you are trying to achieve. So a question like, “What brand of pen do you use?” is not as good as “How do you get that thick line quality?” or “How do you dodge Writer’s Block?”"
austinkleon  tools  writing  howwework  2018  advice  art  lyndabarry  johngardner  clivethompson  typing  handwriting  ideas  notetaking 
february 2018 by robertogreco
Design Thinking is Kind of Like Syphilis — It’s Contagious and Rots Your Brains
"Miller never bothers to define all the modes, and we will consider them more below. But for now, we should just note that the entire model is based on design consulting: You try to understand the client’s problem, what he or she wants or needs. You sharpen that problem so it’s easier to solve. You think of ways to solve it. You try those solutions out to see if they work. And then once you’ve settled on something, you ask your client for feedback. By the end, you’ve created a “solution,” which is also apparently an “innovation.”

Miller also never bothers to define the liberal arts. The closest he comes is to say they are ways of “thinking that all students should be exposed to because it enhances their understanding of everything else.” Nor does he make clear what he means by the idea that Design Thinking is or could be the new liberal arts. Is it but one new art to be added to the traditional liberal arts, such as grammar, logic, rhetoric, math, music, and science? Or does Miller think, like Hennessy and Kelly, that all of education should be rebuilt around the DTs? Who knows.

Miller is most impressed with Design Thinking’s Empathize Mode. He writes lyrically, “Human-centered design redescribes the classical aim of education as the care and tending of the soul; its focus on empathy follows directly from Rousseau’s stress on compassion as a social virtue.” Beautiful. Interesting.

But what are we really talking about here? The d.school’s An Introduction to Design Thinking PROCESS GUIDE says, “The Empathize Mode is the work you do to understand people, within the context of your design challenge.” We can use language like “empathy” to dress things up, but this is Business 101. Listen to your client; find out what he or she wants or needs.

Miller calls the Empathize Mode “ethnography,” which is deeply uncharitable — and probably offensive — to cultural anthropologists who spend their entire lives learning how to observe other people. Few, if any, anthropologists would sign onto the idea that some amateurs at a d.school “boot camp,” strolling around Stanford and gawking at strangers, constitutes ethnography. The Empathize Mode of Design Thinking is roughly as ethnographic as a marketing focus group or a crew of sleazoid consultants trying to feel out and up their clients’ desires.

What Miller, Kelly, and Hennessy are asking us to imagine is that design consulting is or could be a model for retooling all of education, that it has some method for “producing reliably innovative results in any field.” They believe that we should use Design Thinking to reform education by treating students as customers, or clients, and making sure our customers are getting what they want. And they assert that Design Thinking should be a central part of what students learn, so that graduates come to approach social reality through the model of design consulting. In other words, we should view all of society as if we are in the design consulting business."



In recent episode of the Design Observer podcast, Jen added further thoughts on Design Thinking. “The marketing of design thinking is completely bullshit. It’s even getting worse and worse now that [Stanford has] three-day boot camps that offer certified programs — as if anyone who enrolled in these programs can become a designer and think like a designer and work like a designer.” She also resists the idea that any single methodology “can deal with any kind of situation — not to mention the very complex society that we’re in today.”

In informal survey I conducted with individuals who either teach at or were trained at the top art, architecture, and design schools in the USA, most respondents said that they and their colleagues do not use the term Design Thinking. Most of the people pushing the DTs in higher education are at second- and third-tier universities and, ironically, aren’t innovating but rather emulating Stanford. In afew cases, respondents said they did know a colleague or two who was saying “Design Thinking” frequently, but in every case, the individuals were using the DTs either to increase their turf within the university or to extract resources from college administrators who are often willing to throw money at anything that smacks of “innovation.”

Moreover, individuals working in art, architecture, and design schools tend to be quite critical of existing DT programs. Reportedly, some schools are creating Design Thinking tracks for unpromising students who couldn’t hack it in traditional architecture or design programs — DT as “design lite.” The individuals I talked to also had strong reservations about the products coming out of Design Thinking classes. A traditional project in DT classes involves undergraduate students leading “multidisciplinary” or “transdisciplinary” teams drawing on faculty expertise around campus to solve some problem of interest to the students. The students are not experts in anything, however, and the projects often take the form of, as one person put it, “kids trying to save the world.”

One architecture professor I interviewed had been asked to sit in on a Design Thinking course’s critique, a tradition at architecture and design schools where outside experts are brought in to offer (often tough) feedback on student projects. The professor watched a student explain her design: a technology that was meant to connect mothers with their premature babies who they cannot touch directly. The professor wondered, what is the message about learning that students get from such projects? “I guess the idea is that this work empowers the students to believe they are applying their design skills,” the professor told me. “But I couldn’t critique it as design because there was nothing to it as design. So what’s left? Is good will enough?

As others put it to me, Design Thinking gives students an unrealistic idea of design and the work that goes into creating positive change. Upending that old dictum “knowledge is power,” Design Thinkers giver their students power without knowledge, “creative confidence” without actual capabilities.

It’s also an elitist, Great White Hope vision of change that literally asks students to imagine themselves entering a situation to solve other people’s problems. Among other things, this situation often leads to significant mismatch between designers’ visions — even after practicing “empathy” — and users’ actual needs. Perhaps the most famous example is the PlayPump, a piece of merry-go-round equipment that would pump water when children used it. Designers envisioned that the PlayPump would provide water to thousands of African communities. Only kids didn’t show up, including because there was no local cultural tradition of playing with merry-go-rounds.

Unsurprisingly, Design Thinking-types were enthusiastic about the PlayPump. Tom Hulme, the design director at IDEO’s London office, created a webpage called OpenIDEO, where users could share “open source innovation.” Hulme explained that he found himself asking, “What would IDEO look like on steroids? [We might ask the same question about crack cocaine or PCP.] What would it look like when you invite everybody into everything? I set myself the challenge of . . . radical open-innovation collaboration.” OpenIDEO community users were enthusiastic about the PlayPump — even a year after the system had been debunked, suggesting inviting everyone to everything gets you people who don’t do research. One OpenIDEO user enthused that the PlayPump highlighted how “fun can be combined with real needs.”

Thom Moran, an Assistant Professor of Architecture at the University of Michigan, told me that Design Thinking brought “a whole set of values about what design’s supposed to look like,” including that everything is supposed to be “fun” and “play,” and that the focus is less on “what would work.” Moran went on, “The disappointing part for me is that I really do believe that architecture, art, and design should be thought of as being a part of the liberal arts. They provide a unique skill set for looking at and engaging the world, and being critical of it.” Like others I talked to, Moran doesn’t see this kind of critical thinking in the popular form of Design Thinking, which tends to ignore politics, environmental issues, and global economic problems.

Moran holds up the Swiffer — the sweeper-mop with disposable covers designed by an IDEO-clone design consultancy, Continuum — as a good example of what Design Thinking is all about. “It’s design as marketing,” he said. “It’s about looking for and exploiting a market niche. It’s not really about a new and better world. It’s about exquisitely calibrating a product to a market niche that is underexploited.” The Swiffer involves a slight change in old technologies, and it is wasteful. Others made this same connection between Design Thinking and marketing. One architect said that Design Thinking “really belongs in business schools, where they teach marketing and other forms of moral depravity.”

“That’s what’s most annoying,” Moran went on. “I fundamentally believe in this stuff as a model of education. But it’s business consultants who give TED Talks who are out there selling it. It’s all anti-intellectual. That’s the problem. Architecture and design are profoundly intellectual. But for these people, it’s not a form of critical thought; it’s a form of salesmanship.”

Here’s my one caveat: it could be true that the DTs are a good way to teach design or business. I wouldn’t know. I am not a designer (or business school professor). I am struck, however, by how many designers, including Natasha Jen and Thom Moran, believe that the DTs are nonsense. In the end, I will leave this discussion up to designers. It’s their show. My concern is a different one — namely that… [more]
designthinking  innovation  ideas  2017  design  leevinsel  maintenance  repair  ideation  problemsolving  davidedgerton  willthomas  billburnett  daveevans  stanford  d.school  natashajen  herbertsimon  robertmckim  ideo  singularity  singularityuniversity  d.tech  education  schools  teaching  liberalarts  petermiller  esaleninstitute  newage  hassoplattner  johnhennessey  davidkelly  jimjones  empathy  ethnography  consulting  business  bullshit  marketing  snakeoil  criticism  criticalthinking  highereducation  highered  thomamoran  tedtalks  openideo  playpump  designimperialism  whitesaviors  post-its  transdisciplinary  multidisciplinary  crossdisciplinary  art  architecture  complexity  simplicity  methodology  process  emptiness  universities  colleges  philipmirowski  entrepreneurship  lawrencebusch  elizabethpoppberman  nathanielcomfort  margaretbrindle  peterstearns  christophermckenna  hucksterism  self-promotion  hype  georgeorwell  nathanrosenberg  davidmowery  stevenklepper  davidhounshell  patrickmccray  marianamazzucato  andréspicer  humanitariandesign  themaintainers  ma 
december 2017 by robertogreco
003: Craig Mod - I Want My Attention Back! • Hurry Slowly
"Did you know that the mere presence of a smartphone near you is slowly draining away your cognitive energy and attention? (Even if it’s tucked away in a desk drawer or a bag.) Like it or not, the persistent use of technology is changing the quality of our attention. And not in a good way.

In this episode, I talk with writer, designer and technologist Craig Mod — who’s done numerous experiments in reclaiming his attention — about how we can break out of this toxic cycle of smartphone and social media addiction and regain control of our powers of concentration.

Key takeaways from the interview:

• How Facebook and other social media apps are lulling us into “attention slavery”

• Why interrupting your workflow to post on social media — and sharing pithy thoughts or ideas — shuts down your creative process

• How short digital detox retreats and/or meditation sessions can “defrag your mind” so that you can deploy your attention more consciously and more powerfully

• Why mapping your ideas in large offline spaces — e.g. on a whiteboard or blackboard — gives you “permission” to get messy and evolve your thinking in a way that’s impossible on a screen

• How changing the quality of your attention can change your relationship to everything — art, conversations, creativity, and business"



"Favorite Quotes

“If there was a meter of 1 to 10 of how present you are or how much you can manipulate your own attention — how confident you are that you could, say, read a book for three hours without an interruption, without feeling pulled to something else. I would say the baseline pre-smartphone was a 4 or 3. Now, it’s a 1.”

“I think that a life in which you are never present, in which you have no control over your attention, in which you’re constantly being pulled in different directions, is kind of sad — because there is this incredible gift of consciousness. And when that consciousness is deployed smartly, it’s amazing the things that can be built out of it.”

Resources

Here’s a shortlist of things Craig and I talked about in the course of the conversation, including where you can go on a meditation retreat. You should be aware that vipassana retreats are offered free of charge, and are open to anyone.

Craig’s piece on attention from Backchannel magazine
https://www.wired.com/2017/01/how-i-got-my-attention-back/

Vipassana meditation retreat locations
https://www.dhamma.org/en-US/index

Craig’s article on post-100 hours of meditation
https://craigmod.com/roden/013/

Film director Krzysztof Kieslowski
http://www.indiewire.com/2013/03/the-essentials-krzysztof-kieslowski-100770/

Writer and technologist Kevin Kelly
http://kk.org/thetechnium/

The Large Hadron Collider at Cern
http://www.wired.co.uk/article/large-hadron-collider-explained "
attention  craigmod  zoominginandout  ideas  thinking  focus  meditation  technology  blackboards  messiness  presence  writing  relationships  conversation  art  creativity  digitaldetox  maps  mapping  brainstorming  socialmedia  internet  web  online  retreats  jocelynglei  howwethink  howewrite  concentration  interruption  kevinkelly  vipassana  krzysztofkieslowski  largehadroncollider  cern 
november 2017 by robertogreco
Impakt Festival 2017 - Performance: ANAB JAIN. HQ - YouTube
[Embedded here: http://impakt.nl/festival/reports/impakt-festival-2017/impakt-festival-2017-anab-jain/ ]

"'Everything is Beautiful and Nothing Hurts': @anab_jain's expansive keynote @impaktfestival weaves threads through death, transcience, uncertainty, growthism, technological determinism, precarity, imagination and truths. Thanks to @jonardern for masterful advise on 'modelling reality', and @tobias_revell and @ndkane for the invitation."
https://www.instagram.com/p/BbctTcRFlFI/ ]
anabjain  2017  superflux  death  aging  transience  time  temporary  abundance  scarcity  future  futurism  prototyping  speculativedesign  predictions  life  living  uncertainty  film  filmmaking  design  speculativefiction  experimentation  counternarratives  designfiction  futuremaking  climatechange  food  homegrowing  smarthomes  iot  internetofthings  capitalism  hope  futures  hopefulness  data  dataviz  datavisualization  visualization  williamplayfair  society  economics  wonder  williamstanleyjevons  explanation  statistics  wiiliambernstein  prosperity  growth  latecapitalism  propertyrights  jamescscott  objectivity  technocrats  democracy  probability  scale  measurement  observation  policy  ai  artificialintelligence  deeplearning  algorithms  technology  control  agency  bias  biases  neoliberalism  communism  present  past  worldview  change  ideas  reality  lucagatti  alextaylor  unknown  possibility  stability  annalowenhaupttsing  imagination  ursulaleguin  truth  storytelling  paradigmshifts  optimism  annegalloway  miyamotomusashi  annatsing 
november 2017 by robertogreco
Ibram Kendi, one of the nation’s leading scholars of racism, says education and love are not the answer
"“We have been taught that ignorance and hate lead to racist ideas, lead to racist policies,” Kendi said. “If the fundamental problem is ignorance and hate, then your solutions are going to be focused on education, and love and persuasion. But of course [Stamped from the Beginning] shows that the actual foundation of racism is not ignorance and hate, but self-interest, particularly economic and political and cultural.” Self-interest drives racist policies that benefit that self-interest. When the policies are challenged because they produce inequalities, racist ideas spring up to justify those policies. Hate flows freely from there.

The self-interest: The Portuguese had to justify their pioneering slave trade of African people before the pope.

The racist idea: Africans are barbarians. If we remove them from Africa and enslave them, they could be civilized.

“We can understand this very simply with slavery. I’m enslaving people because I want to make money. Abolitionists are resisting me, so I’m going to convince Americans that these people should be enslaved because they’re black, and then people will start believing those ideas: that these people are so barbaric, that they need to be enslaved, or that they are so childlike that they need to be enslaved.”

Kendi boils racist ideas down to an irreducible core: Any idea that suggests one racial group is superior or inferior to another group in any way is a racist idea, he says, and there are two types. Segregationist ideas contend racial groups are created unequal. Assimilationist ideas, as Kendi defines them, argue that both discrimination and problematic black people are to blame for inequalities.

Americans who don’t carry tiki torches react viscerally to segregationist ideas like those on display at the white nationalist rally in Charlottesville, Virginia, that left one young counter-protester dead. Assimilationist ideas are more subtle, seductive and coded.

“You can be someone who has no intention to be racist,” who believes in and fights for equality, “but because you’re conditioned in a world that is racist and a country that is structured in anti-black racism, you yourself can perpetuate those ideas,” says Kendi. No matter what color you are.

Anti-racist ideas hold that racial groups are equal. That the only thing inferior about black people is their opportunities. “The only thing wrong with black people is that we think there is something wrong with black people,” a line that Kendi uses like a mantra.

The Blue Lives Matter (the problem is violent black people) Black Lives Matter (the problem is the criminal justice system, poor training and police bias) and All Lives Matter (the problem is police and black people) arguments are extensions of the same, three-way debate (segregationist, anti-racist and assimilationist) that Americans have been having since the founding of the country.

“We’ve been taught American history as a steady march of racial progress,” but it’s always been a dual march of racial and racist progress, which we see from Charlottesville to “their Trump Tower,” Kendi says.

This is the jump-off Kendi uses to frame the most roiling issues of the day. But before he could build that frame, he first had to deal with his own racism."
racism  history  ideas  2017  ibramkendi  via:ablerism  assimilation  inequlity  blacklivesmatter  bluelivesmatter  alllivesmatter  self-interest  capitalism  politics  culture 
september 2017 by robertogreco
Letter: John Berger was generous with his knowledge | Film | The Guardian
"In 1972, while a student at the London Film School, I directed, with a team of other students, a film based on John Berger’s book A Fortunate Man, for the British Film Institute. Being young and inexperienced, I was extremely nervous about asking John if we could use his book as a basis for a film, knowing how publishers and agents guard their intellectual property. But with just one phone call to John everything was agreed. He maintained that the ideas contained within the book were, in his words, “open to all”.

That was typical of Berger, a generous and open-minded man who encouraged young people to make the most of their opportunities."
open  openness  johnberger  2017  generosity  jeffperks  mentorship  ideas 
january 2017 by robertogreco
Organismic Biophysics and Living Soft-Matter: Prakash Lab, Stanford University
"Historically, "Cabinets of Curiosity" were physical cabinets (or rooms) containing a collection of objects which could not be categorized (or understood methodologically) in any way. Since I primarily run a curiosity driven lab, I am fascinated with this Renaissance notion of collecting objects, ideas and problems that don't fit our current framework of thinking.

Mostly I will use this space to share my thoughts on science (akin of a blog), highlight mentorship advice for young scientists (like myself) and just share with a general audience why (and how) we do science.

Feel free to write me any comments you might have.

cheers, manu"
manuprakash  cabinetsofcuriosity  classideas  sfsh  collections  museums  curiosity  curiosities  ideas  moodboards 
november 2016 by robertogreco
anf — I have a million ideas. I’m boiling over with...
"I have a million ideas. I’m boiling over with them. I had to go for a walk to get away from them, but the problem with ideas is that the more you walk, the more you get. They breed in the brainpan."
— Lauren Groff, Fates and Furies, page 129
quotes  ideas  larengroff  brains  via:lukeneff 
december 2015 by robertogreco
lessons for students — Medium
"lesson 1: Everything is about curiosity …

lesson 2: The world is Hungry for Ideas …

Lesson 3: Questions are key. Questions lead to conversation, conversation leads to learning.

At the School for Poetic Computation we start the first day always with the same activity — sit quietly by yourself for 20–30 mins and write down every question you have about what we are studying. Then, in smaller groups (and then finally in a larger group) we organize and collate these questions, developing a taxonomy. In some ways this is a contrast to typical school term, where you are presented with a syllabus that kind of lays out the answers.

The reason we do this is that invariably questions lead to discussion and talking and we’re really of the mindset that education is basically structured conversation — that the key to learning is talking, and through talking, we can find better metaphors, better illustrations, better explanations to make harder things simple, or explain how a gets to z.

Lesson 4. Together we know more …

Lesson 5: Simple and honest things win …

Lesson 6: Artistic practice is research, take that obligation seriously.

You are a researcher.

I’ve made the argument for a long time that artistic practice is a form or research, the same way a car company might have an R&D department to think about cars of the future, artists are a kind of R&D department for humanity thinking about different possible futures. It’s important to take the job of research seriously: to study the history, to take notes about process, to publish, etc. In terms of history, I think it’s crucial to know your field, who came before you and to explore the work of the past. We have a tendency to work and think ahistorically (think about how often you hear about “what a revolutionary time we live in”) and it can present profound limitations to creative practice. Note taking is also crucial — I think the more you approach the creative process as a study vs some sort of magical moment of inspiration, the more fruitful your work will be. Finally, publishing is crucial. Scientists write papers, synthasize findings, etc — artists should do the same. In my case, I use open source as a mechanism, but there are plenty of mechanisms for publishing. I think it’s a crucial part of taking R&D seriously.

Lesson 7: Everything operates at a time scale you don’t know.

You are a farmer.

I’ve found (from over a decade working in media art) that things you do take time and work in timescales that you don’t understand. A project you start one year will come back years later, or an idea you have can only be realized at some later point in your life. I think it’s hard as a student to understand timescale. I try to use the metaphor of a farmer, since it feels to me that things you do one year might have impacts years later.

At eyeo festival two years ago I mentioned to the audience during a talk that at the beginning of every class I tell students, “I adopt you.” After the talk, someone came up to me and he said, “10 years ago, I was in a workshop you gave in Brazil where you said, ‘I adopt you’… I didn’t even recognize you here, but when you said that on stage I remembered that moment. Your workshop is why I started doing what I do now.” When I think about that workshop, all I can remember that it was in a hot and stuffy computer lab, I can’t remember anything from that day just that it was, but being face to face with my former student reminded me that the work you at one time can come back many years later. Plant seeds, tend soil, be a farmer.

Lesson 8: Take the time you need.

There’s a tendency in programming education to have these “learn x in y time” type books and approaches. “Learn C++ in 30 days”, “Learn HTML in 24 hours”, etc. It’s important to remind students to take the time they need.

As a side note: at SFPC we are fortunate to have Amit Pitaru as a co-founder and steering committee member, and Amit to me is one of the best advocates for this notion of taking time. I think of him almost as a kind of sherpa for education. check out his talk at eyeo 2013 (https://vimeo.com/69477201) where mid-way through he breaks into a spontaneous discussion of learning.

Lesson 9: Find your team.

One of the best things you can do as a student is find and surround yourself with people who are supportive, understanding and help you know your own value. I think that is a crucial part of success.

Lesson 10: The past gets made again

I found this amazing book from 1993 called the art of computer designing:

archive.org version of the book [https://archive.org/details/satoArtOfComputerDesigning ]

It’s a pretty amazing book because it’s very fresh even by today’s standards — there’s clever and fun ideas of using shapes and geometry:

but the best part of the book is the afterword, where the author thanks a bunch of people and also members of the Bauhaus. He writes:
I would also like to acknowledge my favorites, Russian Avant-garde, Futurism and Bauhaus, whose brilliant typefaces and designs have in many ways shaped my own mind. If the artists of these movements where alive now to work with computers, I am certain they would discover new artistic possabilities. The work of past ages accumulates, and is remade again.

I love this last sentence of the book,
“the work of past ages accumulates, and is remade again”

It’s a reminder (and license) that the job of every generation is to remake the past.
sfpc  schoolforpoeticcomputation  2015  zachlieberman  teaching  pedagogy  learning  education  curiosity  tcsnmy  lcproject  openstudioproject  time  scale  purpose  questions  questionasking  art  research  conversation  osamusato  andrewzolli  amitpitaru  mitchgoldstein  ideas  howweteach  howwelearn  schools  arteducation  inquiry  inquirybasedlearning  convesation  askingquestions  björk 
november 2015 by robertogreco
SF: Science Fiction, Speculative Fabulation, String Figures, So Far - Ada: A Journal of Gender, New Media, and Technology
"The British social anthropologist Marilyn Strathern, who wrote The Gender of the Gift based on her ethnographic work in highland Papua New Guinea (Mt. Hagen), taught me that “It matters what ideas we use to think other ideas (with)” (Reproducing the Future 10). Marilyn embodies for me the practice of feminist speculative fabulation in the scholarly mode. It matters what matters we use to think other matters with; it matters what stories we tell to tell other stories with; it matters what knots knot knots, what thoughts think thoughts, what ties tie ties. It matters what stories make worlds, what worlds make stories. Marilyn wrote about accepting the risk of relentless contingency; she thinks about anthropology as the knowledge practice that studies relations with relations, that puts relations at risk with other relations, from unexpected other worlds. In 1933 Alfred North Whitehead, the American mathematician and process philosopher who infuses my sense of worlding, wrote The Adventures of Ideas. SF is precisely full of such adventures. Isabelle Stengers, a chemist, scholar of Whitehead, and a seriously quirky Belgian feminist philosopher, gives me “speculative thinking” in spades. Isabelle insists we cannot denounce the world in the name of an ideal world. In the spirit of feminist communitarian anarchism and the idiom of Whitehead’s philosophy, she maintains that decisions must take place somehow in the presence of those who will bear their consequences.[2] In this same virtual sibling set, Marleen Barr morphed Heinlein’s speculative fiction into feminist fabulation for me. In relay and return, SF morphs in my writing and research into speculative fabulation and string figures. Relays, cat’s cradle, passing patterns back and forth, giving and receiving, patterning, holding the unasked-for pattern in one’s hands, response-ability, Octavia Butler’s Patternmaster series. My debts mount. Again and again, SF has given me the ideas, the stories, and the shapes with which I think ideas, shapes, and stories in feminist theory and science studies. There is no way I can name all of my debts to SF’s critters and worlds, human and not, and so I will record only a few and hope for a credit extension for years yet to come. I will enter these debts in a short ledger of my teaching and publishing. I start with Marge Piercy’s Woman on the Edge of Time, a typescript of my curriculum vitae that was part of a file for consideration for promotion in the History of Science Department at Johns Hopkins in 1979-80, and a bottle of chalky white out. I had written an essay review of Woman on the Edge of Time for the activist publication, Women, a Journal of Liberation and duly recorded this little publication on the CV. “The past is the contested zone”—the past that is our thick, not-yet-fixed, present, wherewhen what is yet-to-come is now at stake—is the meme that drew me into Piercy’s story, and I was proud of the review. A senior colleague in History of Science, a supporter of my promotion, came to me with a too-friendly smile and that betraying bottle of white-out, asking me to blot out this publication from the scholarly record, “for my own good.”[3] He also wanted me to expunge “Signs of Dominance,” a long, research-dense essay about the semiotics and sociograms developed in mid-20th-century primate field studies of monkeys and apes.[4] To my shame to this day, I obeyed; to my relief to this day, no one was fooled. Piercy’s temporalities and my growing sense of the SF-structure of primate field work made me write two essays for the brave, new, hyper-footnoted, University of Chicago feminist theory publication, Signs, and to title the essays in recognition of Piercy’s priority and patterned relay to me.[5] I could not forget—or disavow—Piercy’s research for Woman on the Edge of Time, which led her to psychiatrist José Delgado’s Rockland State Hospital experiments with remote-controlled telemetric implants, and my finding in my own archival research Delgado’s National Institutes of Mental Health-funded work applied to gibbon studies in the ape colony on Hall’s Island. The colonial and imperial roots & routes of SF are relentlessly real and inescapably fabulated. Later, living (non-optionally, in really real SF histories) with and as cyborgs, Piercy and I played cat’s cradle again, this time with my “Cyborg Manifesto” and then her He, She, and It. Cyborgs were never just about the interdigitations of humans and information machines; cyborgs were from the get-go the materialization of imploded (not hybridized) human beings-information machines-multispecies organisms. Cyborgs were always simultaneously relentlessly real and inescapably fabulated. Like all good SF, they redid what counts as—what is—real. The obligatory multispecies story-telling script was written in 1960 United States space research, when Manfred Clynes and Nathan Kline coined the word “cyborg” in an article about their implanted rats and the advantages of self-regulating human-machine systems in outer space."
speculativefiction  scifi  sciencefiction  donnaharaway  toread  speculativefabrication  isabellestrengers  alfrednorthwhitehead  knowledge  ideas  philosophy  anarchism  marilynstrathern  octaviabutler  manfredclynes  nathankline  cyborgs  joannaruss  samueldelany  evahayward  katieking  gregorybateson  historyofconsciousness  hiscon  herscam  jamestiptree  suzettehadenelgin  linguists  linguistics  johnvarley  fredjameson  suzymckeecharnass  ursulaleguin  worlding  cat'scradle  anthropology  ethnography  gwynethjones  heidegger  kant  multispecies  sheritepper  laurenoyaolamina  helenmerrick  margaretgrebowicz  dogs  animals  marleenbarr  marilynhacker  sarahlefanu  pamelasargent  viviansobchack  margaretatwood  vondamcintyre  ericrabkin  laurachernaik  sherrylvint  joshualebare  istvancsicsery-ronay  shulamithfirestone  judithmerril  franbartkowsky  2013 
october 2015 by robertogreco
6, 67: Side pass
"Q: Where do you find the time to write a newsletter?

A: I think of things that I was going to do, but which I don’t want to do as much as I want to do a newsletter, and then I don’t do those other things, and do the newsletter instead.

Q: You said once that you were pretty optimistic about the world’s future, despite your deep fear of climate change. Why?

A: Well, short version, because of what I think of as the genre of whig graphs. I strongly disagree with the hypercapitalist, only-humans-matter, business-as-usual agenda of most people I see deploying those graphs. (← Between that sentence and the coming sentence is where a longer version would have to do a lot of careful bridge-building. →) But I have much more trust in the futures of vaccinated, nourished, educated, relatively non-traumatized children who are close to the world’s biggest problems than I do in my own analyses. The risk in this stance is quietism. In any case, I think we’re in big trouble. My optimism isn’t a kind of satisfaction, only a kind of hope.



Q: How do I learn to write better?

A: Not sure. But maybe try stuff like: Write about things you care about. When you read something that surprises you, think about why, and how it could have been different. Good writing teaches you how to read it. As a reader, pay attention. As a writer, reward attention. Accept that you can’t make any one piece of writing avoid every valid criticism, communicate the whole truth, or please everyone you’d like to please. Notice peers whose writing is like yours and watch them learn. Find things you appreciate in writing that you (or common wisdom) don’t like. Ask someone who knows better than me.

Q: As you might expect from the fact that I subscribe to your newsletter, I think we share some tastes and interests.

A: What do you read and pay attention to? Dunno. I follow a lot of amazing people on Twitter. When I come across something especially interesting, I assume it’s part of a network of interesting things and try to map that out. (For example, if I particularly enjoy a book, I’ll do web searches for the people thanked in the acknowledgments.) Looking for gaps, ruthlessness about things that are supposed to be interesting but aren’t, etc. I don’t know! Really there’s nothing in particular that I would point to other than the entire internet."
charlieloyd  2015  reading  writing  howweread  howwewrite  process  learning  howwelearn  generalists  twitter  education  unschooling  attention  interestedness  interested  classideas  communication  ideas  hypercapitalism  future  hope  optimism  climatechange  humanism  newsletters  futures  quietism 
september 2015 by robertogreco
Notion – Document Reimagined
"Beautiful. Lightweight. Always organized. Notion is an expressive and collaborative document editor that gives your ideas a place to grow.

Drag. Drop. Work as fluidly as you think
Create from an assortment of building blocks: to-dos, files, videos, code snippets, and more. Notion helps you work the way you think.

A unique & effortless way to stay organized
Tired of messy folders? We invented a new and intuitive way to organize: just drop one page inside another. Let your ideas grow organically.

Real collaboration in real-time
Share your work with anyone. See what others are doing on your page. It’s like having your collaborators in the same room with you.

Powerful tools made with creators in mind
Notion builds upon power features used in your favorite design and writing tools. So you can create at the speed of thought.

Visually stunning layouts made easy
Arrange your page any way you like — your work will always look its best. We take care of design so you can focus on content.

An ever-growing collection of building blocks
All Notion content is made from Web Components
– the next generation open web standard."
documentation  ideas  writing  documents  software  collaborative  collaboration  wordprocessing 
september 2015 by robertogreco
I Could Do That | The Art Assignment | PBS Digital Studios - YouTube
"So you look at a work of art and think to yourself, I could have done that. And maybe you really could have, but the issue here is more complex than that -- why didn't you? Why did the artist? And why does it have an audience? We delve into it by looking at work by artists like Felix Gonzalez-Torres, Piet Mondrian, and Cy Twombly, among others. You might find it’s not quite as simple as you think."
art  video  felixgonzalez-torres  pietmondrian  cytwombly  2015  craft  via:ablerism  production  ideas  photography  reproduction  skill  research  deduction  craftsmanship  though  thinking  criticalthinking  thewhy 
september 2015 by robertogreco
Paris Review - The Art of Fiction No. 34, Jean Cocteau
"If the ideas come, one must hurry to set them down out of fear of forgetting them. They come once; once only. On the other hand, if I am obliged to do some little task—such as writing a preface or notice—the labor to give the appearance of easiness to the few lines is excruciating. I have no facility whatever. Yes, in one respect what you say is true. I had written a novel, then fallen silent. And the editors at the publishing house of Stock, seeing this, said, You have too great a fear of not writing a masterpiece. Write something, anything. Merely to begin. So I did—and wrote the first lines of Les Enfants Terribles. But that is only for beginnings—in fiction. I have never written unless deeply moved about something. The one exception is my play La Machine à Écrire. I had written the play Les Parents Terribles and it was very successful, and something was wanted to follow. La Machine à Écríre exists in several versions, which is very telling, and was an enormous amount of work. It is no good at all. Of course, it is one of the most popular of my works. If you make fifty designs and one or two please you least, these will nearly surely be the ones most liked. No doubt because they resemble something. People love to recognize, not venture. The former is so much more comfortable and self-flattering.

It seems to me nearly the whole of your work can be read as indirect spiritual autobiography. "
jeancocteau  resemblance  comfort  interviews  adventure  via:anne  1964  ideas  memory  forgetting  writing  howwewrite 
march 2015 by robertogreco
The End of Creativity — Medium
"People living in the twentieth century heard a lot of talk about “creativity.” People living in the twenty-first century will not. Creativity is not dead yet, but its end is in sight. Alfred North Whitehead invented the word in 1926."

75 years later, it was one in every 70,000 words published and had become the name of a popular hypothesis: that new things are created by “geniuses” who solve problems by deliberately not thinking about them — a step called “incubation” — until they receive answers in sudden, dramatic moments of “insight.” One of the most frequently cited examples is attributed to Mozart:
“When I am, as it were, completely myself, and of good cheer, my ideas flow best and most abundantly. My subject stands almost complete in my mind. When I write down my ideas everything is already finished; and it rarely differs from what was in my imagination.”

These words, which I have edited for length, first appeared in a letter to Germany’s General Music Journal in 1815, then in many other places, including Jacques Hadamard’s 1945 The Mathematician’s Mind; Creativity, edited by Philip Vernon in 1976; and Roger Penrose’s 1989 The Emperor’s New Mind. They remain popular: in 2015, they have already appeared in at least one book and one journal.

But Mozart did not write them, they do not describe how he composed, and we have known this since 1856, when Mozart biographer Otto Jahn showed that they were forged.

"Why do so many people writing about creativity keep citing them as if they were true? Because there is little else to cite. Psychologists have been trying to prove the creativity hypothesis for nearly a hundred years. Their results are, at best, mixed.

In the 1920s, Stanford’s Lewis Terman sought to prove the existence of the general, hereditary superiority called “genius” by testing 168,000 children and placing them on a scale “from idiocy on the one hand to genius on the other.” He identified 1,500 “geniuses,” then tracked their accomplishments for the rest of their lives. Some did creative work, like making movies, but many did not. And what of the “non-geniuses” Terman rejected? Two, William Shockley and Luis Alvarez, won Nobel Prizes. Terman’s results are typical: all other attempts to predict future accomplishments by measuring “genius” have also failed.

“Incubation,” or solving problems by not thinking about them, has been widely studied. Berkeley’s Robert Olton spent the 1970s looking for it. In one experiment, he asked 160 people to solve a brainteaser, giving some breaks, while making others work continuously. The breaks made no difference. Olton was forced to conclude that,
“No evidence of incubation was apparent,” and added, “No study reporting evidence of incubation has survived replication by an independent investigator.”

And “insight” — the fully formed solution in a flash? German Gestalt psychologist Karl Duncker was one of the first to study that. In his most famous experiment, he gave people a box of tacks and a book of matches, and asked them to fix a candle to a wall so that it could be used as a reading light. The solution is to tack the tack-box to the wall — to see it as a thing for holding the candle, not a thing for holding the tacks. The shift from “tack-box” to “candle-holder” is the supposed “insight.” By having people think aloud, Duncker showed that the solution came incrementally, not instantly: everyone who discovered it thought of making a platform out of tacks, then realized the tack-box would be a better platform.

These experiments, although a few of hundreds, are representative. There is probably no such thing as creativity. But Duncker’s work laid the foundation for an alternative hypothesis: that extraordinary solutions come from ordinary people doing ordinary thinking. Robert Weisberg, a psychologist at Temple University in Philadelphia, put it this way:
“Although the impact of creative ideas and products can sometimes be profound, the mechanisms through which an innovation comes about can be very ordinary.”




"This idea that extraordinary creations come from ordinary people and ordinary thinking has become more popular recently. Jon Gertner wrestled with the problem of “the great men versus the yeomen,” in The Idea Factory, his history of Bell Labs, and concluded that innovation needs both; Walter Isaacson found he had to tell the story of many lives, not one, to describe the invention of computing in his latest bestseller The Innovators; and Steven Johnson refutes the “non-explanation of genius” and argues that “innovation comes out of collaborative networks” in his new book and PBS television series, How We Got to Now.

It is an important change. We are rejecting the myths of “creativity” and developing a better understanding of how we create at a time when, because of the growing problems of our growing population, we need creation more than ever. We are not all equally creative, just as we are not all equally good at anything. But each of us is more like Mozart than not. We can all create, we can all contribute, and we all should."
via:anne  2015  creativity  incubation  ideas  ordinariness  kevinashton  jongertner  walterisaacson  stevenjohnson  innovation  robertburton  georgeherbert  diegodeestrella  johnofsalisbury  bernardofchartres  alberteinstein  ernstmach  carlfriedrichgauss  bernhardriemann  marcelgrossman  gregorioricci-curbastro  mozart  karldunker  ottojahn  alfrednorthwhitehead  lewisterman  genius  williamshockley  luisalvarez  psychology  robertolton  history  insight  ordinary 
march 2015 by robertogreco
The Humane Representation of Thought on Vimeo
"Closing keynote at the UIST and SPLASH conferences, October 2014.
Preface: http://worrydream.com/TheHumaneRepresentationOfThought/note.html

References to baby-steps towards some of the concepts mentioned:

Dynamic reality (physical responsiveness):
- The primary work here is Hiroshi Ishii's "Radical Atoms": http://tangible.media.mit.edu/project/inform/
- but also relevant are the "Soft Robotics" projects at Harvard: http://softroboticstoolkit.com
- and at Otherlab: http://youtube.com/watch?v=gyMowPAJwqo
- and some of the more avant-garde corners of material science and 3D printing

Dynamic conversations and presentations:
- Ken Perlin's "Chalktalk" changes daily; here's a recent demo: http://bit.ly/1x5eCOX

Context-sensitive reading material:
- http://worrydream.com/MagicInk/

"Explore-the-model" reading material:
- http://worrydream.com/ExplorableExplanations/
- http://worrydream.com/LadderOfAbstraction/
- http://ncase.me/polygons/
- http://redblobgames.com/pathfinding/a-star/introduction.html
- http://earthprimer.com/

Evidence-backed models:
- http://worrydream.com/TenBrighterIdeas/

Direct-manipulation dynamic authoring:
- http://worrydream.com/StopDrawingDeadFish/
- http://worrydream.com/DrawingDynamicVisualizationsTalk/
- http://tobyschachman.com/Shadershop/

Modes of understanding:
- Jerome Bruner: http://amazon.com/dp/0674897013
- Howard Gardner: http://amazon.com/dp/0465024335
- Kieran Egan: http://amazon.com/dp/0226190390

Embodied thinking:
- Edwin Hutchins: http://amazon.com/dp/0262581469
- Andy Clark: http://amazon.com/dp/0262531569
- George Lakoff: http://amazon.com/dp/0465037712
- JJ Gibson: http://amazon.com/dp/0898599598
- among others: http://en.wikipedia.org/wiki/Embodied_cognition

I don't know what this is all about:
- http://worrydream.com/ABriefRantOnTheFutureOfInteractionDesign/
- http://worrydream.com/ABriefRantOnTheFutureOfInteractionDesign/responses.html

---

Abstract:

New representations of thought — written language, mathematical notation, information graphics, etc — have been responsible for some of the most significant leaps in the progress of civilization, by expanding humanity’s collectively-thinkable territory.

But at debilitating cost. These representations, having been invented for static media such as paper, tap into a small subset of human capabilities and neglect the rest. Knowledge work means sitting at a desk, interpreting and manipulating symbols. The human body is reduced to an eye staring at tiny rectangles and fingers on a pen or keyboard.

Like any severely unbalanced way of living, this is crippling to mind and body. But it is also enormously wasteful of the vast human potential. Human beings naturally have many powerful modes of thinking and understanding.

Most are incompatible with static media. In a culture that has contorted itself around the limitations of marks on paper, these modes are undeveloped, unrecognized, or scorned.

We are now seeing the start of a dynamic medium. To a large extent, people today are using this medium merely to emulate and extend static representations from the era of paper, and to further constrain the ways in which the human body can interact with external representations of thought.

But the dynamic medium offers the opportunity to deliberately invent a humane and empowering form of knowledge work. We can design dynamic representations which draw on the entire range of human capabilities — all senses, all forms of movement, all forms of understanding — instead of straining a few and atrophying the rest.

This talk suggests how each of the human activities in which thought is externalized (conversing, presenting, reading, writing, etc) can be redesigned around such representations.

---

Art by David Hellman.
Bret Victor -- http://worrydream.com "

[Some notes from Boris Anthony:

"Those of you who know my "book hack", Bret talks about exactly what motivates my explorations starting at 20:45 in https://vimeo.com/115154289 "
https://twitter.com/Bopuc/status/574339495274876928

"From a different angle, btwn 20:00-29:00 Bret explains how "IoT" is totally changing everything
https://vimeo.com/115154289
@timoreilly @moia"
https://twitter.com/Bopuc/status/574341875836043265 ]
bretvictor  towatch  interactiondesign  davidhellman  hiroshiishii  softrobotics  robots  robotics  kenperlin  jeromebruner  howardgardner  kieranegan  edwinhutchins  andyclark  jjgibson  embodiedcognition  cognition  writing  math  mathematics  infographic  visualization  communication  graphics  graphicdesign  design  representation  humans  understanding  howwelearn  howwethink  media  digital  dynamism  movement  conversation  presentation  reading  howweread  howwewrite  chalktalk  otherlab  3dprinting  3d  materials  physical  tangibility  depth  learning  canon  ui  informationdesign  infographics  maps  mapping  data  thinking  thoughts  numbers  algebra  arithmetic  notation  williamplayfair  cartography  gestures  placevalue  periodictable  michaelfaraday  jamesclerkmaxell  ideas  print  printing  leibniz  humanism  humanerepresentation  icons  visual  aural  kinesthetic  spatial  tactile  symbols  iot  internetofthings  programming  computers  screens  computation  computing  coding  modeling  exploration  via:robertogreco  reasoning  rhetoric  gerrysussman  environments  scale  virtualization 
march 2015 by robertogreco
Rev Dan Catt: The Pen
"I've been asked about my pen (for reals) a couple of times, so I thought I'd write a blog post about it. It's a Tombow Zoom 707 Ballpoint Pen (amazon UK/US), it cost £28 and I bought it for myself as a Christmas present.

I keep two Field Notes notebooks in my pocket, at night I take them out and put them on the bedside table. My life is dense, not hectic, not crazy busy, just every moment is filled. We have three kids, we home educate, the start-up I'm involved in is blowing up, I try to swim, I try to run, I'm learning the bass, I try and put together a podcast that takes an age, sometimes I even try to write a blog post or two. In all of that there's hardly any time to do other stuff, although that doesn't stop me thinking about other stuff. That other stuff goes down in one of the two notebooks.

When I think of something I often can't get to a laptop or my phone in time, I tried, the thoughts don't stay in my head long enough to survive the gauntlet of children asking me things on the way upstairs. If you've watched the film Memento it's like that scene where he's looking around for a pen to write the thing down before he forgets it. I decided I needed notebooks and a pen with me at all times.

I think it's the most I've ever spent on a pen.

Before this I used the Field Notes pen that came with the notebooks. It's a good pen, feels nice to hold, flows well but the clip doesn't clip it in my pocket properly. I can't slide it into my jeans without having to put a fingernail round the back of the clip to make sure it clips properly. When I sit down the pen didn't stay in the same place.

It was all kinds of wrong.

The Zoom 707 slides into the pocket right next to the seam, and better still it stays there, after all I didn't want to lose a £28 pen. For the next few days I'd reach down and feel for the red ball on the clip, to know it was still there.

Now it's a reflex action, I'll brush my hand past the side seam of my jeans and feel if the pen's clip is still there. When I feel it I know I can't forget anything, life is speeding on but in that one moment I know I haven't left anything behind. If I need to remember something it's in the notebook, if it's in the notebook I don't need to remember it. I can clear my mind and move onto the next thing.

When I stop to take a moment, I can touch the red ball feel it against my fingertips and the memory of the last thing I wrote comes back to me. It's a shortcut to having to open the notebook and read it back.

It's a memory machine, a meditation device and an anchor."
worrybeads  fidgettools  anxiety  anti-anxietydevices  2015  pens  revdancatt  notetaking  memory  notes  notebooks  outboardboardmemory  ideas  kombolói  cv 
february 2015 by robertogreco
Sjón & Hari Kunzru — Work in Progress — Medium
[video: https://vimeo.com/72354976 ]
[Björk introduction: http://www.fsgworkinprogress.com/2013/08/bjork-introduces-sjon/
more: http://www.theparisreview.org/blog/2013/05/16/sjon-bjork-and-the-furry-trout/ ]

"Sjón: It writes me. I’m better sticking to being visual when I write. No, but for me, to go in that direction, I actually do think most literature is visual arts."



"Sjón: I think we were typical second-wave punks. I mean, obviously, the generation that started the punk movement in England, the first punk bands—The Clash and The Sex Pistols and the Buzzcocks and all these bands—these were all kids that were quite a bit older than we were. They were born around 1953, ’55, so they were all about the anger, and they were all about … I think Johnny Rotten said it came from the liver.

We came to it as teenagers, and it’s interesting that while you can clearly see similarities between punk and Dada, this absolute nihilism, and you can say that the punks were actually fulfilling one of Tristan Tzara’s battle cries where he said, “Musicians, break your instruments on the stage.”

Just as Surrealism followed Dada, something happened when you had seen all this raw anger leading to nothing but raw anger, maybe good old Surrealism became the good and right remedy to all that anger. Like Björk said, it really felt like it fit together, and we were really looking for the revolutionary, the rebellious aspect of Surrealism.

Hari: The idea that it’s sort of dreaming and an escape from reality can be rebellious and revolutionary?

Sjón: As a good Surrealist would say, an escape into reality through dreaming. Ah!

Hari: I was thinking about Jonas Palmason in From the Mouth of the Whale. He goes to Copenhagen, and it’s this huge city filled with more things and people than he’s ever seen before. He imagines that he’s in an ancient version of the city, and I was trying to square that kind of dreaming with this revolutionary dreaming. Are they the same thing? Are they different things? Is the visionary Sjón also an escapist dreamer?

Sjón: One of the first things I learned from Surrealism is that it’s not fantasy, that Surrealism makes a very clear distinction between fantasy and the marvelous. You’re always looking for the marvelous in reality, and that’s where poetry happens. It happens when you hit upon these incredible moments in your reality. In Reykjavik, we had a city of rather small size to go walking around, but this idea of walking around, getting into the spirit, surreal spirit, and awaiting the poetic to manifest in a marvelous way in your reality—that’s very much what I’m looking for."



"Sjón: No. [Pause.] I’m really interested in how people become obsessed with ideas and how they become obsessed with certain cosmologies, and how the obsessed mind starts finding proofs of its truths. How it looks for the manifestation of these truths all around it in reality. This happens all the time—that things start to manifest if you’ve got them on your brain. They start manifesting all around you.

Hari: That’s there in all your fiction, this sense that a certain kind of attention is repaid by this. You start seeing the visionary aspect of the world.

Hari: You’re fond of mythic explanations for things that maybe other people wouldn’t use that for. I saw an interview where you started riffing on the idea that maybe 9-11 was something to do with the power of the great god Pan.

Sjón: I am actually absolutely sure that the great god Pan slipped through some sort of a gateway into our world, on that day.

We’ve been living in panic ever since. Actually, when we were in Athens for Björk’s performance of our song at the Olympics in 2004, I had direct experience of one of the gods there: One day, I was in a group that went down to the peninsula south of Athens, and there is a great Poseidon temple sitting there on a rock. As we came closer to the temple, we saw better and better what a sad state it was in. Obviously, this used to be the place of great sacrifices, 500 bulls sacrificed and burned in one day and all that, and the crowds coming to bow in front of the image of Poseidon.

I thought as we got closer, “Oh, look at you, great Poseidon. Look at the sad state you’re in.” This is how the Icelandic poet’s mind works. That’s how we think when we’re traveling.

We came to the temple and started walking around and looking at these sad ruins, but then I walked to the edge of the cliff. Who was there, who hadn’t moved and left his temple, but Poseidon? The whole ocean stretched out from the cliffs. Poseidon was still there, even though man had stopped sacrificing to Poseidon, Poseidon was still there. Then, Poseidon, of course, feeling a little bit annoyed that people were forgetting him, he moved just a little finger, his little finger a tiny bit, and we had the tsunami in Indonesia.

The myths are really about man confronting the fact that nature is always bigger and stronger.

Hari: It seems that in Iceland, there’s this particular kind of negotiation with nature that has to go on, because it’s a very unstable place, geologically if in no other way. I always think of the island of Surtsey coming out of the sea in the 1960s, and suddenly, you’ve got a new southernmost tip of Iceland that’s been generated by an undersea volcano. Is this sense that things are capable of shifting and that even the ground under your feet could potentially change, do you think this has any link to Iceland’s notorious belief in hidden folk and that sense that the landscape is actually populated with forces that are beyond our immediate understanding?

Sjón: Yes, I think we experience nature as a living thing, and a part of it is to go to the extremes of actually believing that nature has a character, or if not character, that it can manifest itself in different forms. We have folk stories about the hidden people, Huldufólk, who live in rocks and fields and cliffs, and they look exactly like us except they’ve only got one nostril. Apart from having only one nostril, they always lead a much richer and better life than those of us who have to survive above ground. They’re having musical parties all the time. They dress in silk, and whenever an Icelander gives a person from that nation a helping hand, he is rewarded with a cloth of silver or a goblet of gold. We know that the earth is rich, and we know that it’s more powerful than here, so I think when you live in a place that is obviously alive, you tend to populate it with different creatures.

For example, Katla, is this great volcano that possibly will explode fairly soon, and Katla is a woman’s name. It’s the name of a giantess. It’s more than likely that it will wipe out all the habitat that is sitting there on the beach. Man’s existence is—

Hari: Precarious."



"Sjón: I’m interested in the language of faith, and I’m interested in the literature of faith. In Iceland, like in so many Lutheran countries, the translation of the New Testament into the local language was a big moment. The church defined charity and love and all these terms.

I’ve always been interested in religious texts, not only because of the language but because I see religions as cosmologies, and I’m interested in cosmologies, and I’m interested in obsessed people and where to look for obsessed people. The best place is in religion. I think I’ve really taken advantage of the language of religion just in the same way that I’ve taken advantage of the language of myths and the world of myths.

For me, these are all attempts at explaining the same thing, which is to try to answer the question, “Is it possible that in the beginning there was nothing, and now we’re here sitting on these two nice chairs here in this Scandinavia House?”

We know that our cosmology will become obsolete, and it’s really amazing that the biggest given fact of our time is that cosmology, which is the hard science, is so unstable. I love it.

Hari: You take a real aesthetic pleasure in cosmologies, don’t you? What’s the joy of a big system, a big complicated system with lots of moving, whizzing, parts?

Sjón: My joy is the joy of the Trickster. It’s the joy of Loki. It’s the joy of the Coyote, because I know it’s an unstable system, and it will be overthrown, no matter how majestic it is. With the right little tricks, you will have an apocalypse. You will have the twilight of the gods. The gods will fight the last battle, and there will be a new world that rises up from it, and the Trickster can start thinking of new dirty tricks to topple that system."



"Audience Question: You were talking about how you enjoy cosmology and I wondered how you reconcile that with science and with your own art.

Sjón: Well of course it’s the scientists who are destroying each others’ cosmologies all the time. It’s very interesting that most people today live with a cosmology that absolutely ignores the theory of relativity, for example. Most people live as if the theory of relativity never happened because nobody understands it really.

It’s amazing how unaffected we are by these wonderful amazing things. We just continue. That’s one of the ways of overturning cosmologies: just keep brushing your teeth no matter how they say the universe was made."
sjón  iceland  harikunzru  2013  interviews  literature  poetry  davidbowie  surrealism  writing  escapism  punk  reality  björk  fantasy  fiction  nature  myth  mythology  trickster  greekmyths  obsessions  ideas  cosmologies  perspective  science  learning  unlearning  relearning  collaboration  translation  howwewrite  language  icelandic  loki  faith  belief  anthropology  hunting  geology  animals  folklore  folktales  precarity  life  living  myths 
december 2014 by robertogreco
Sampson Starkweather Strips it Down to Just Chapbooks | HTMLGIANT
"Hey Sampson, what’s the deal with chapbooks?

Funny, that’s how I start all my stand-up comedy gigs. It kills of course. So I wanted to start with a quote from James Haug’s Why I Like Chapbooks (Factory Hollow, 2011), who waxes lyrical “Chapbooks are stealth books./ They can slip under a door./ They don’t impose. They suggest./ They’re not one thing or another. They don’t take much time. They’re sly and easy to ignore. They imply, insinuate, inquire./ They don’t expect an answer./ They have a long history; they have no history.”

Chapbooks are the currency of underground poetry publishing, and tied to a sense of community and gift-ish economy, mostly run by poets who want to give something back and create a home for the work they believe in. Chapbooks are the new of the new, in the world of poetry most poets’ first publications come through chapbooks, so if you want to know the future (of poetry), read chapbooks. Chapbooks tend to be exciting and tied to a counter-culture because they provide a space for more experimental, esoteric or avant-garde work to be published that contests and university presses or bigger presses who may be more concerned with money wouldn’t take the risk on or didn’t think would sell…Chapbooks are like the opposite of money. Which is so money!

Chapbooks also have such a materiality and visceral physical life, because they are mostly handmade and handbound and come in all shapes, sizes (from Small Fires matchbooks to The Pines LP records) and textures imaginable (god I love texture!), made from old military uniforms, childhood blankets, prison cups, cardboard, vinyl, rubber, bolts, matchbooks, you name it. It is this handmade element and imagination and of course each chapbook’s limited nature that gives them such value, and ties them to history and an archival existence. Chapbooks are a link to the human that I think is more important than ever right now in the face of ever increasing digital media and publishing, Chapbooks are like Sarah Connor and her son (John Connor) facing the Terminators in Terminator 2: the hope of all mankind and the future of the human race lie in their hands. Also, they are perfect to read on the subway!"

[Via:
https://twitter.com/annegalloway/status/538120884657995776
https://twitter.com/annegalloway/status/538121092934557696
https://twitter.com/annegalloway/status/538121130263855104

See also: "I wish academics would release chapbooks of solo essays & half-baked ideas, the way musicians release EPs, demos, B-Sides, alt-takes, etc."
https://twitter.com/ezbrooks/status/531901193199837185 ]
chapbooks  sampsonstarkweathher  academia  zines  ideas  projectideas  classideas  b-sides  eps  texture  handmade  publishing  diy  lcproject  openstudioproject  jameshaug  inquiry  stealth 
december 2014 by robertogreco
Why Experts Reject Creativity - The Atlantic
"The physicist Max Planck put it best: "Science advances one funeral at a time.”

One place to watch the funeral march of science is America's peer-review process for academic research, which allocates $40 billion each year to new ideas in medicine, engineering, and technology. Every year, the National Institutes of Health and the National Science Foundation review nearly 100,000 applications for funding. The vast majority—up to 90 percent in some years—are rejected. For many breakthrough ideas, this selection process is the difference between life and death, financial backing and financial bankruptcy.

What sort of proposals do NIH evaluators approve? It’s a critical question for scientists. And the answer is nobody knows. Submissions receive such widely varying treatment that the relationship between evaluators' decisions is “perilously close to rates found for Rorschach inkblot tests,” according to a 2012 review.

A new ingenious paper raises a dangerous question: Are expert evaluators subtly biased against new ideas?

Researchers Kevin J. Boudreau, Eva Guinan, Karim R. Lakhani, and Christoph Riedl recruited 142 world-class researchers from a leading medical school and randomly assigned them to evaluate several proposals. Sometimes, faculty were experts in the subject of the submissions they read. Often, they were experts in other fields. But in all cases, the experiment was triple-blind: Evaluators did not know submitters, submitters did not know evaluators, and evaluators did not talk to each other.

The researchers found that new ideas—those that remixed information in surprising ways—got worse scores from everyone, but they were particularly punished by experts. "Everyone dislikes novelty,” Lakhami explained to me, but “experts tend to be over-critical of proposals in their own domain." Knowledge doesn’t just turn us into critical thinkers. It maybe turns us into over-critical thinkers. (In the real world, everybody has encountered a variety of this: A real or self-proclaimed expert who's impatient with new ideas, because they challenge his ego, piercing the armor of his expertise.)

Experts might be particularly biased against new ideas*, but most people aren't too fond of creativity either. In fact, they can be downright hostile.

A 1999 study found that teachers who claim to enjoy creative children don't actually enjoy any of the characteristics associated with creativity, such as non-conformity. A famous 2010 study from the University of Pennsylvania showed that ordinary people often dismiss new ideas, because their uncertainty makes us think, and thinking too hard makes us feel uncomfortable. "People often reject creative ideas even when espousing creativity as a desired goal," the researchers wrote. People are subtly prejudiced against novelty, even when they claim to be open to new ways of thinking.

* * *

How should creative people fight this widespread prejudice against creativity? Perhaps by disguising their new ideas as old ideas. If people are attracted to the familiar, it’s crucial for creative people to frame their ideas in ways that seem recognizable, predictable, and safe.

We're not prejudiced against all creativity, Karim Lakhani told me. In fact, his team studying academic submissions found that slightly novel medical proposals got the highest ratings. The graph below shows evaluation scores on the Y-axis plotted against the measured novelty of each submission. The overall trajectory is downward. Newer ideas generally got worse ratings. But you'll notice that something important is happening at the left end of the curve ...

[image]

... the line goes up. Indeed, that small bump at the beginning suggests there is an "optimal newness" for ideas that lives somewhere between the fresh and the familiar, Lakhami said.

In Hollywood, the "high-concept pitch" offers a useful example. Film producers, like NIH scientists, have to evaluate hundreds of ideas a year, but can only accept a tiny percentage. To grab their attention, writers often frame original ideas as a fresh combination of existing ideas. "It’s Groundhog Day meets War of the Worlds!” Or “It’s Transformers on the ocean!" In Silicon Valley, where venture capitalists also shift through a surfeit of proposals, the culture of the high-concept pitch is vibrant (Airbnb was once eBay for homes; Uber, Lyft, and Zipcar were all once considered Airbnb for cars; now, people want Uber for everything).

Creative people often bristle at the suggestion that they have to stoop to marketing their ideas. It's more pleasant to think that one's brilliance is self-evident and doesn't require the gloss of sales or the theater of marketing. But whether you're an academic, screenwriter, or entrepreneur, the difference between a brilliant new idea with bad marketing a mediocre idea with excellent marketing can be the difference between success and bankruptcy.

American culture worships creativity, but mostly in the abstract. Most people really don't like new ideas that sound entirely new, particularly the experts that often have to approve them. The trick is learning to frame new ideas as old ideas—to make your creativity seem, well, not quite so creative."
creativity  expertise  experts  framing  communication  novelty  2014  bias  innovation  derekthompson  newideas  ideas  acadmemia  science  research  marketing 
october 2014 by robertogreco
Poly-Technic
[via: https://twitter.com/KatePahl/status/518992037740568576 ]

"The Poly-Technic is the collaborative arts practice of Steve Pool and Kate Genever. It is grown from a set of key principles, is not buildings based, geographically specific or funding reliant. It aims to provide a melting pot for ideas, exploring how knowledge is found in places and people as well as books and the internet. The ambition is to bring people together to think around the intersection between art, places, research and in doing so build what we call a “Generative Space”.

Our Manifesto includes ideas such as: Conflict can be generative, Stuff comes from stuff, Abandon what you think you know and It starts when it starts and finishes when it finishes. The Poly-Technic is an idea which can change shape while maintaining it’s form and works across disciplines with the aim of developing and promoting the idea of Wider World Artists [WWA]. We offer a mentoring service and have to date offered opportunities such as bursaries, a summer school, residencies and a commissions scheme."

[See also: http://kategenever-stevepool.blogspot.co.uk/
http://poly-technic.co.uk/news/
http://poly-technic.co.uk/publications/ ]

["How to learn from people"
https://www.youtube.com/watch?v=t-R_S83EY84 ]

[Manifesto
http://poly-technic.co.uk/manifesto-2/ ]

"Abandon what you think you know: It’s not easy to gradually let go of well developed expertise, at the Poly-Technic we suggest that it’s best to abandon it all in one go. Disciplinary boundaries can only be collapsed when we stop holding onto disciplinary knowledge.

It starts when it starts and finishes when it finishes: We are not afraid to part with or transform ideas into something new. Polytechnic projects are always “In-Process”.

Trust in the process: Trust yourself and trust in others, trust you will be surprised, trust you will be interested, trust in the future. Trust and belief depend on optimism; without which we are lost.

Meaning is negotiated: The author died in 1967, his children carry on trying to make sense of just about everything.

Conflict can be generative: Work hard to learn the difference between good conflict and bad conflict. But like cholesterol its difficult to know the difference between the good and the bad until it’s too late.

Stuff comes from stuff: trying, helping, working, making, talking – new ideas come from doing.

Make through thinking: the opposite of ‘stuff comes from stuff’, but its still active, its rigorous thinking

Be playful – improvise: Play games, play serious games – Nabeel Hamdi

Craft your practice: We could have said follow your line. The line is not to be broken, it is not marked on a short or long term strategic plan it flows from your feet and hands and entwines us with the world.

Feel your way: The artist’s business is to feel, although he may think a little sometimes… when he has nothing better to do. (John Ruskin)

Question everything: through deep reflection.

It is ambition enough to be employed as an under labourer in clearing ground a little, and removing some rubbish that lies in the way of knowledge. [John Locke. An Essay Concerning Human Understanding. 1689.] As such we hope to beat a path through the nettles to a light dappled clearing in the woods and have a nice cup of tea.

Kate Genever and Steve Pool. 2012"
poly-technic  art  stevepool  kategenever  glvo  rolisoen  learning  howwelearn  trickster  knowledge  conflict  manifestos  play  unknowing  notknowing  interdisciplinary  antdisciplinary  transdisciplinary  cv  lcproject  openstudioproject  process  meaning  making  howwework  thinking  ideas  practice  johnruskin  feeling  reflection  questioning  questionasking  skepticism  ambition  johnlocke  optimism  askingquestions 
october 2014 by robertogreco
Kenneth Goldsmith - Talks | Frieze Projects NY
[Direct link to .mp3: http://friezeprojectsny.org/uploads/files/talks/Kenneth_Goldsmith.mp3 ]

"‘I Look to Theory Only When I Realize That Somebody Has Dedicated Their Entire Life to a Question I Have Only Fleetingly Considered’

A keynote lecture by the poet Kenneth Goldsmith, whose writing has been described as ‘some of the most exhaustive and beautiful collage work yet produced in poetry’ (Publishers Weekly). Goldsmith is the author of eleven books of poetry and founding editor of the online archive UbuWeb. In 2013, he was named as the inaugural Poet Laureate of MoMA."
kennethgoldsmith  copying  uncreativewriting  mercecunningham  writing  internet  web  online  remixing  culture  art  poetry  originality  appropriation  quantity  quality  curiosity  harrypotter  poetics  digital  reproduction  translation  displacement  disjunction  corydoctorow  change  howwewrite  pointing  data  metadata  choice  authorship  versioning  misfiling  language  difference  meaning  ethics  morality  literature  twitter  artworld  marshallmcluhan  christianbök  plagiarism  charleseames  rules  notknowing  archiving  improvisation  text  bricolage  assemblage  cv  painting  technology  photography  readerships  thinkerships  thoughtobjects  reassembly  ubuweb  freeculture  moma  outreach  communityoutreach  nyc  copyright  ip  intellectualproperty  ideas  information  sfpc  vitoacconci  audience  accessibility  situationist  museums  markets  criticism  artcriticism  economics  money  browsers  citation  sampling  jonathanfranzen  internetasliterature  getrudestein  internetasfavoritebook  namjunepaik  johncage  misbehaving  andywarhol  bobdylan  barbarakruger  jkrowling  china  creati 
august 2014 by robertogreco
The Virtues of Promiscuity — CODE | WORDS: Technology and Theory in the Museum — Medium
"Museums would do well to learn a thing or two from Jansen, and focus more on the creating and spreading the “digital DNA” of our shared cultural heritage and less on controlling access to those assets. This is a call to be both more promiscuous and more discriminating in what we share and how. I know that sounds contradictory, but bear with me.

Museums’ current survival strategy is not unlike those of creatures that have evolved on remote islands. We have gotten very good at passing on one model of “museum” from generation to generation. We may have developed elaborate plumage and interesting displays, but these mask the underlying sameness of the idea we pass on. As long as the larger ecosystem evolved slowly, museums could adapt and keep pace. The global internet has shattered that isolation for good, and in the new ecosystem our current reproductive specialization will not continue to serve us well. Insularity — the tendency to look inward, ignore the larger world and produce institutions that are increasingly self-referential, self-pleasing, and obscure to the billions of potential museumgoers — is a strategy for extinction.

For Jansen, encouraging others to build on his idea of Strandbeests is a reproductive and evolutionary strategy. His best hope for the survival of his creations beyond his lifetime is to let them loose for others to tinker with. Survival (and further evolution) lies in spread. Cynthia Coburn gave a fascinating talk at the MacArthur Foundation’s Digital Media and Learning conference in 2014 on scale and spread. If you’re at all interested in dissemination of ideas, it’s worth reading. One thing that struck me from her talk and the paper from which it was distilled are that we tend to be imprecise about what we mean when we talk about “doing more!” Unpacking that, Coburn finds that there are “fundamentally different ways of conceptualizing the goals or outcomes of scale. We identify four: adoption, replication, adaptation, and reinvention.” For this essay, I’m most interested in the fourth outcome. This way of thinking about spread Coburn describes as, “the result of a process whereby local actors use ideas, practices, or tools as a jumping-off point for innovation.”"



"Promiscuity connects museums to maker communities. Community interaction and knowledge sharing are often mediated through networked technologies, with websites and social media tools forming the basis of knowledge repositories and a central channel for information sharing and exchange of ideas, and focused through social meetings in shared spaces such as hackspaces.

This latest eruption of interest in self-guided learning and doing has a long, distinguished lineage. Computer hobbyists, ham radio enthusiasts, and even the model railroad enthusiasts at the Tech Model Railroad Club at MIT, who gave us the modern meaning of “hacking” could claim to be “makers.” They were all communities of interest who came together to explore their passions and help each other out. The difference this time is the spread that the Internet makes possible. The 2012 Bay Area Maker Faire drew a crowd of 120,000 attendees over a weekend. “Making” with a capital M is now a firmly established subculture, and part of a growing economic sector.

Promiscuity allows museums to be participatory culture advocates. Henry Jenkins may have coined the term “participatory culture” in 2005, but the idea of a world where individuals are producers of culture, instead of just passive consumers, has been around a long time. I’ve got a dog-eared paper that I’ve toted around for years with a quote from the psychologist Mihaly Csikszentmihályi which reads, “Creating culture is always more rewarding than consuming it.” As someone who’s worked the cultural/creative sector my whole life, I know the truth of this statement. What might the world look like if we not only preserved and exhibited examples of human creative expression but also more actively encouraged that creative impulse in everyone we serve?

This kind of digital promiscuity also nicely aligns museums with the Open Culture movement. “Open” is already on track to supplant “participatory” as buzzword of the year, with good reason. The proliferation of groups supporting and encouraging openness in the cultural/creative sector is impressive. Wikimedia, Creative Commons, the Open Knowledge Foundation, free software advocates, open-source software advocates: the list gets longer all the time."



"The promiscuous spread of digital assets is a key factor in delivering on museums’ missions to educate, inform, stimulate, and enrich the lives of the people of the planet we live on. Merete Sanderhoff, in the excellent Sharing is Caring lays it out clearly,"
“Digital resources should be set free to form commons — a cultural quarry where users across the world can seek out and find building blaocks for their own personal learning.”

The more we sow these seeds of culture and the more effective we are at seeing those seeds take root, the more likely museums are to see cultural ideas persevere in the constantly-changing world.

"Promiscuity is one way to demolish the perception of exclusivity that has dogged museums for longer than I’ve been around. I realize that this virtue is by far the most painful, because it would force us as memory institutions to lay bare lots of things of things we’d rather not have to deal with: legacies of imperialism and colonialism, tensions between indigenous peoples and more recent arrivals. The history of the relations between Native Americans and museums is not the most cordial, at least in part because the perception that some museums are probably hiding things they don’t want tribes to know about is almost impossible to counter. Promiscuity offers a way to end that particular debate.

The “global village” the Internet has created is real, and now it is possible for a museum of any size to have global reach, provided they have anything to share. As Michael Edson pointed out in his introduction to Sharing is Caring, 34% of humanity is now reachable online. That’s 2.4 billion people who might be interested in your content.

One of the most interesting and infuriating changes in attitude that the Web has wrought is the expectation of finding everything. Not being visible online now is the equivalent of not existing."



"Creating digital analogues of our existing museums is a straitjacket that will not serve us well going forward. Making a virtual museum (in addition to sounding hopelessly 90s), regardless of the technology underlying it, fails to take into account the reality of how people consume digital content. They don’t go to museum websites. Jon Voss of HistoryPin made the statement that you have to meet people where they are, not where you wish they were. Museum websites, the traditional place for museums’ online presence, are not those places, so plowing resources into making bigger, swankier ones is a waste of resources that might be deployed in ways that actually reach a global audience."



"Merete Sanderhoff lists three problems this inability to be promiscuous creates:

1. By putting up impediments museums are pushing users away from authoritative sources of information.

2. We are missing out on the the opportunity to become hubs for people. The social gravity that museums could generate is largely unrealized.

3. By not using these new tools that are at our disposal, museums undermine their own raisons d’être."
museums  ideas  theojansen  2014  edrodley  open  openness  openculture  culturecreation  promiscuity  henryjenkins  mihalycsikszentmihalyi  darkmatter  rijksmuseum  cooper-hewitt  measurement  sebchan  kovensmith  michaeledson  visibility  exclusivity  sharing  maretesanderhoff  participatory 
july 2014 by robertogreco
Notes from my FooCamp 2014 session: “All of this has happened before and will happen again” | Magical Nihilism
"The session I staged at FooCamp this year was deliberately meant to be a fun, none-too-taxing diversion at the end of two brain-baking days.

It was based on (not only a quote from BSG) but something that Matt Biddulph had said to me a while back – possibly when we were doing some work together at BERG, but it might have been as far-back as our Dopplr days.

He said (something like) that a lot of the machine learning techniques he was deploying on a project were based on 1970s Computer Science theory, but now the horsepower required to run them was cheap and accessible in the form of cloud computing service.

This stuck with me, so for the Foo session I hoped I could aggregate a list people’s favourite theory work from the 20thC which now might be possible to turn into practice.

It didn’t quite turn out that way, as Tom Coates pointed out in the session – about halfway through, it morphed into a list of the “prior art” in both fiction and academic theory that you could identify as pre-cursors to current technological preoccupation or practice.

Nether the less it was a very fun way to spend an sunny sunday hour in a tent with a flip chart and some very smart folks. Thanks very much as always to O’Reilly for inviting me.

Below is my photo of the final flip charts full of everything from Xanadu to zeppelins…"

[See also: https://medium.com/product-club/interacting-with-a-world-of-connected-objects-875b4a099099 ]
mattjones  design  futurism  2014  foocamp  retrofuturism  excavatingthepast  tomcoates  mattbiddulph  recyclingideas  ideas  theory  thetimeisright  timing  readiness  zeppelins  dirigibles 
june 2014 by robertogreco
Links 2013 ["Bret Victor: It’s the end of 2013, and here’s what Bret fell in love with this year"]
"What is the difference between scientific and non-scientific thinking? Thinking within a consistent theory versus thinking haphazardly?

I'm crucially interested in the problem of representing theory such that intuitions are fruitful and theoretically sound, and representations suggest analogies that stay true to the theory. That's not diSessa's problem, but I feel that his viewpoint has some powerful clues."



"Hofstadter says that all thinking runs on analogy-making. Sounds good to me! If he's even partially correct, then it seems to me that a medium for powerful thinking needs to be a medium for seeing powerful analogies. And a medium for powerful communication needs to be designed around inducing the dance he's talking about up there."



Kieran Egan: "Thinking about education during this century has almost entirely involved just three ideas—socialization, Plato's academic idea, and Rousseau's developmental idea. We may see why education is so difficult and contentious if we examine these three ideas and the ways they interact in educational thinking today. The combination of these ideas governs what we do in schools, and what we do to children in the name of education.

Our problems, I will further argue, are due to these three ideas each being fatally flawed and being also incompatible with one other."

Bret Victor: "If you're going to design a system for education, it might help to understand the purpose of education in the first place. Egan points out how modern education is implicitly driven by a cargo-culty mish-mash of three lofty but mutually-incompatible goals. Good luck with that!"



"The cultural importance of the printing press doesn't have much to do with the technology -- the ink and metal type -- but rather how print acted as a medium to amplify human thought in particular ways.

Print was directly responsible for the emergence of a literate and educated society, which (for example) made possible the idea of societal self-governance. The US Constitution could only exist in a literate print culture, where (for example) the Federalist papers and Anti-Federalist papers could be debated in the newspapers.

As you read and watch Alan Kay, try not to think about computational technology, but about a society that is fluent in thinking and debating in the dimensions opened up by the computational medium.
Don't think about “coding” (that's ink and metal type, already obsolete), and don't think about “software developers” (medieval scribes only make sense in an illiterate society).

Think about modeling phenomena, modeling situations, simulating models, gaining a common-sense intuition for nonlinear dynamic processes. Then think about a society in which every educated person does these things, in the computational medium, as easily and naturally as we today read and write complex logical arguments in the written medium.

Reading used to be reserved for the clergy, to hand down unquestionable Revealed Truths to the masses. Today, it's just what everyone does. Think about a society in which science is not reserved for the clergy, to hand down unquestionable Revealed Truths to the masses, but is just what everyone does."



[Reading tips from Bret Victor:]

"Reading Tip #1

It’s tempting to judge what you read: "I agree with these statements, and I disagree with those."

However, a great thinker who has spent decades on an unusual line of thought cannot induce their context into your head in a few pages. It’s almost certainly the case that you don’t fully understand their statements.

Instead, you can say: "I have now learned that there exists a worldview in which all of these statements are consistent."

And if it feels worthwhile, you can make a genuine effort to understand that entire worldview. You don't have to adopt it. Just make it available to yourself, so you can make connections to it when it's needed.

Reading Tip #2

Carver Mead describes a physical theory in which atoms exchange energy by resonating with each other. Before the energy transaction can happen, the two atoms must be phase-matched, oscillating in almost perfect synchrony with each other.

I sometimes think about resonant transactions as a metaphor for getting something out of a piece of writing. Before the material can resonate, before energy can be exchanged between the author and reader, the reader must already have available a mode of vibration at the author's frequency. (This doesn't mean that the reader is already thinking the author's thought; it means the reader is capable of thinking it.)

People often describe written communication in terms of transmission (the author explained the concept well, or poorly) and/or absorption (the reader does or doesn't have the background or skill to understand the concept). But I think of it more like a transaction -- the author and the reader must be matched with each other. The author and reader must share a close-enough worldview, viewpoint, vocabulary, set of mental models, sense of aesthetics, and set of goals. For any particular concept in the material, if not enough of these are sufficiently matched, no resonance will occur and no energy will be exchanged.

Perhaps, as a reader, one way to get more out of more material is to collect and cultivate a diverse set of resonators, to increase the probability of a phase-match.

Reading Tip #3

Misunderstandings can arise when an author is thinking in a broader context than the reader. A reader might be thinking tactically: :How can I do a better job today?" while the author is thinking strategically: "How can we make a better tomorrow?"

The misunderstanding becomes especially acute when real progress requires abandoning today's world and starting over.

We are ants crawling on a tree branch. Most ants are happy to be on the branch, and happy to be moving forward.

[image]

But there are a few special ants that, somehow, are able to see a bigger picture. And they can see that this branch is a dead end.

[image]

They can see that if we really want to move forward, we'll have to backtrack a long ways down.

They usually have a hard time explaining this to the ants that can only see the branch they're on. For them, the path ahead appears to go on forever.

[image]"
bretvictor  brunolatour  andreadisessa  douglashofstadter  place  cognition  science  sherryturkle  kieranegan  terrycavanagh  stewartbrand  longnow  julianjaynes  davidhestenes  carvermead  paulsaffo  tednelson  dougengelbert  alankay  reading  toread  2013  gutenberg  printing  print  modeling  simulation  dynamicprocesses  society  progress  thinking  intuition  analogies  education  systemsthinking  howweread  learning  ideas  concepts  context  readiness  simulations 
january 2014 by robertogreco
think - Text Patterns - The New Atlantis
"By way of getting to my point, let me encourage you to look again at Johnson’s posts. He tells you how to “keep your hunches alive,” how to use e-book annotations, how to keep researching as you write, and so on. All very good in its way.

But: What if your ideas are crap? What good does it do — for you or the world — if you are clever and efficient in communicating thoughts that are carelessly arrived at, or ill-formed and incompletely worked through, or utterly unimaginative repetitions of what people in your would-be peer group have already said?

Now, perhaps your highest intellectual ambition is to be asked to give a TED talk, in which case all those vices I just listed will be magically transformed into virtues. But if you want to do really good work, intellectually and/or artistically substantive work, then your first question can never be “How do I express my ideas?” but rather “How can I acquire ideas that are worthy of being expressed?”

I don't have an actual answer to that question, but I have some thoughts that I'll get to in another post."
alanjacobs  creativity  ideas  2013 
january 2014 by robertogreco
Jonas Mekas
[via: http://www.theatlantic.com/technology/archive/2013/12/this-90-year-old-lithuanian-filmmaker-has-the-best-website/282171/

"Everyone agrees: there is so much crap on the Internet.

There's smarm. There's snark. There's faux outrage. And faux outrage about faux outrage. And so on.

But there is also filmmaker Jonas Mekas.

Born on Christmas Eve, 1922 in a village in Lithuania, Mekas had a typically awful experience of World War II in Europe, before eventually making his way to New York City. He became part of the art and film scenes of the 1950s and 1960s, most notably in the Fluxus movement with people like Yoko Ono. He co-founded the Anthology Film Archives, and made many films (some of which I've been lucky enough to see).

Now, as Mekas steams towards his 91st birthday, I found my way, via a sidelong reference in the New York Times, to his website, JonasMekas.com.

And it is a delight. From the introductory video, in which Mekas welcomes his friends to the site and plays the bugle, to the videos of Alan Ginsberg or Mekas playing with his first Sony Camcorder, the site exudes the joy of creation.

The mystery and beauty of (just) being form the spine of Mekas' work. This website is like what would happen if you'd given Pablo Neruda a digital video recorder and some HTML skills during his Odas period.

In a video from Thursday, perhaps the greatest video selfie ever made, he presents us with out-of-focus, shaky video of a bowl of apples, riffing about their importance, a hierarchy of ontology, the evils of scientific improvement, and the apples he ate as a child in Lithuania. Then he turns the camera, says, "My friends," and laughs like this: ha ha ha. "I dream about those apples. But I love this apples, too. They're not destroying us. It's we who are destroying them," he says. The camera lingers on his aged face.

He looks as if he might begin speaking again, saying softly, "My friends." Then he plunges the camera down towards the apples in a Wayne's-World-style extreme closeup.

Fin.

Mekas is a voice from another time who has embraced the tools of the present moment. The random, decontextualized Internet is a perfect place to meet and enjoy Mekas' work. His style—direct, non-linear, narrated—exists everywhere on YouTube and Vimeo now.

But the spirit that informs his work is not so easy to find. Maybe it exists in the work of a poet like Steve Roggenbuck or Robin Sloan's media thingy Fish with its exhortation, "Look at your fish!" and its question, "What does it mean to love something on the Internet today?"

It's rare, though, to find a person who wants you to look at beautiful things because they are beautiful.

Looking at Mekas' work, the temptation might be to say: this work lacks coherence. It's not that easy to say what he's trying to do or "say" or create. But he offers us what I'd think of as a viewing guide to his work in this excerpt from his 2000 film, "As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty." (http://www.youtube.com/watch?v=XhmZ7C-oXDY)"

Mekas says:
I have never been able, really, to figure out where my life begins and where it ends. I have never, never been able to figure it all out, what it's all about, what it all means. So when I began now to put all these rolls of film together, to string them together, the first idea was to keep them chronological. But then I gave up and I just began splicing them together by chance the way that I found them on the shelf.

Because I really don't know where any piece of my life really belongs, so let it be. Let it go. Just by pure chance, disorder.

There is some current, some kind of order in it, order of its own, which I do not really understand same as I never understood life around me.

The real life, as they say. Or the real people. I never understood them. I still do not understand them. And I do not really want to understand them.
Let it go. I do not really want to understand them.

It reminds me of what the poet John Keats said Shakespeare's great quality was: "when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason."

Keats called this, "negative capability."]

[See also his Vimeo account:
https://vimeo.com/jonasmekas/videos

Wikipedia entry:
http://en.wikipedia.org/wiki/Jonas_Mekas

Poetry:
http://members.efn.org/~valdas/mekas.html

"At Home with Jonas Mekas"
https://vimeo.com/55519339
http://www.frieze.com/issue/article/questionnaire-jonas-mekas/

"Jonas Mekas : In Praise of the Ordinary"
https://vimeo.com/77245018

"Jonas Mekas, 28 minute biography from The Lower East Side Biography Project"
(Great rant starting around 9:30, and remembering George Maciunas of Fluxus) about artists, creatives, ideas, designers, workers, retirement)
https://vimeo.com/78459128

"Jonas Mekas, Walden, 1969 (excerpt)"
https://vimeo.com/2601707

""A Happy Man" by Jonas Mekas" (NOWNESS)
http://www.youtube.com/watch?v=xGUt_4F2SRM
http://www.nowness.com/day/2012/12/5

"MOCAtv Presents 'In Focus' - Jonas Mekas - The Artist's Studio"
http://www.youtube.com/watch?v=JtIQCxypAFM ]
jonasmekas  filmmakers  film  internet  beauty  everyday  art  life  living  web  steveroggenbuck  robinsloan  poetry  2013  alexismadrigaljohnkets  shakespear  uncertainty  doubt  fact  reason  wonder  mystery  negativecapability  retirement  workers  fluxus  georgemaciunas  creatives  creativity  artists  designers  design  ideas  work  labor  artleisure  leisurearts  artlabor 
december 2013 by robertogreco
Numbers | Savage Minds Backup
"1. The other day I was thinking about conferences.  Let’s say you’re in a panel with 10 people, and each person pays a total of $500 dollars to get there.  This includes conference fees, airfare, hotel, and so on.  So that’s a grand total of $5000 dollars so everyone can write a paper, fly across the country, walk into a room, present their paper for 12-15 minutes and maybe have a group conversation for another 20 minutes or so.  It’s a lot of money.  Granted, conferences are about a lot more than just going to present.  They are about going to other presentations, making connections, seeing friends, etc.  But I think there are times when it might make sense to take that collective $5000, round up 10 people who want to collaborate, find a cheap central place to meet—and then do something.  Like write a book.  Create and actually start implementing a project.  Whatever.  Again, conferences have their place.  But I think sometimes it’s also good to look at what we’re doing—and what we want to do—and know when it’s the moment to do something a little different.  Imagine what 10 people with a common goal could really do if given some serious time to really put their heads together.



6. Now let’s talk about funding your fieldwork. Everyone wants to get a grant. A lot of time goes into writing them. Now, think about the total amount of time you put into writing a grant. Let’s say you work on a grant for a year, and you average 5 hours per week (of really working on it). And, after that year, let’s say you get a grant for $10,000. That would be about $38.46 per hour of work (this does not account for the work time of your adviser or anyone who helps you edit etc). If you work on this grant for an average of 10 hours per week, that would be $19.23 per hour. If you average 20 hours per week, that translates to about $9.62 per hour. At what point does it make more sense to work slinging drinks in the local bar to fund your fieldwork?

7. How much money do undergraduate students spend on the average introductory textbook? Let’s say it’s about 100 bucks. And let’s say there are 300 undergrads in one particular department. That’s $30,000. Multiply that by 5 years. Now we’re at $150,000. Imagine what one department could do with 150 grand, a heap of political will, and all of the potential of open access publishing."
via:anne  professionaldevelopment  ideas  money  conferences  research  fieldwork  funding  grants  efficiency  academia  highered  highereducation  openstudioproject  snarkmarketseminar  self-funding  retreats  generativewebevents  2013 
october 2013 by robertogreco
Six pieces of wisdom (and one heap of nonsense) | Industry Voice | Design Week
[1] Milton Glaser said, ‘Just enough is more’ …

[2] Howard Aitken said, ‘Don’t worry about people stealing your ideas. If your ideas are any good you’ll have to ram them down people’s throats’

Too much design is style passing for ideas. Stylishness is easy sell because it’s undemanding and nice to have. Intelligent, boat-rocking ideas are harder to conjure up and more difficult to sell because they drag people into their discomfort zone. They take risks, challenge assumptions and take advantage of the unexpected.

[3] Bob Gill said, ‘Each one of my jobs is about things people could have seen themselves if they bothered to look’ …

[4] Larry Smith said, ‘Constraints fuel rather than limit our creativity’ …

[5] Jan Kaplický said, ’It’s not a sign of creativity to have sixty-five ideas for one problem. It’s just a waste of energy’ …

[6] Alan Fletcher said, ‘You’re just pissing about’ …

[one heap of nonsense] ‘…continual optimisation activity…direct unequivocal propositions… convergent tangible context…universal functionality…competitive brandscape analysis…indispensible secret agents of engagement’

This sort of contrived, overblown and self-important nonsense does our industry no good at all. It gives the impression we’ve got something to hide. We’re supposed to be communicators, so let’s say what we mean – and mean what we say. David Ogilvy said, ’Never use jargon words like reconceptualise, demassification, attitudinally, judgementally. They are hallmarks of a pretentious ass’."
design  via:litherland  miltonglaser  howardaiken  bobgill  larrysmith  jankaplicky  alanfletcher  simplicity  ideas  cv  jargon  language  contraints  creativity  efficiency  stylishness  style 
october 2013 by robertogreco
More on Postmodernity and the Long Reach of the Past | The American Conservative
"What we call “postmodern” is, then, intrinsic to modernity itself, as a kind of counter-narrative to the dominant modern one. It’s always there, dissenting from the easy story of human progress and human emancipation. A brilliant and far too little-known book on this subject is Stephen Toulmin’s Cosmopolis: the Hidden Agenda of Modernity.

My larger point is simply that ideas live far longer than we usually think they do, and that our ancestors entertained and even embraced many thoughts that we think peculiarly our own. In general, the past is closer to us than we are likely to realize. Consider this — a story I’ve told before but that’s worth remembering: I’ve met a woman who as a teenager met T. S. Eliot; Eliot’s grandmother, Abigail Adams Eliot, whom he knew as a child in St. Louis, was the great-neice of John Adams, second President of the United States, and remembered him from her childhood; when Adams was a young man in Paris, one night at the theatre he saw Voltaire, who was born in the seventeenth century. Six degrees separate me from Voltaire. What we think of as the distant past is not really so distant, and it influences our current thinking more than we know."
postmodernism  history  atemporality  alanjacobs  2013  stephentoulmin  tseliot  voltaire  time  ideas  abigailadams  johnadams  postmodernity 
october 2013 by robertogreco
The Old Ones | The American Conservative
"Among the young there’s a strong investment in believing that no one has ever walked the paths they’re walking — just as among the old there’s an equally strong investment in believing that there’s nothing new under the sun."



"So good for Oliver Sacks, not only that he’s still thinking vigorously and writing well at 80, but that people are listening. But how many other sources of expertise and wisdom — perhaps uniquely valuable and otherwise inaccessible expertise and wisdom — are we ignoring because they’re old? Who is still out there with something to say that we need to hear, and could hear if we took the trouble? In whatever field of inquiry we care about, we need to seek them out and find them and pay attention to them — before it’s too late."
alanjacobs  2013  oliversacks  aging  age  old  new  nothingnewunderthesun  neoteny  ideas  readiness  impact 
july 2013 by robertogreco
Approval Economy: In Practice | GeorgieBC's Blog
"I have talked a lot in this blog about money and society and the need for new solutions. My opinion from years of volunteering is that money ruins every volunteer effort. As soon as a need receives funding, it becomes a noun and a product instead of an action. As soon as a project is allowed to fundraise, there is a need to manufacture scarcity, to withhold work until payment is received and to continue the need for the project. And as soon as a project receives money, the motives of the person receiving money are suspect.

I do not want to go to a ‘crowd funding website’ and ask a centralized go-between to stand between me and anyone who chooses to support me. I do not want to waste my time creating glossy videos and applications to explain to strangers what you already know, my work. I do not want to ally myself with corporate media or NGO’s, I am trying to make both obsolete. I do not want to develop a persona, tell you all about my personal life, appear on panels and talks to become a character and a brand; I am an action not a noun and I value my right to privacy.

I do not want to be the designated official person for any action I initiate, I want to be free to let others take my place whenever I find people willing. I want to continue to promote others instead of seeking to enhance my own reputation for a livelihood. I want to give freely my ideas and work to anyone who can use them instead of hoarding them to myself for profit.

I do not want to ask you to support every action I take. I will not delay my work waiting for approval or funding. Most of what I work on are things that nobody knows of or supports, that is why I give them my priority. I do not want to jump on popular, widely supported causes to gain support. I want to continue to speak even when everyone disagrees with me as they very frequently do. I want to speak for Gaza when the world says it is anti-semitic to do so, I want to speak for the DRC when the west doesn’t know or care where that is, I want to speak for the Rohingya when no one believes me. I want to criticize democracy, consensus, peer to peer economies, libertarianism and Marxism when everyone I know supports them. I want to advocate for people who have no supporters or funding behind them and tell people about things they may not want to know about.

I do not want to sell you a book, a talk, art, advocacy, a button or a T-shirt, anything I do is available to you as always, for free. But I want it recognized that what I do is not ‘unemployment’, that I am a contributing and valuable member of society entitled to the benefits of society. I want to have the human dignity of societal approval and recognition. I want to be able to support myself and others in society without any of us becoming a product."
heathermarsh  economics  work  motivation  advocacy  consulting  crowdfunding  withholding  2013  labor  privacy  cv  freedom  livelihood  reputation  ideas  sharing  artleisure  artlabor  character  selfbranding  branding  democracy  consensus  hierarchy  horizontality  hierarchies  employment  unemployment  society  recognition  dignity  p2p  libertarianism  marxism  funding  via:caseygollan  leisurearts 
may 2013 by robertogreco
Updated: My speech at The Economist (on innovation)
"First, most teams don’t work. They don’t trust each other. They are not led in a way that creates a culture where people feel trust. Think of most of your peers  – how many do you trust? How many would you trust with a special, dangerous, or brilliant idea?  I’d say, based on my experiences at many organizations, only one of every three teams, in all of the universe, has a culture of trust. Without trust, there is no collaboration. Without trust, ideas do not go anywhere even if someone finds the courage to mention them at all."



"Without teams of trust and good leaders who take risks innovation rarely happens. You can have all the budget in the world, and resources, and gadgets, and theories and S-curves and it won’t matter at all. Occam’s razor suggests the main barrier to innovation are simple cultural things we overlook because we like to believe we’re so advanced. But mostly, we’re not."



"Next, we need to get past our obsession with epiphany. You won’t find any flash of insight in history that wasn’t followed, or proceeded, by years of hard work. Ideas are easy. They are cheap. Any creativity book or course will help you find more ideas. What’s rare is the willingness to bet you reputation, career, or finances on your ideas. To commit fully to pursuing them. Ideas are abstractions. Executing and manifesting an idea in the world is something else entirely as there are constraints, political, financial, and technical that the ideas we keep locked up in our minds never have to wrestle with. And this distinction is something no theory or book or degree can ever grant you. Conviction, like trust and willingness to take risks, is exceptionally rare. Part of the reason so much of innovation is driven by entrepreneurs and independents is that they are fully committed to their own ideas in ways most working people, including executives, are not.

Lastly, I need to talk about words. I’m a writer and a speaker, so words are my trade. But words are important, and possibly dangerous, for everyone. A fancy word I want to share is the word reification. Reification is the confusion between the word for something and the thing itself. The word innovation is not itself an innovation. Words are cheap. You can put the word innovation on the back of a box, or in an advertisement, or even in the name of your company, but that does not make it so. Words like radical, game-changing, breakthrough, and disruptive are similarly used to suggest something in lieu of actually being it. You can say innovative as many times as you want, but it won’t make you an innovator, nor make inventions, patents or profits magically appear in your hands."
words  innovation  trust  teams  teamwork  leadership  administration  tcsnmy  ideas  howwework  howwelearn  risktaking  culture  conviction  gamechanging  disruption  invention  epiphanies  2010 
may 2013 by robertogreco
A Practical Utopian’s Guide to the Coming Collapse | David Graeber | The Baffler
[Now here: http://www.thebaffler.com/salvos/a-practical-utopians-guide-to-the-coming-collapse ]

"What is a revolution? We used to think we knew. Revolutions were seizures of power by popular forces aiming to transform the very nature of the political, social, and economic system in the country in which the revolution took place, usually according to some visionary dream of a just society. Nowadays, we live in an age when, if rebel armies do come sweeping into a city, or mass uprisings overthrow a dictator, it’s unlikely to have any such implications; when profound social transformation does occur—as with, say, the rise of feminism—it’s likely to take an entirely different form. It’s not that revolutionary dreams aren’t out there. But contemporary revolutionaries rarely think they can bring them into being by some modern-day equivalent of storming the Bastille."



"Revolutions are thus planetary phenomena. But there is more. What they really do is transform basic assumptions about what politics is ultimately about. In the wake of a revolution, ideas that had been considered veritably lunatic fringe quickly become the accepted currency of debate. Before the French Revolution, the ideas that change is good, that government policy is the proper way to manage it, and that governments derive their authority from an entity called “the people” were considered the sorts of things one might hear from crackpots and demagogues, or at best a handful of freethinking intellectuals who spend their time debating in cafés. A generation later, even the stuffiest magistrates, priests, and headmasters had to at least pay lip service to these ideas. Before long, we had reached the situation we are in today: that it’s necessary to lay out the terms for anyone to even notice they are there. They’ve become common sense, the very grounds of political discussion.

Until 1968, most world revolutions really just introduced practical refinements: an expanded franchise, universal primary education, the welfare state. The world revolution of 1968, in contrast—whether it took the form it did in China, of a revolt by students and young cadres supporting Mao’s call for a Cultural Revolution; or in Berkeley and New York, where it marked an alliance of students, dropouts, and cultural rebels; or even in Paris, where it was an alliance of students and workers—was a rebellion against bureaucracy, conformity, or anything that fettered the human imagination, a project for the revolutionizing of not just political or economic life, but every aspect of human existence. As a result, in most cases, the rebels didn’t even try to take over the apparatus of state; they saw that apparatus as itself the problem."



"In retrospect, though, I think that later historians will conclude that the legacy of the sixties revolution was deeper than we now imagine, and that the triumph of capitalist markets and their various planetary administrators and enforcers—which seemed so epochal and permanent in the wake of the collapse of the Soviet Union in 1991—was, in fact, far shallower."



"In fact, most of the economic innovations of the last thirty years make more sense politically than economically. Eliminating guaranteed life employment for precarious contracts doesn’t really create a more effective workforce, but it is extraordinarily effective in destroying unions and otherwise depoliticizing labor. The same can be said of endlessly increasing working hours. No one has much time for political activity if they’re working sixty-hour weeks.

It does often seem that, whenever there is a choice between one option that makes capitalism seem the only possible economic system, and another that would actually make capitalism a more viable economic system, neoliberalism means always choosing the former. The combined result is a relentless campaign against the human imagination. Or, to be more precise: imagination, desire, individual creativity, all those things that were to be liberated in the last great world revolution, were to be contained strictly in the domain of consumerism, or perhaps in the virtual realities of the Internet. In all other realms they were to be strictly banished. We are talking about the murdering of dreams, the imposition of an apparatus of hopelessness, designed to squelch any sense of an alternative future. Yet as a result of putting virtually all their efforts in one political basket, we are left in the bizarre situation of watching the capitalist system crumbling before our very eyes, at just the moment everyone had finally concluded no other system would be possible.

Work It Out, Slow It Down

Normally, when you challenge the conventional wisdom—that the current economic and political system is the only possible one—the first reaction you are likely to get is a demand for a detailed architectural blueprint of how an alternative system would work, down to the nature of its financial instruments, energy supplies, and policies of sewer maintenance. Next, you are likely to be asked for a detailed program of how this system will be brought into existence. Historically, this is ridiculous. When has social change ever happened according to someone’s blueprint? It’s not as if a small circle of visionaries in Renaissance Florence conceived of something they called “capitalism,” figured out the details of how the stock exchange and factories would someday work, and then put in place a program to bring their visions into reality. In fact, the idea is so absurd we might well ask ourselves how it ever occurred to us to imagine this is how change happens to begin.

This is not to say there’s anything wrong with utopian visions. Or even blueprints. They just need to be kept in their place. The theorist Michael Albert has worked out a detailed plan for how a modern economy could run without money on a democratic, participatory basis. I think this is an important achievement—not because I think that exact model could ever be instituted, in exactly the form in which he describes it, but because it makes it impossible to say that such a thing is inconceivable. Still, such models can be only thought experiments. We cannot really conceive of the problems that will arise when we start trying to build a free society. What now seem likely to be the thorniest problems might not be problems at all; others that never even occurred to us might prove devilishly difficult. There are innumerable X-factors.

The most obvious is technology. This is the reason it’s so absurd to imagine activists in Renaissance Italy coming up with a model for a stock exchange and factories—what happened was based on all sorts of technologies that they couldn’t have anticipated, but which in part only emerged because society began to move in the direction that it did. This might explain, for instance, why so many of the more compelling visions of an anarchist society have been produced by science fiction writers (Ursula K. Le Guin, Starhawk, Kim Stanley Robinson). In fiction, you are at least admitting the technological aspect is guesswork.

Myself, I am less interested in deciding what sort of economic system we should have in a free society than in creating the means by which people can make such decisions for themselves. What might a revolution in common sense actually look like? I don’t know, but I can think of any number of pieces of conventional wisdom that surely need challenging if we are to create any sort of viable free society. I’ve already explored one—the nature of money and debt—in some detail in a recent book. I even suggested a debt jubilee, a general cancellation, in part just to bring home that money is really just a human product, a set of promises, that by its nature can always be renegotiated."
debt  economics  politics  revolution  work  labor  davidgraeber  power  society  revolutions  2013  grassroots  punk  global  conformity  bureaucracy  feminism  1789  frenchrevolution  1848  1968  communism  independence  freedom  1917  thestate  commonsense  fringe  ideas  memes  socialmovements  war  collateraldamage  civilrights  gayrights  neoliberalism  freemarkets  libertarianism  debtcancellation  fear  insecurity  consumerism  occupy  occupywallstreet  ows  sustainability  growth  well-being  utopianism  productivity  environment  humanism  ideology  class  classstruggle  abbiehoffman  slow  supervision  control  management  taylorism  virtue  artleisure  discipline  leisurearts  globalization 
may 2013 by robertogreco
Keita's Quick Ideas | Glitch
"Keita Takahashi came up with nearly 200 ideas for enhancing the gameplay in Glitch. They were all lovingly documented and illustrated in the company's internal wiki. This section contains all of those ideas!"

[via: http://www.uvula.jp/post/49401910693/my-almost-all-silly-ideas-that-came-up-with-for ]
glitch  gaming  games  design  ideas  keitatakahashi  videogames  play  srg  edg 
may 2013 by robertogreco
Why we have our best ideas in the shower: The science of creativity The Buffer blog: productivity, life hacks, writing, user experience, customer happiness and business.
"Typical triggers for events, that make us feel great and relaxed and therefore give us an increased dopamine flow are taking a warm shower, exercising, driving home, etc. The chances of having great ideas then are a lot higher.

Still, that’s not all there is to it. Dopamine alone, which gets triggered in hundreds of events, where we aren’t very creative, can’t be the only reason. Another crucial factor is a distraction, says Harvard researcher Carson:

“In other words, a distraction may provide the break you need to disengage from a fixation on the ineffective solution.’’

Especially if you have thought long and hard all day about a problem, jumping into the shower can turn into what scientist call the “incubation period” for your ideas. The subconscious mind has been working extremely hard to solve the problems you face and now that you let your mind wander, it can surface and plant those ideas into your conscious mind."
2013  brain  showers  ideas  thinking  research  creativity  dopamine 
march 2013 by robertogreco
Nigel Warburton –Cosmopolitanism
"Life is bearable in part because we can so easily resist imagining the extent of suffering across the globe. And if we do think about it, for most of us that thinking is dispassionate and removed. That is how we as a species live. Perhaps it’s why the collective noun for a group of apes is a ‘shrewdness’."

"But Diogenes wasn’t simply trying to scorn orthodoxy and shock those around him. His declaration was a signal that he took nature — the cosmos — as his guide to life, rather than the parochial and often arbitrary laws of a particular city-state. The cosmos had its own laws. Rather than being in thrall to local custom and kowtowing to those of high status, Diogenes was responsible to humanity as a whole. His loyalty was to human reason, unpolluted by petty concerns with wealth and power. And reason, as Socrates well knew, unsettled the status quo."

"One source of evil in the world is people’s inability to ‘decentre’ — to imagine what it would be like to be different, under attack from killer drones, or tortured, or beaten by state-controlled thugs at a protest rally. The internet has provided a window on our common humanity; indeed, it allows us to see more than many of us are comfortable to take in. Nevertheless, in principle, it gives us a greater connection with a wider range of people around the world than ever before. We can’t claim ignorance if we have wi-fi. It remains to be seen whether this connection will lead to greater polarisation of viewpoints, or a new sense of what we have in common."

[Goes well with: http://www.zephoria.org/thoughts/archives/2013/03/01/facebook-college.html and http://www.foreignpolicy.com/articles/2013/02/27/dont_trust_anyone_over_70 ]
petersinger  kwameanthonyappiah  philosophy  empathy  cosmopolitanism  culture  nigelwarburton  casssunstein  facebook  twitter  internet  blogs  blogging  ideas  connectivism  poverty  2013  diogenes  athens  ancientgreece  identity  nationalism  globalism  cynicism  cv  local  localism  glocal  jamesjoyce  circlesofresidence  stephendedalus 
march 2013 by robertogreco
Chuang Tzu Story - Means and ends
"The purpose of a fishtrap
Is to catch fish,
And when the fish are caught
The trap is forgotten.

The purpose of words
is to convey ideas.
When the ideas are grasped
The words are forgotten.

Where can I find a man
Who has forgotten words?
He is the one I would like to talk to."

[via: https://twitter.com/Bopuc/status/265485897250766848 ]
deschooling  unschooling  learning  wisdom  poetry  understanding  knowledge  openminded  ends  means  chuangtzu  unlearning  ideas  questioning  questions  forgetting  words 
november 2012 by robertogreco
A whole magazine of this, please « Snarkmarket
"Seriously, imagine this magazine. (And when I say “magazine” I obviously mean “website.”) It would be so different from anything that’s out there today. It wouldn’t be people trying to convince you of things. (This is the usual mode of, say, The New York Review of Books—although props to them for publishing Nagel on Plantinga.) Nor would it be people ironically infiltrating different belief systems. (This is the mode of a lot of narrative journalism today, and it’s super entertaining! You know: “I spent six weeks hanging out with these crazy people and here’s what I saw.”) It would be… brains at work. Call it The Grappler. An engine of empathy. I don’t know. It would probably have a readership of 300 people but maybe that’s okay."

[Alexis Madrigal comment: "All hail that which does not scale! All hail that which does not scale!"]
saulwurman  intimacy  small  scale  externalization  debate  belief  thomasnagel  longnow  alanjacobs  ianbogost  www.www  wwwconference  intellectualexcercises  understanding  writing  ideas  magazines  comments  snarkmarket  2012  thegrappler  perspective  empathy  robinsloan 
september 2012 by robertogreco
To the Teens | Justin The Librarian
"In your teens and twenties, a lot of people will look at you and your ideas and think they’re a bit bizarre and out there.  However, when you get into your late twenties/thirties something interesting happens…now that you’re older, people start to understand that you’ve had the experiences and matured enough that what you’re doing must be legit.  It’s kind of awesome.  Remember how I helped bring video games into the library for people to play and borrow?  When I talked about how libraries should be doing that when I was younger, people thought I was crazy.  When I got older and did it people thought it was a really great move.  Being 28 years old and having gone through years of video gaming helped me get to do that “crazy thing.”  So, yes, your bones may hurt a bit more (it happens) but you get to do a lot of cool shit when you’re older."
growingup  videogames  gaming  games  families  ideas  change  maturation  2012  adolescents  teens  youth  portland  maine  librarians  libraries  justinhoenke  aging  advice 
september 2012 by robertogreco
The Spark File — The Writer’s Room — Medium
"for the past eight years or so I've been maintaining a single document where I keep all my hunches: ideas for articles, speeches, software features, startups, ways of framing a chapter I know I'm going to write, even whole books. I now keep it as a Google document so I can update it from wherever I happen to be. There's no organizing principle to it, no taxonomy--just a chronological list of semi-random ideas that I've managed to capture before I forgot them. I call it the spark file.…

…the spark file itself is not all that unusual: that's why Moleskins or Evernote are so useful to so many people. But the key habit that I've tried to cultivate is this: every three or four months, I go back and re-read the entire spark file. And it's not an inconsequential document: it's almost fifty pages of hunches at this point, the length of several book chapters. But what happens when I re-read the document that I end up seeing new connections that hadn't occurred to me the first (or fifth) time around … it feels a bit like you are brainstorming with past versions of yourself. … The key is to capture as many hunches as possible, and to spend as little time as possible organizing or filtering or prioritizing them. (Keeping a single, chronological file is central to the process, because it forces you to scroll through the whole list each time you want to add something new.)"
stevenjohnson  2012  writing  hunches  sparkfiles  notetaking  notes  commonplacebooks  rereading  moleskines  evernote  habits  via:Preoccupations  ideas  memory  cv  scrolling  pagination 
august 2012 by robertogreco
Jonah Lehrer, TED, and the narrative dark arts | Felix Salmon
"TED-think isn’t merely vapid, it’s downright dangerous in the way that it devalues intellectual rigor at the expense of tricksy emotional and narrative devices. TED is a hugely successful franchise; its stars, like Jonah Lehrer, are going to continue to percolate into the world of journalism. And when they get there, they’ll be deeply versed in the dark arts of manipulating facts in order to create something perfectly self-contained and compelling. … TED isn’t going away: indeed, it’s so successful that it is spawning dozens of competitors, even as many publications, including the New Yorker as well as Wired, the NYT Magazine, the Atlantic, and many others, move aggressively into the “ideas” space. The cross-pollination between the conferences and the publications will continue, as will everybody’s desire to draw as big an audience as possible. Which says to me that Jonah Lehrer will not be the last person to trip up in this manner. In fact, he might turn out to be one of the first."
ted  jonahlehrer  2012  science  journalism  ideas  narrative  deception  via:Preoccupations 
august 2012 by robertogreco
Agnes Martin Interview (20:00 version, 1997) on Vimeo
"An interview done by Chuck Smith & Sono Kuwayama with painter Agnes Martin at her studio in Taos in Nov. 1997."

[Shorter version here: https://www.youtube.com/watch?v=_-JfYjmo5OA ]

[Via: https://twitter.com/CaseyG/status/223499478819287041 ]

Some highlights:

“I paint with my back to the world.”

"I think education is wrong. Education wants us to think that we are capable and we can do anything, teaches us to be ambitious, but that's the way to failure. To think to win and be ambitious instead of thinking what you're doing. The people that think they're ambitious and capable, they don't know they're only capable of repeating something that's already been done."

"The worst thing you can think about when you're working at anything is yourself."

"You can't think about beating the rest of them when you are painting. You have to keep a picture in your mind."
glvo  brucenauman  self  clarity  agnesmartin  inspiration  howwecreate  howwework  vacanmind  ideas  sonokuwayama  chucksmith  via:caseygollan  interviews  1997  loneliness  alone  life  painting  art  evolution  education  ambition  failure 
july 2012 by robertogreco
Brainstorming Doesn’t Really Work : The New Yorker
The first set of teams got the standard brainstorming spiel, including the no-criticism ground rules. Other teams—assigned what Nemeth called the “debate” condition—were told, “Most research and advice suggest that the best way to come up with good solutions is to come up with many solutions. Freewheeling is welcome; don’t be afraid to say anything that comes to mind. However, in addition, most studies suggest that you should debate and even criticize each other’s ideas.” The rest received no further instructions, leaving them free to collaborate however they wanted. All the teams had twenty minutes to come up with as many good solutions as possible.
The results were telling. The brainstorming groups slightly outperformed the groups given no instructions, but teams given the debate condition were the most creative by far. On average, they generated nearly twenty per cent more ideas. And, after the teams disbanded, another interesting result became apparent. Researchers asked each subject individually if she had any more ideas about traffic. The brainstormers and the people given no guidelines produced an average of three additional ideas; the debaters produced seven.
According to Nemeth, dissent stimulates new ideas because it encourages us to engage more fully with the work of others and to reassess our viewpoints. “There’s this Pollyannaish notion that the most important thing to do when working together is stay positive and get along, to not hurt anyone’s feelings,” she says. “Well, that’s just wrong. Maybe debate is going to be less pleasant, but it will always be more productive. True creativity requires some trade-offs.”
“The best Broadway teams, by far, were those with a mix of relationships,” Uzzi says. “These teams had some old friends, but they also had newbies. This mixture meant that the artists could interact efficiently—they had a familiar structure to fall back on—but they also managed to incorporate some new ideas. They were comfortable with each other, but they weren’t too comfortable.”
psychology  brainstorming  ideas  creativity  via:tealtan  2012  jonahlehrer 
june 2012 by robertogreco
a few thoughts on academic time management - more than 95 theses
"6) Also: I ask my students to give me, by email, a proposal two weeks before the essay is due. I tell them what I think is good about their idea and what they need to watch out for; more often than not I advise them to take only a part of their topic and focus on that. Then, a week later, I have them send me, again by email, a rough draft. Once more I comment briefly with encouragements, warnings, and indications of where they should invest their major energies. This process would be valuable to them even if I gave no comments at all, because it makes them think about their work well in advance of the due date, which gives them the chance to turn ideas over. By the time they turn in a final version, I don’t have to make many comments at all: those who put in the work will have improved significantly, and the others will already know what their problems are. I spend less time that I would have spent in writing extensive comments; I spread that labor out over a longer period, thus making it feel less onerous; and I get better results."
teaching  howto  howweteach  alanjacobs  technique  writing  worksmarter  via:lukeneff  drafts  timemanagement  pondering  thinking  ideas 
june 2012 by robertogreco
greg.org: the making of: Jasper Johns Making Silkscreens, By Katy Martin
"The problem with ideas ís, the idea is often simply a way to focus your interest in making a work. The work isn't necessarily, I think-a function of the work is not to express the idea.... The idea focuses your attention in a certain way that helps you to do the work."
ideas  work  making  design  jasperjohns  via:moleitau  via:infovore 
may 2012 by robertogreco
Codename: Svbtle by Dustin Curtis
"…I decided to build my own solution to power dcurt.is. It is codenamed Svbtle. The first interface I built just contained a simple list of articles with a “new post” form, like almost every other blogging management system ever created, but it has slowly evolved into something that has hugely improved the quality of my thinking and writing."

"This interface doesn't force me into thinking about ideas as posts, like every other blogging system does. I don't have to sit down and think about a title and content, and I'm not expected to publish immediately. The disconnection between draft ideas and published posts makes a big subconscious difference. It allows ideas to start abstractly, to ruminate for a while, and then, as I work on them, to become more and more concrete until they're ready to be published as articles. The side effect of this is that ideas I would never have written down before now become fully developed posts. It has hugely surprised me."
ideas  bloggingplatform  onlinetoolkit  interface  platform  svbtle  dustincurtis  thinking  writing  blogging 
april 2012 by robertogreco
Event < opinion < idea < story · robinsloan · Storify
"Adam Sternbergh went on a tear with #bettereditor and #betterfreelancer tips today; you can find them all in his timeline and here too. It was these three that caught my eye. Together, they offer a crisp formulation that's applicable not just to magazine pitches but all kinds of writing—daily news, blog posts, tweets, you name it:

Maybe top #betterfreelancer tip: Know difference btw event, opinion, idea, and story. Those are listed in ascending order of likely appeal.

Event = "So and so has an album coming out." Opinion = "...and I love/hate it." (1/2) #betterfreelancer

Idea = "...and it's important b/c X." Story = "...which almost never happened b/c of battle with label." #betterfreelancer (2/2)"
2012  wonder  meaningmaking  meaning  engagement  experience  stories  storytelling  adamsternbergh  robinsloan  opinions  ideas  storify  events 
march 2012 by robertogreco
How TED Makes Ideas Smaller - Megan Garber - Technology - The Atlantic
"But: We live in a world of increasingly networked knowledge. And it's a world that allows us to appreciate what has always been true: that new ideas are never sprung, fully formed, from the heads of the inventors who articulate them, but are always -- always -- the result of discourse and interaction and, in the broadest sense, conversation. The author-ized idea, claimed and owned and bought and sold, has been, it's worth remembering, an accident of technology…

A TED talk, at this point, is the cultural equivalent of a patent: a private claim to a public concept. With the speaker, himself, becoming the manifestation of the idea…what TED has done so elegantly, though, is to replace narrative in that equation with personality. The relatable idea, TED insists, is the personal idea. It is the performative idea. It is the idea that strides onstage and into a spotlight, ready to become a star."
bylines  copyright  print  conversation  chrisanderson  sethgodin  elipariser  creativity  ownership  ideas  stardom  personality  conferences  interaction  discourse  2012  networkedknowledge  sinclairlewis  chautauqua  megangarber  ted  innovation 
march 2012 by robertogreco
Give it five minutes - (37signals)
"And what did I do? I pushed back at him about the talk he gave. While he was making his points on stage, I was taking an inventory of the things I didn’t agree with. And when presented with an opportunity to speak with him, I quickly pushed back at some of his ideas. I must have seemed like such an asshole.

His response changed my life. It was a simple thing. He said “Man, give it five minutes.” I asked him what he meant by that? He said, it’s fine to disagree, it’s fine to push back, it’s great to have strong opinions and beliefs, but give my ideas some time to set in before you’re sure you want to argue against them. “Five minutes” represented “think”, not react. He was totally right. I came into the discussion looking to prove something, not learn something.

This was a big moment for me."
creativity  collaboration  psychology  ideas  speed  thought  slow  time  thinking  2012  saulwurman  jasonfried  conversation  listening  learning  advice 
march 2012 by robertogreco
The threat to our universities | Books | The Guardian
"In talking to audiences outside universities (some of whom may be graduates), I am struck by the level of curiosity about, and enthusiasm for, ideas and the quest for greater understanding, whether in history and literature, or physics and biology, or any number of other fields…

Such audiences do not want to be told that we judge the success of a university education by how much more graduates can earn than non-graduates, any more than they want to hear how much scholarship and science may indirectly contribute to GDP. They are, rather, susceptible to the romance of ideas and the power of beauty; they want to learn about far-off times and faraway worlds; they expect to hear language used more inventively, more exactly, more evocatively than it normally is in their workaday world; they want to know that, somewhere, human understanding is being pressed to its limits, unconstrained by immediate practical outcomes."
values  knowledge  understanding  aspiration  aspirations  aspirationalselves  uk  colleges  universities  outcomes  practicality  wonder  ideas  beauty  philosophy  idealism  2012  purpose  liberalarts  curiosity  learning  highereducation  education  stefancollini 
february 2012 by robertogreco
Notes on Forgetting by Casey A. Gollan
"Notes on Forgetting, Archiving, and Existing on the Internet: What if instead of encouraging us to chatter, our tools helped us relate, merge, revise and evolve bits over time? What if we were to move away from the idea of the stream and towards editing and maintaining a non-linear constellation of ideas? What if instead of dealing with our glut of information by erasing it, we came up with ways to deprecate our past, update our present and make sure that our digital histories are preserved for the future? I think that somewhere between writing, remixing and reblogging, between editing a wiki and branching code on a project in Git, is a new model for existing online."
ideas  digitalhistory  remixing  reblogging  archives  archiving  internet  memory  forgetting  caseygollan  remixculture 
february 2012 by robertogreco
Twitter / @philstuart: Love it when, after readin ...
"Love it when, after reading a game's description, what is in your head is completely different to the actual game. AND better AND makeable!"

[Apply to film, books, art, etc. Though, the imagining is often enough for me. I often say "I like the idea of X more than the actual X."]
imagination  2012  icandobetter  creativity  remaking  making  cv  thinking  ideas  philstuart  theideaisbetterthantherealthing  games  gaming 
february 2012 by robertogreco
The Aporeticus - by Mills Baker · Design & Compromise [So much more within, read the whole thing and the comments too.]
"…why does compromise have its “undeservedly high reputation”?…b/c we are discomfited by philosophical implications of fact that some ideas are objectively better. We exempt science from our contemporary anxieties because its benefits are too explicit to deny, but in most creative fields we are no longer capable of accepting the superiority of some solutions to others; unable to sustain confidence in soundness of artistic problem-solving process, we will not provoke interpersonal/organizational conflict for sake of mere ideas.

This sad, mistaken epistemological cowardice turns competing hypotheses into groundless, subjective opinions, & reasonable course of action when managing conflicting, groundless opinions…is to compromise, because there is no better answer.

But the creative arts are not so subjective as we tend to think, which is why a talented, dictatorial auteur will produce better work than polls, fcus groups, or hundreds of compromising committees."
creativecontrol  dictatorship  dictators  dictatorialcreativity  violence  stevejobs  wateringdown  choice  debate  persuasion  2011  waste  stagnation  innovation  creativity  madetofail  setupforfailure  problemsolving  hypotheses  brokenbydesignprocess  democracy  control  procedure  process  inferiority  superiority  average  averages  means  politics  policy  howwework  meetings  committees  mediocrity  epistemology  philosophy  authoritarianism  cowardice  ideas  science  art  design  millsbaker  compromise 
january 2012 by robertogreco
Lessons from the paperback revolution - Salon.com
"…can’t help but imagine how Agel & Fiore would go about packaging a book today. So much about culture has turned porous; surely the range of multimedia possibilities would excite them to no end, resulting in books as radical as ones they produced over 40 years ago. Perhaps they would film a reality TV show based on the production of a book, inviting viewers to vote on book’s content, format, design, & title as an author, designer, & editor tried to work under such circumstances in a studio that also served as their living quarters?

Whatever the result of working w/ today’s tools, I’m sure they would not deviate from what had been their primary focus: the reader. Schnapp & Michaels locate common ground all these experimental paperbacks share in how they empower readers: “Even if this book is ‘by’ a major thinker, you will fill in the blanks, you connect the dots, you navigate the book forward or backward to find the tasty tidbits; look for the patterns, ideas, & story lines yourself."
marketing  1967  graphicdesign  graphics  design  realitytv  infromations  carlsagan  ideas  communication  jeromeagel  buckminsterfuller  electricinformationage  media  print  doubleday  pocketbooks  jacquelinesusann  bernardgeis  jeffreyschnapp  adammichaels  quentinfiore  marshallmcluhan  books  2012 
january 2012 by robertogreco
How Do We Identifiy Good Ideas? | Wired Science | Wired.com
"Nietzsche stressed this point. As he observed in his 1878 book Human, All Too Human:

"Artists have a vested interest in our believing in the flash of revelation, the so-called inspiration…shining down from heavens as a ray of grace. In reality, the imagination of the good artist or thinker produces continuously good, mediocre or bad things, but his judgment, trained and sharpened to a fine point, rejects, selects, connects…All great artists and thinkers are great workers, indefatigable not only in inventing, but also in rejecting, sifting, transforming, ordering.""
2012  imagination  editing  rejection  ideas  nietzsche  sifting  sorting  creativity  thinking  artists  jonahlehrer 
january 2012 by robertogreco
Gibson: Dreaming in Social Media · tealtan · Storify
An online dinner party (or nightcap) conversation in the wake of a "William Gibson gave a talk tonight at the Union Square B&N;, and threw out a provocative thought." Compiled by Allen Tan.
oversharing  intimacy  surrealism  dreamspace  networks  sharedconsciousness  unconsciousness  sharing  reading  blurredrealms  sleeping  waking  joy  sarcasm  snark  humor  telepresence  presence  future  fiction  onlinedinnerparty  humanity  andrewfamiglietti  sciencefiction  scifi  socialmedia  web  net  dreams  ideasmuggling  ideas  books  nyc  maxfenton  danielreetz  erinkissane  comments  aaronstewart-ahn  timcarmody  twitter  storify  conversation  2012  allentan  williamgibson 
january 2012 by robertogreco
The Electric Information Age Book (out in January 2012)
"…excavation of moment from e-Book’s prehistory & metabook on cut-&-paste genre of original paperbacks…explores…60-70s when former backstage players—designers, graphic artists, editors, “coordinators,” & “producers”—stepped into spotlight to create a set of exceptional paperback books…period begins in 1966 when Jerome Agel & Quentin Fiore, in collaboration w/ Marshall McLuhan, first developed The Medium Is the Massage into “an inventory of effects”…continues to 1975, publication year of Other Worlds, Agel’s collaboration w/…Carl Sagan. Graphic designers such as Fiore employed a variety of radical techniques—verbal visual collages & other typographic pyrotechnics—…as important to content as the text. Aimed squarely at young media-savvy consumers of “Electric Information Age,” these small, inexpensive paperbacks brought the ideas of contemporary thinkers to mass audiences & established a distinctive new graphics-rich, montage-based genre of bookmaking that still resonates loudly today."

[See also: http://www.projectprojects.com/projects/the_electric_information_age_book
https://www.papress.com/html/book.details.page.tpl?isbn=9781616890346 ]

[Supplement available here in PDF: http://www.inventorypress.com/product/the-electric-information-age-book-supplement ]
adammichaels  2011  2012  text  graphicdesign  graphics  graphicarts  metabooks  otherworlds  paperbacks  ideas  bookmaking  projectideas  media  design  electricinformationage  jeromeagel  quentinfiore  carlsagan  jeffreyschnapp  1970s  1960s  history  marshallmcluhan  themediumisthemassage  toread  booksprojectprojects 
december 2011 by robertogreco
05_Future | Abitare En [Read all five parts, links at the beginning of this one.]
"The future of architecture and design blogging should: 1) make pop culture more interesting by introducing fringe ideas to wider audiences, acting as a bridge between the periphery and the center; 2) synthesize ideas from apparently unrelated fields; and thus 3) unite writers, designers, architects, clients, the reading public, and other practitioners across geographic and professional backgrounds around shared themes of inquiry and concern. In the process, blogging’s future should pursue a larger political goal of changing what conversations take place in the context of architecture and design, who is able to participate in those discussions, and, finally, how widely – and in what form – the results of these exchanges can be disseminated. These are ambitious, even utopian, goals, but they are also part of what it will take to ensure that blogging will, indeed, have a future."

[via: http://bettyann.tumblr.com/post/12215358947 ]
geoffmanaugh  bldgblog  2011  blogging  writing  architecture  design  diversity  interdisciplinary  sciencefiction  geography  synthesis  periphery  ideas  inquiry  thinking  writingasthinking 
november 2011 by robertogreco
Creativity Is Hustle: Make Something Every Day - Kasia Cieplak-Mayr von Baldegg - Video - The Atlantic
"I think doing something start to finish each day not only helps you get over the fear of starting a project, but also the fear of finishing one. I know it can be hard to let stuff go when you know you could make it better, but at some point in every project, at some level you need to be like, "fine, good enough." That's really hard for some people, but this can definitely help.

I've think a project like this also helps with the notion that you need to be in some totally inspired state of zen to create art. Art is like taking a dump, it's not always fun or convenient but it's something you gotta do everyday and you shouldn't get to hung up if the product looks like pile of crap. Yer not gonna make a masterpiece everyday or even 95% of the time, but it's a numbers game and the you've got to get rid of all those crappy ideas before you can get to the good ones. Just showing up is 90% of the battle."
faketv  mikewinkelman  glvo  making  doing  howwework  ideas  creativity  cv  projects  plp  focus  2011  kasiacieplak-mayrvonbaldegg  interviews  animation  art 
october 2011 by robertogreco
The Believer - Interview with Kenneth Goldsmith
"My books are better thought about than read…insanely dull & unreadable…But they’re wonderful to talk about and think about, to dip in and out of, to hold, to have on your shelf. In fact, I say that I don’t have a readership, I have a thinkership. I guess this is why what I do is called “conceptual writing.” The idea is much more important than the product.

My favorite books on my shelf are the ones that I can’t read, like Finnegans Wake, The Making of Americans, Boswell’s Life of Johnson, or The Arcades Project. I love the idea that these books exist. I love their size and scope; I adore their ambition; I love to pick them up, open them at random, and always be surprised; I love the fact that I will never know them."

[via: http://snarkmarket.com/2011/7470 ]

"Nam June Paik said once that the internet is for everybody who doesn’t live in New York City. Living here—with its saturated wealth of concerts, readings, and events—can easily give you the illusion that everywhere is like this, but, sadly, for most people this is nowhere near reality. For instance, on UbuWeb I’m often contacted by engaged viewers who live in small towns or who are unable to travel due to economic or social circumstances, who find a place like Ubu to be an absolute cultural and educational lifeline. It would be silly and snobbish of me to claim to prioritize warm, live human interaction over what happens on the web just because I have the ability to go to Anthology Film Archives, Issue Project Room, or the Stone any night of the week. So, in short, I think that the richer and deeper documentation is on the web, the better off we all are."
poetry  writing  cv  books  reading  classics  finneganswake  lifeofjohnson  themakingofamericans  thearcadesproject  conceptualwriting  thinking  ideas  howwework  howwelearn  unschooling  deschooling  conceptualpoetry  referencebooks  pataphysics  ubuweb  newradicalism  kennethgoldsmith 
october 2011 by robertogreco
Developing Your Creative Practice: Tips from Brian Eno :: Tips :: The 99 Percent
"1. Freeform capture. Grab from a range of sources without editorializing…

2. Blank state. Start with new tools, from nothing, and toy around…

3. Deliberate limitations. Before a project begins, develop specific limitations…

4. Opposing forces. Sometimes it’s best to generate a forced collision of ideas…

5. Creative prompts. In the ‘70s Eno developed his Oblique Strategies cards, a series of prompts modeled after the I Ching to disrupt the process and encourage a new way of encountering a creative problem. On the cards are statements and questions like: “Would anybody want it?” “Try faking it!” “Only a part, not the whole.” “Work at a different speed.” “Disconnect from desire.” “Turn it upside down.” “Use an old idea."…

In the end, don’t underestimate your personal feelings about a project. Eno states: “Nearly all the things I do that are of any merit at all start off as just being good fun.” Amen to that."
art  creativity  music  productivity  brain  neuroscience  via:preoccupations  brianeno  2011  jonahlehrer  ideation  classideas  innovation  noticing  limitations  constraints  making  doing  glvo  howwework  process  idleness  boredom  thinking  ideas 
september 2011 by robertogreco
Steve Jobs and the Rewards of Risk-Taking - NYTimes.com
"The academics identify five traits that are common to the disruptive innovators: questioning, experimenting, observing, associating and networking. Their bundle of characteristics echoes the ceaseless curiosity and willingness to take risks noted by other experts. Networking, Mr. Gregersen explains, is less about career-building relationships than a search for new ideas. Associating, he adds, is the ability to make idea-producing connections by linking concepts from different disciplines — intellectual mash-ups."
questioning  experimenting  experimentation  observation  observing  association  associating  networking  curiosity  disruptiveinnovation  stevejobs  2011  risktaking  tcsnmy  ideas  mashups  mashup  interdisciplinary  generalists  crossdisciplinary  crosspollination  halgregersen 
september 2011 by robertogreco
Networked Knowledge and Combinatorial Creativity | Brain Pickings
"In May, I had the pleasure of speaking at the wonderful Creative Mornings free lecture series masterminded by my studiomate Tina of Swiss Miss fame. I spoke about Networked Knowledge and Combinatorial Creativity, something at the heart of Brain Pickings and of increasing importance as we face our present information reality. The talk is now available online — full (approximate) transcript below, enhanced with images and links to all materials referenced in the talk."

"This is what I want to talk about today, networked knowledge, like dot-connecting of the florilegium, and combinatorial creativity, which is the essence of what Picasso and Paula Scher describe. The idea that in order for us to truly create and contribute to the world, we have to be able to connect countless dots, to cross-pollinate ideas from a wealth of disciplines, to combine and recombine these pieces and build new castles."

"How can it be that you talk to someone and it’s done in a second? But it IS done in a second — it’s done in a second and 34 years. It’s done in a second and every experience, and every movie, and every thing in my life that’s in my head.” —Paula Scher
creativity  behavior  planning  process  combinatorialcreativity  combinations  lego  networkedknowledge  networks  mariapopova  florilegium  picasso  paulascher  pentagram  alberteinstein  breakthroughs  stevenjohnson  ideas  alvinlustig  rogersperry  jacquesmonod  biology  richarddawkins  science  art  design  wheregoodideascomefrom  books  designthinking  insight  information  ninapaley  oliverlaric  similarities  proximity  adjacentpossible  everythingisaremix  curiosity  choice  jimcoudal  claychristensen  intention  attention  philosophy  buddhism  work  labor  kevinkelly  gandhi 
august 2011 by robertogreco
How Iteration-itis Kills Good Ideas - Scott Anthony - Harvard Business Review
[All true, but I think iteration is the wrong word. He describes the problem with design by committee, too many cooks, gatekeepers, etc.]

"By the time idea generators had gone through this gauntlet of gate-keepers, their ideas became watered down and wafer thin — acceptable to everyone, exciting to no one."
ideas  committees  designbycommitte  design  creativity  innovation  2011  toomanychefs  gatekeepers  corporatism  feedback 
july 2011 by robertogreco
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