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artistic activity

Dan Pink is a mas­ter of cre­ative swip­ing, which is MBA-speak for “he steals other peo­ples’ ideas.” Which isn’t to say he’s not a clever chap. And we cer­tainly guys like him, crafty writ­ers who aren’t put off by research, who weave the lat­est ideas into pithy, punchy, com­pelling nar­ra­tives. Cer­tainly, for every artic­u­late Dan Pink in this world, there are about 100,000 of us Aver­age Joes bang­ing our heads against the wall, utterly dis­mayed that our bosses just don’t get it.

With A Whole New Mind, he made the argu­ment for inno­va­tion and cre­ativ­ity and now again with Drive, he’s com­piled the lat­est insights into moti­va­tion. In both instances, the ideas aren’t new, but you’ll be glad to have it in a pocket-sized, rhetoric-ready, Red Book.

Here’s a video of some of the ideas and then some of the best quotes from the book (fol­lowed by a minor rant from me at the bottom).

Some quotes from Drive

While com­ply­ing can be an effec­tive strat­egy for phys­i­cal sur­vival, it’s a lousy one for per­sonal ful­fil­ment. Liv­ing a sat­is­fy­ing life requires more than sim­ply meet­ing the demands of those in con­trol. Yet in our offices and our class­rooms we have way too much com­pli­ance and way too lit­tle engage­ment. The for­mer might get you through the day, but only the lat­ter will get you through the night” (p.112).

Lakhani and Wolf uncov­ered a wide range of motives [with open-source devel­op­ers], but they found ‘that enjoyment-base intrin­sic moti­va­tion, namely how cre­ative a per­son feels when work­ing on the project, is the strongest and most per­va­sive dri­ver.’ A major­ity of pro­gram­mers, the research dis­cov­ered, reported that they fre­quently reached a state of opti­mal chal­lenge called ‘flow’” (p.23).

If your star­ing point was The­ory X, [McGre­gor] said, your man­age­r­ial tech­niques would inevitably pro­duce lim­ited results or go awry entirely. If you believe in the ‘medi­oc­rity of the masses’, as he put it, then medi­oc­rity became the ceil­ing on what you could achieve” (p. 76).

The ulti­mate free­dom for cre­ative groups is the free­dom to exper­i­ment with new ideas. Some scep­tics insist that inno­va­tion is expen­sive. In the long run inno­va­tion is cheap. Medi­oc­rity is expen­sive – and auton­omy can be the anti­dote” (p.90)

Most impor­tantly [when in a flow state] the rela­tion­ship between what a per­son had to do and what he could do was per­fect. The chal­lenge wasn’t too easy. Nor was it too dif­fi­cult. It was a notch or two beyond his cur­rent abil­i­ties, which stretched the body and mind in a way that made the effort itself the most deli­cious reward.… In flow, peo­ple lived deeply in the moment, and felt so utterly in con­trol, that their sense of time, place, and even self melted away. They were autonomous, of course. But more than that, they were engaged” (p.115).

Flow is “oxy­gen for the soul” (p.127).

Sci­ence shows that the secret to high per­for­mance isn’t our bio­log­i­cal drive or our reward and pun­ish­ment drive, but our third drive – our deep-seated desire to direct our own lives, to extend and expand our own abil­i­ties, and to live a life with pur­pose.” (p.145).

Yet in the face of this evi­dence – and as the world econ­omy demands more non-routine, cre­ative, con­cep­tual abil­i­ties – too many schools are mov­ing in the wrong direc­tion. They’re redou­bling their empha­sis on rou­tines, right answers and stan­dard­iza­tion. And their haul­ing out wag­ons full of if-then rewards – pizza for read­ing books, iPods for show­ing up to class, cash for good test scores. We are brib­ing stu­dents into com­pli­ance rather than chal­leng­ing them into engagement.”*

The Oblig­a­tory Rant

*I’ve actu­ally included this last quote, not because it hits the mark, but because  it couldn’t be more wrong. I’ve worked around the world, in amaz­ing, won­der­ful schools, where there are hardly any rules at all because the kids are so dri­ven. And I’ve worked in bottom-of-the-barrel, strug­gling schools –where you’re more wor­ried about stab­bings than cheat­ing. I’ve worked in Cen­tral Amer­ica, the Mid­dle East, North Amer­ica and Europe and yet some­how I’ve never met these narrow-minded teach­ers who’ve got it all wrong.

So, as some­one who cares deeply about our edu­ca­tion sys­tems, I’m tired of these lines.

Schools are not damp­en­ing your daughter’s inner artist.  And they aren’t pun­ish­ing her for ques­tion­ing the rules.  Today’s teach­ers actu­ally care deeply about kids’ devel­op­ment and their own edu­ca­tional prac­tice. They are activists, debat­ing poli­cies, exper­i­ment­ing, work­ing week­ends, squeez­ing 110% out of always-limited resources.

They know the world your kids are grow­ing up into. They’re in the job because they get it and they’re up for the chal­lenge.

So, please, the next time you hear some­one mak­ing this chal­leng­ing straw-man argu­ment, chal­lenge them back. Ask them to give you a real idea about schools, a new idea and not a fake com­plaint. We all care about schools, but there are no easy answers in this field. So let’s make sure that, as much as pos­si­ble, we’re giv­ing the cause of edu­ca­tion our intel­li­gence and our innovation.

As far as the edu­ca­tion sys­tem is con­cerned, I would say to Mr Pink (and to you too Sir Ken Robin­son), “either get on board, or get out of our way.”

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What teachers know

March 11, 2010

Today’s grad­u­ates face a new breed of chal­lenges as they enter the work­force. They will con­front messier, intractable prob­lems such as cli­mate change, global ter­ror­ism, antibi­otic resis­tant dis­eases and per­sis­tent mar­ket weak­ness. The same tech­nolo­gies that empow­ered them as learn­ers at the same time also mul­ti­plied the poten­tial for global havoc.

And this has changed the def­i­n­i­tion of an appro­pri­ate education.

Teach­ers know this

Teach­ers appre­ci­ate that han­dling the new, intractable prob­lems requires a new skill set. They require empathiz­ing, imag­i­na­tive cit­i­zens –in touch with their own cre­ative impulses, con­fi­dent indi­vid­u­als who can imag­ine totally new solu­tions. Teach­ers want to facil­i­tate their stu­dents’ growth as artists. But teach­ers know some­thing else as well.

Tomorrow’s man­agers must also be lit­er­ate and numer­ate. As well as being cre­ative lead­ers, reach­ing out and find­ing fresh answers to the prob­lems of the future, they need to know every­thing we grad­u­ated know­ing. And they need to be firmer in their foun­da­tions than we were. The stakes are higher for them and the com­pe­ti­tion for jobs is more fierce.

Inside most class­rooms today you find teach­ers tak­ing an iter­a­tive approach, bal­anc­ing the advan­tages of con­stancy and rou­tine with their neces­sity for exper­i­men­ta­tion and adap­ta­tion. You find teach­ers who are doing the best they can with the resources they have. The demands on teach­ers have never been greater. And they know it.

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The Music Video Reinvented

December 3, 2009

Check out this music video from the group Ok Go. Mesmerizing.

Cool, huh?

It reminds me of Feist’s 1234 video

and the tread­mill video –also by Ok Go. These guys have it fig­ured out. There is some­thing sub­tly com­pelling about these videos. I can watch them over and over again. I think we appre­ci­ate see­ing peo­ple just being peo­ple –not being scan­dalous or overly special-effected, just hav­ing fun and being human.

Update: This video from Oren Lavie also falls into this genre of music-videos-showing-people-doing-interesting things.

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camera

Find­ing a way to be artis­tic can add tremen­dously to your qual­ity of life.

For most of us, much of our active time every day is dom­i­nated by task-completion-activities, things that aren’t par­tic­u­larly mean­ing­ful or impor­tant to us, but just have to get done. Cre­ative prac­tice is about mak­ing a time for meaning.

Here are some ben­e­fits of a cre­ative prac­tice: (Any­where where I’ve writ­ten ‘writ­ing’ feel free to sub­sti­tute any other kind of artis­tic activity).

1) To be hap­pier. Aristotle’s def­i­n­i­tion of hap­pi­ness is “deploy­ing your full force along lines of excel­lence.” Writ­ing allows you to do exactly that. It’s about dis­ci­pline and see­ing some­thing through. And I do find it makes me hap­pier, feel­ing a piece come to form. As Hugh Macleod says, “Every­body has their own pri­vate Mount Ever­est they were put on this earth to climb.”

2) To learn. Peo­ple always say, “Write what you know,” but writ­ing is always a process of dis­cov­ery. By writ­ing you’re not just doc­u­ment­ing what you already know, but you’re coming-to-know things you hadn’t yet realized.

3) It’s good for your career. Before I was hired for my most recent job I was Googled by my inter­view­ers. They men­tioned in my inter­view that they’d read by blog about Roger Fed­erer and were impressed. I could tell that they were more com­fort­able with me because they had some evi­dence of how my mind works. In a way, they knew me. It made me more of a known entity and slightly less of a risk. I don’t write my blog for the recog­ni­tion. But it’s nice.

4) To be gen­er­ous. When you share your art, you’re being gen­er­ous. Even the tini­est, hon­est obser­va­tion is a gift. (That’s what I think any­way). And gift-giving cre­ates com­mu­nity. If you share some­thing that peo­ple can read (or  look at and see truth in) that, if noth­ing else, is com­fort­ing to peo­ple.  Also by writ­ing, you put your­self out there. You make your­self a lit­tle vul­ner­a­ble. You show that you’re human and peo­ple appre­ci­ate that.

5) To keep a record. I sit in air­ports and cafes around the world, writ­ing mun­dane minor details about how the light is shin­ing in through the steam of my morn­ing cof­fee or about how the smell of saw­dust takes me back to my dad’s stu­dio above the garage on Sec­ond Street.  Tak­ing the moment to write these thoughts makes me aware of things I wouldn’t oth­er­wise notice. It helps me appre­ci­ate the moment, in the moment. And read­ing my notes later reminds me of the life I’m liv­ing. It shows me what I like about my life and explains, in lit­tle ways, how my life is com­ing together. Cather­ine Bowen said that, “Writ­ing … is not apart from liv­ing. Writ­ing is a kind of dou­ble liv­ing. The writer expe­ri­ences every­thing twice. Once in real­ity and once in that mir­ror which waits always before or behind.”

6) To stay bal­anced. We all want jobs that value our human­ness. But it’s okay for a job to just be a job. It doesn’t have to fill absolutely every void in our lives. Hugh MacLeod (in his ebook) shares what he calls his Sex and Cash The­ory. He explains it like this: “The cre­ative per­son basi­cally has two kinds of jobs. One is the sexy, cre­ative kind. Sec­ond is the kind that pays the bills. Some­times the task in hand cov­ers both bases, but not often. This tense dual­ity will always play cen­ter stage. It will never be tran­scended.” This the­ory sug­gests that it’s okay that your col­leagues value your ideas about life or appre­ci­ate your humour, because it’s just a job. In a way, it’s a good prob­lem, I find that the ten­sions from my work­ing life give me some­thing to write about. They feed my art. A few times, when I finally have no dis­trac­tions and all the time in the world to write, I draw a blank.

7) It feels good. Author Natalie Gold­berg com­pares her cre­ative prac­tice with exer­cise: “Some days you don’t want to run and you resist every step of the three miles, but you do it any­way. You prac­tice whether you want to or not. You don’t wait around for inspi­ra­tion and a deep desire to run… You just do it. And in the mid­dle of the run, you love it. When you come to the end, you never want to stop… That’s how writ­ing is, too. Once you’re deep into it, you won­der what took you so long to finally set­tle down at the desk.”

In more ways than one, the future belongs to the cre­ative classes, the peo­ple who have devel­oped a voice and have both­ered to share.

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