“The disappointment of the ‘True Detective’ finale suggests how we are entering a confusing and precarious time in television’s evolution: we approach a show as an artistic achievement with all the privileges and responsibilities that this brings, when we may have done better to embrace it instead as pleasurable genre trash.”—Rachel Syme on the art of the television finale: http://nyr.kr/1i8iffw (via newyorker)
Have you ever found it frustrating having to do something you don't want to (as in, doesn't tickle your fancy) but it helps pay the bills?
So, let me tell you a quick story:
My grandpa on my dad’s side came over from China when he was pretty young— grew up in Chicago. He was in high school when World War 2 broke out; he joined up, and was put in the 407th Air Service Squadron. It was part of the famed Flying Tigers fighter group, and one of the first all Chinese-American units in the military. He fixed planes. He also shot at them when they strafed the airfield. With a pistol.
He was there when the Japanese officially signed the surrender, and was honorably discharged soon after. The very first thing that he bought with his stashed up pay was a sterling silver bracelet with his serial number on it.
I keep it within sight of my desk at all times.
After the war, he went back to Chicago, but his father was already housing too many Chinese immigrant workers (up to this point, most Chinese immigrants were single men because of strict immigration laws and quotas), so he had to move to Detroit to live with an uncle and finish high school.
One of his high school teachers noted his artistic abilities, and recommended that he use his GI Bill to go to art school. Of course, his dad wouldn’t have it. So, he worked in laundromats, owned his own grocery, and later worked as an insurance salesman instead.
70 years later, I’m the graduate of an art school, and I’m taking a break from drawing to write this out.
I guess my point is this: the time that you use to pursue art has to come from somewhere. At some point, a sacrifice was made by you, or others, to allow you to have that time. Illustrators try to make a living in that intersection of art and commerce in an effort to lessen that sacrifice. There are some that are doing quite well at that. There are many, many more that are not.
Even those artists who we view as extremely successful have to sacrifice time. It just comes from other places: relationships, health, or family, etc. The real struggle then, is to find that balance on how you are spending your time.
If you know that a life spent making art is your ultimate goal, then doing things you don’t like aren’t really frustrations. They are necessities that must be done to give yourself time.
I think this is why I cringe every time I hear someone say that self-righteous creed of the “creative class”: “Do what you love, and you’ll never work a day in your life.” That statement discounts all the hard work and sacrifices that you or others have made to be in that situation—what on Earth would entitle us to only work jobs that we love?
I don’t do this because I love it. I do it because I must.
“My brother is an asshole. What you don’t know about him is that he’s worked on classified stuff. His life was a complete blank for a while. You’re not going to be able to get to him. He’ll deny everything. He’ll never admit to starting Bitcoin.”—
what if the pokemon center just sends your pokemon’s medical bills home to your mom and your mom just doesn’t tell you about them because she doesn’t want to burden her 10-15 year old child with the harsh realities of the world of westernized medical care
GLADWELL: Well, it made me think that the average level of celebrity behavior must have been much worse 50 years ago than today. So suppose we channel our inner Nate Silver and come up with a universal celebrity misbehavior metric. We grade each public incident on three dimensions, each measured on a scale of one to 10. First, the stature of the celebrity. Second, the degree of impairment at the time of the accident. And third, the severity of the transgression. Your grade is the sum of those three scores.
SIMMONS: Hold on, hold on — we need to name this thing. And as much as I want to force-feed O.J. into the acronym, I love your “universal celebrity misbehavior” metric because “UCM” is such a strong acronym. I could see Bill James re-releasing Popular Crime just to reassess every famous murder with UCM.
GLADWELL: Why has it taken so long for the Moneyball revolution to come to Hollywood? I don’t get it. Because the UCM finally makes it possible for us to make rational judgments about scandals. So, take Tiger Woods’s run-in with his wife’s 9-iron. As a celebrity, Tiger is a 10. His impairment, a sex addiction, maybe painkillers, and probably alcohol, is also a 10. And I’m going to go out on a limb and say that cheating on your Swedish model wife with so many hookers that she may have believed it was in her best interest to smash the back window of your SUV with a golf club is, at the very least, a nine. That’s 29 out of 30. Future generations will now be able to look back on that night and understand that it was the Apollo moon landing of the modern tabloid era. In fact, as much as I like UCM, maybe we should refer to this score as someone’s “Woods Number” in honor of the contemporary champion.
To put that 29 in perspective, I think that in the normal course of affairs, it’s really, really hard for anyone to score above a 20, for the simple reason that as your celebrity score rises your ability and willingness to max out on the transgression and impairment scales fall. I have no doubt, for example, that, say, Lindsay Lohan or Axl Rose are routinely putting up sevens and eights on transgression and impairment. But they just don’t have the stature they used to.
Of course design is going to be the protagonist here, but this has been the fundamental observation of intelligent brand thinking from day one.
Brands live in categories. Al Ries talks about this in his Immutable Laws book. And that’s old!
This isn’t design. This is simply what category competition looks like in the shift in customer experience into digital.
Corporate structure must now respond to the human structures of our daily lives. Horizontal makes no sense, except in developing economies. (Tata, anyone?)
It has always been this way: brands fighting for share through the accumulation and refreshment of helpful experiences in a particular category.
What this means is that brand clarity and strategic commitment must come first, and design must deliver in the experience. Without brand there is no strategy. Without strategy there is no design.
Tangentially, it appears as if Twitter, Instagram, and Facebook are battling each other in a horizontal fashion, as social tries to figure out what it wants to be when it grows up. We will see where these lines get drawn, and whether they will survive their own horizonalisation efforts.
Your potential boss might have formed an opinion about you before you walk though the door. A new study reveals that nearly a third of companies scoured social media and cut candidates from consideration before meeting them. What they look for might surprise you.
“Why are record numbers of Americans on food stamps? Because record numbers of Americans are in poverty. Why are people falling through the cracks? Because there are cracks to fall through. It is simply astonishing that in this rich nation more than 21 million Americans are still in need of full-time work, many of them running out of jobless benefits, while our financial class pockets record profits, spends lavishly on campaigns to secure a political order that serves its own interests, and demands that our political class push for further austerity. Meanwhile, roughly 46 million Americans live at or below the poverty line and, with the exception of Romania, no developed country has a higher percent of kids in poverty than we do. Yet a study by scholars at Northwestern University and Vanderbilt finds little support among the wealthiest Americans for policy reforms to reduce income inequality.”—
Kyle Vanhemert spoke with Square’s VP of hardware, Jesse Dorogusker, about their new card reader:
The redesign also gave Dorogusker and company a chance to tweak the feel of the swipe itself, which is a crucial detail that makes the product itself feel trustworthy despite its tininess. By tweaking the design of the spring to which the magnetic read head was attached, the team was able to fine-tune the friction customers feel when swiping their card. At one point in development, they found that the level of contact they needed to successfully transfer data from a card resulted in a swipe that felt too loose. And when the swipe felt too loose, it felt like it wasn’t working, and would thus require another swipe. So they increased the friction above what was actually needed–an adjustment that was overkill from a technical point of view but resulted in a swipe that felt perfect to the hand.
Design is how it works…
Not surprisingly, Dorogusker came to Square from Apple, where he most recently lead the development of the Lightning connector.
When life gives you lemons, use the lemon seeds to grow a lemon orchard. Build for yourself a thriving lemon production business. Create a new, lemon-based economy, and shun those who refuse to accept lemons in trade. Become supreme overlord of all lemons.