Posted in March 2010

The Editor and the Curator

The Editor and the Curator

Joanne McNeil over at the Tomorrow Museum looks at the misuse of the word curator to every “web thing” that requires the ability to filter out. Some of us are probably are at fault for spreading the idea. Sorry about that.

I have yet to find a new media appropriation of the word “curator” that couldn’t just as well describe that oh so obsolete occupation: “editor,” (as I previously explained in the Tomorrow Museum podcast.) Understandably, the screen presents challenges very different from the page. It is reasonable to use a different term to describe the new skills needed. But if anything it is the “curator” job requirements that seem antiquated.

via Fimoculous

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Less Talk, More Rock

Less Talk More Rock

I know this one has already played the rounds, but this is superb. Fascinating essay about the audio visual language of video games.

Remember when Miyamoto made that videogame about those plumbers? The real revolution with that videogame was in the style of communication. It was a tremendous leap forward in how articulate synesthetic audiovisual could be. Coins looked like they sounded and they sounded the way they behaved in the context of the mechanics. Each element — the brick, the turtle, the pipe — was a well-formed, understandable audiovisual videogame unit.

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The A to Z of Awesomeness

A to Z of Awesomeness

Great way to teach your kids the alphabet.

via MF

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You’re The Man Now Dawg

A problem us n00b writers have is that we over-think what we have to say, specially when we know that a couple of people could potentially read it. We have a hard time separating the editing part from the writing part. But “first we must write. Then you re-write”, says David Forrester to Jamal Wallace in Finding Forrester. We worry too much about appearing like a fool. This is a mistake. You have to look like fool, because if you’re always trying to be objective, worrying about the right words and to not offend anybody, you’ll sound so generic and boring that you might as well dedicate yourself to write corporate letters.

Steve Martin on Being Funny

Being Funny

A Steve Martin article over at the Smithsonian explaining how he developed his act. The man really knows funny. He’s like the Noam Chomsky of comedy.

In a college psychology class, I had read a treatise on comedy explaining that a laugh was formed when the storyteller created tension, then, with the punch line, released it. I didn’t quite get this concept, nor do I still, but it stayed with me and eventually sparked my second wave of insights. With conventional joke telling, there’s a moment when the comedian delivers the punch line, and the audience knows it’s the punch line, and their response ranges from polite to uproarious. What bothered me about this formula was the nature of the laugh it inspired, a vocal acknowledgment that a joke had been told, like automatic applause at the end of a song.

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Thin Relationships

The Social Media Bubble

A lot of people will simply not agree with this, but I find it really hard to not agree completely.

I’d like to advance a hypothesis: Despite all the excitement surrounding social media, the Internet isn’t connecting us as much as we think it is. It’s largely home to weak, artificial connections, what I call thin relationships.

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The Creative Habit – Review

I’ve always been intrigued to read this book since Merlin Mann championed it over a year ago on 43folders. I’m glad I finally got to it because this book is truly a gem. Unless you skim it passively, there’s no way you won’t get something out of this book. Tharp insightfully demystifies the creative process, showing that it’s mostly a matter of discipline and hard work. She writes about the importance of rituals and routines, or how to prepare to create. To me, this is the key thing in the book and creativity for that matter. You have to find a way to trick yourself to make it habitual. It’s difficult to form habits because we can’t help thinking about the end result, but the focus should always be to start. After that, you can worry all you want about how to end something.

There’s a lot of dance talk throughout the book, but not as much as to overwhelm. Plus Tharp is so well versed in other creative fields that it never reads as creativity through the eyes of a choreographer, but as someone with a deep knowledge of the creative process who could be in any creative field she wanted. Her enthusiastic appreciation of Beethoven for example was contagious. I’m lowbrow, but she made me “last.fm’d” Bach and Wolfgang.

The book is practical and insightful with elegant typography. With exception of the last chapter, all chapters have an exercise section that’s enough to be worth the price of admission. It’s superbly well written by a smart and classy lady.

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We Are Experiencing Some Technical Difficulties

Not that I ever had I consistent posting schedule here, but this blog is going dark for some days. Perhaps for a week or two. I’m in the process of moving and won’t be having internet access until I settle at the new place. So don’t drop me from your feed reader just yet. Links and musings will be back shortly.

The Myth of the Calling

“I don’t do this for the money or the recognition. I do this because I was born to do it. Because I’m passionate about it. Because I feel it in my bones”.

There’s no way to prove whether or not people are born to do something. The only thing you can do is whether to believe it or not. You either believe that you are free to make choices or that your life was previously determined.

In my experience, most people that say something like the above quote, are musicians, writers, bloggers, puppeteers, and other creative types. I can’t prove whether they believe it, but it seems that some use it as crutch. Something that they’re trying to convince themselves to believe. I’m sure that artists that have been successful (recognition as well as financially) don’t need those kind of external motivations to keep doing what they do. But the successful ones don’t say it as much as the unsuccessful ones.

I have yet to find someone that says that they were born to be an accountant. I’ve never heard a real estate agent saying that he will keep selling houses even if he doesn’t get paid. “Oh, but those are just jobs”, you might say. That’s one of the problems right there with the idea that “creative jobs” are callings from God and the “non-creative” ones are a choice to pay the rent.

If you have to justify what you do with trascendental feelings of passion and destiny, your raising the bar to impossible heights. Without getting into a philosophical debate, I’m sure most people are rational and believe in free will. So if you try to convince yourself everyday that you don’t have a choice, then you don’t have a choice, and that’s not a good thing.

When you truly like doing something, you just do it. I’m sorry. It’s really that simple. It’s like breathing and bowel movements. You don’t need to think about it or justify it. But unlike bowel movements if you choose to be a writer that’s one choice out of the many choices you could have made. Sure, you have to commit to it in order to get good at it, but being committed is one thing and feeling that it’s something that you were born to do is another.

If you’re not being successful at something, no matter how much you believe that it’s something that you’ll keep on doing no matter what, that doesn’t change the fact that you’re not successful at it. You just have to work. Like an accountant or a real state agent.

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