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That Comfort Zone Thing Again

Sunday, 1. September 2019 22:01

A couple of weeks ago a friend of mine, a theatre director who was between shows, had both his front and back yards landscaped. He did not, however, acquire an automated sprinkler system to water the newly-landscaped area. Much to his dismay, he learned that virtually every plant-care site on the internet advised him to water his new plants and grass early in the morning. “Watering” in this case consists of hand-watering a few plants and turning sprinklers on and off. Now, this is a man who has spent his whole adult life working afternoons and evenings and normally sleeping from roughly 2:00 am to 10:00 am. This was a schedule that he could not maintain and water his landscaping early in the morning.

His answer was to completely change his schedule. He said that he had to protect his investment, so he would have to get up early to water the yard, an act far outside his comfort zone. Instead of getting up, watering, and going back to bed, he decided after much thought that he would try getting up, staying up, and adjusting his bed time. I had my doubts. But he did it; his new schedule puts him in bed eleven-ish and gets him up at seven. This represents quite a change. He said that the first thing he learned was that after watering, he had a “huge” block of time before he had to go to work. This contrasted favorably, at least to him, to the smaller blocks of time he normally had between rehearsal and sleep and between waking and work. He said the larger block allowed him to be far more productive because he could delve deeply into a personal project instead of having to break it up into smaller chunks to fit his available time.

So, in order to protect his investment in real estate, he completely changed his lifestyle of many years. It’s not a choice everyone would make, simply because it is so far out of his ordinary comfort zone and because it has effects on so many other aspects of his life. Yet, he is determined to try it. In fact, after two weeks on the new regimen, citing the healthful effects of being outside every day, he says he feels better and is far more productive than he was prior. He seem to have had no trouble adapting to the different sleep/wake times. He even decided to maintain the same schedule even on days he didn’t water for the sake of consistency.

(But remember, he has been between shows during this period, so making such a drastic change has been a little easier than if he were rehearsing until 10:30 pm. He goes back into rehearsal next week. It will be interesting to see how his new lifestyle holds up.)

And the point of all this, you ask. Aside from being a curious story, it points out several things that should be of interest to artists, particularly those who have day jobs.

  1. The capacity to “display adaptability” when faced with a significant problem, a practice advocated by both Bobby and Douglas McArthur Shaftoe, is a desirable trait to have.
  2. Sometimes one area of our lives will impact other areas in unexpected ways. We need to always stay alert.
  3. Change that initially looks onerous, may, in fact, bring unexpected positive consequences.
  4. Different, even radically different, can be better.

After a time, we take our “normal” schedule for granted; it becomes a significant part of our comfort zone. Perhaps re-examining it from time to time might be worthwhile. We may not want to make as dramatic a change as my friend, but we might want to consider alternatives.

Category:Productivity | Comment (0) | Autor:

Art Must Communicate—Immediately

Sunday, 18. August 2019 23:08

We are told repeatedly that it is impossible to please everyone, so we might as well make art to please ourselves. That is not terrible advice, as far as it goes; but it doesn’t go nearly far enough. If we make art only to please ourselves, we run the risk of creating masturbatory art. (See “Art or Masturbation?”) Don’t we really want an audience larger than our three fellow artists who “get it”? If so, perhaps we ought to change our approach to the work we create.

This is not to say that our art does not have to satisfy our own aesthetic; certainly, it does. But shouldn’t our art try to communicate our vision to an audience outside ourselves? If we’re not going to do that, why bother to create an artifact in the first place? We create to record or reproduce our vision. This, though, is not enough, at least not for Edgar Degas who said, “Art is not what you see, but what you make others see.”

Reading that quotation this week caused me to think about how artists approach their work in general. (And thanks to Lori McNee [@lorimcneeartist] for the tweet where I read it.) Many artists are so intent on transferring what they have seen and felt to the page or computer or canvas that they forget they have an audience. They don’t concern themselves with making their art to “make others see.”

When we do concern ourselves with that, it changes how we think about what we do. Communications theory holds that the responsibility for the success of the communication rests squarely on the person doing the communicating. If the other person doesn’t get it, it’s the communicator’s fault. Likewise, the responsibility for whether a piece of art communicates rests on the artist. When we accept that, we concern ourselves with not only recording our thoughts and feeling and insights in our art, but in being sure that the audience “gets” those thoughts and feelings and insights as well. So our focus changes; we become concerned with structuring our art so that it becomes accessible—at least to that group of people that we call our audience.

If we do not adopt this approach, we run the risk of looking and sounding as foolish as a stage director I knew once. I happened to be in the vicinity of the bulletin board where a newspaper review of the recently opened play just been posted. The reviewer said essentially that the direction of the show was muddy and s/he had difficulty determining what the play was really supposed to be about. The director of the show stopped, read the review, and began to rail loudly to anyone who would listen that the reviewer should come back as many times as it took for him/her to understand it. He completely missed the irony of calling for an audience member to repeatedly attend an art form that is designed to be absorbed and understood in a single viewing. And he had no idea how arrogant and foolish he sounded. (By the way, the reviewer was correct—the direction of the show was muddy, and the play went nowhere.)

Most of the art we create, even if it is not theatre, must be created with the idea in mind that our audience is likely to see it only once and must be able to grasp at a single viewing what it is that we are attempting to communicate. Realistically speaking, our work will probably not be hung in a museum or saved in a library for leisurely study by our audience.  Our work can be subtle, but it must communicate immediately. Once we realize this, and adjust our process accordingly, we are likely to see a change in audience reaction—for the better.

Category:Audience, Communication | Comment (0) | Autor:

The 80 20 Rule

Sunday, 4. August 2019 23:44

So I’m on the cusp of finishing the first draft of a very large writing project. The problem is, though the end is in sight, I can’t quite seem to get there. Ideas and anecdotes keep jumping into my mind, all wanting to be added to the project. And some of them are worth putting in, so I have to stop and consider each one individually. The result is that it seems the end will never arrive. As I was dealing with this, a thing called the 80 20 Rule (also known as the “80/20 Rule”) popped into my mind, so I turned to my friendly internet to gather more information.

For those of you who don’t know, the 80 20 Rule, also called the “Pareto Principle” after its founder, an Italian economist named Vilfredo Pareto, says that in any endeavor, “80% of the effects come from 20% of the causes.” Although originally applied to economics, it turns out that this 80-20 split can be applied to nearly any human activity. For example, if you type “80 20 Rule” into Google, you come up with an almost endless list of predictive activities. Plug in “80 20 Rule writing” and you get 144 million hits. In the first of these, Stever Robbins says of writing a draft, “The 80/20 rule also applies to writing. Only in writing, you get 80% of the way there in 20% of the time. Then you spend the last 80% of your time getting the last 20% of the polished draft.

The more I think about it, the more profound the implications of the 80 20 rule seem. It may certainly account for the frustration we all experience toward the end of a project when we are ready to wrap things up and suddenly there seems more to do. It may even be an explanation for the difficulty in writing endings. Every writing teacher I know and almost all writers say that writing endings are the most difficult part of any writing project. Perhaps this is because of the tremendous effort required to produce the last 20% of the project.

Although Robbins has a technique for changing the process—at least for writers—so that that last 80% of the time gets streamlined, it involves adding an editor to the workflow, and just may not be practical for all writers, or other artists. Perhaps the best we can do with the 80 20 Rule is to understand that it is a thing, and work accordingly. Acknowledging the rule allows us to be far less dissatisfied with our progress than we might be otherwise. And that is a step forward in anyone’s book.

The other thing that we can do, being aware of this rule, is to plan our projects to account for the increased effort that will be required toward the end of the project, whether that project is writing, or editing photographs, or perfecting choreography, or directing a play or creating a character. If we know the last 20% will require as much as 80% of the effort put into the whole project, we can prepare for that, and in so doing, produce a more complete product. Put simply, planning our projects to account for the 80 20 Rule will allow us to do better work.

Category:Productivity | Comment (0) | Autor:

Back to Basics

Sunday, 21. July 2019 22:25

A friend of mine is a tutor who is mostly involved with coaching students on test-taking to improve their scores. Recently, however, he was given the job of working with a broadcast journalist who had been having trouble on her job. It seems that the station she worked for had recently switched from reading from paper to reading from a teleprompter. She, for some reason, was having difficulty reading the teleprompter. This would lead to a panic situation wherein she would become completely tongue-tied and flustered. Needless to say, it was a situation she needed to remedy if she was going to continue in her present occupation.

So the tutor, who is not a speech pathologist, began to experiment to see if he could get to the root of the problem. He went about this methodically, trying one thing, observing the result, then trying another. He asked colleagues who had taught voice and diction for advice; since he had a theatre background, he talked to former teachers, all the while continuing to experiment. Finally he hit on a process that helped immeasurably: vocal warm-ups. He found that if the client did vocal relaxation exercises prior to reading aloud, things went better. Then he added tongue-twisters and other articulation exercises that actors use for vocal warm-ups. The results were amazing.

The exercises seemed not only to relax the client’s mouth and throat, but her in general. She became much less stressed at having to work with the teleprompter, which led to a much more relaxed and articulate presentation. Once the breakthrough was made, it was just a matter of designing a custom vocal warm-up routine for the client that would maximize articulation and relaxation. That, in turn, increased the client’s confidence in her ability to use the teleprompter successfully.

The solution was essentially a case of returning to the basics of vocal performance. This whole situation made me think how useful it is for any artist to revisit basics from time to time. We have a tendency in our work, regardless of the area of arts in which we are involved, to move toward more complex work, work further and further removed from basic rules and principles. Sometimes we get so far away that we lose our moorings. Those are the times we most need to get back to basics.

Perhaps it would be better if we did not wait until we were so far removed from the basics of our respective arts to embrace them, since those basics are the foundation upon which our artistic endeavors are really built. It certainly could not hurt to periodically review basic practices and principles, and it might actually improve our work. Revisiting fundamentals can be especially important when we, like the client in the above story, are undergoing changes or entering a new branch of our art.

Intermittently going back to basics can not only remind us of foundational principles and practices of our arts, it may also remind us of why we are working in the arts to begin with and serve to refresh our creativity, and that is never a bad thing.

Category:Creativity, Education, Quality | Comment (0) | Autor:

Unpack Your Process

Sunday, 7. July 2019 23:40

Like working in theatre, working in the art of pyrotechnics is always instructive. This seems to be particularly true when I am occupying a mentoring position. This July 4th was no exception. We were working on a show of significant size and the crew was made up of people with a mix of knowledge and experience. One person had had experience with wireless, computer-driven shows, but was going to shoot her first manual, wired show. It was also the first time I had left a site in the middle of the set-up, so there were many new things going on.

Before I left the site, I talked with the most experienced person on the crew about running the cables from the firing board to the trailers which held the pyrotechnic product, stressing the order in which the cables needed to be laid. We were sure that we understood each other, so I left for a time. I was confident that all would be fine. During the time I was gone, we texted back and forth confirming the cable order and placement. That worker then left to go to another site.

When I arrived back at the site, everything looked great. Only when we began to check the circuitry did I realize that the entire show had been wired backward. I had a small fit, proclaiming quite loudly that wiring was “always, always, always” done a certain way. After I calmed down and assessed the situation for what it really was, I realized that this had become a learning situation for me too.

It turned out that even though the person in charge of placing the cables and I had full agreement about what went where, we were using completely different terminology in referring to the orientation of the trailers. Our perspectives were 180 degrees off. Thus we ended up with wiring that was perfect—from her point of view, and completely backward from mine. It had never occurred to either of us to verify how we were thinking about something as basic as trailer orientation. We both just assumed that we were correct. After all, it wasn’t the first rodeo for either of us. Once I figured that out, everything became clear.

Another thing that became clear was that I had no idea why cables were “always, always, always” attached to trailers in a certain prescribed order. The order of cables had been drilled into me by those who trained me and who had decades of experience. Most of the things they taught me had to do with safety and efficiency, so I just presumed that cable order did too. But faced with my own pronouncement, I realized that the reason was never explained. I did it that way for the weakest of reasons: because that was how I was taught to do it.

Upon examination, I realized that there were indeed reasons to attach cables the same way every time, and there were reasons to wire that same way for this particular site, but those were really after-the-fact realizations that while valid did not provide a rationale for doing it that way in the first place. So far as I can tell, there is no intrinsic reason that cabling the way I had learned is better than any other approach. I had just never thought to question it.

So, I re-learned some things this July 4th that I obviously needed to be reminded of: (1) never assume; (2) successful communication depends on the basic definitions upon which the communication rests; and (3) if you are directing, the result of communication is your responsibility. However, the biggest lesson I learned was a completely new thing: It is useful—at least every once in a while—to unpack your process, and examine why you do what you do.

Category:Communication | Comment (0) | Autor:

Consider Developing an Inspirational Environment

Sunday, 23. June 2019 21:43

Several years ago, I was thinking about modifying one’s environment in order to live an artistic life. Some recent events have me thinking about that again. Some people in the arts have a need to surround themselves completely with an environment that feeds their artistic sensibilities. This causes them to move to places where they consider the arts energy to be very high: New York, Los Angeles, Austin, Paris, London. They feel that in addition to there being a higher likelihood of employment, there is in these places an artistic energy upon which they can feed.

This is the same impulse that encourages some artists to seek the isolation of a retreat, often establishing residence (at least part-time) in less populated areas because they draw their inspiration from an isolated environment with or without other like-minded artists and far fewer “big-city” distractions. This is the urge, for example, that led James Jones to end up in in the small, somewhat isolated town of Marshall, IL.

Some who work in the arts feel they cannot move, either to one of the arts centers of the world or into the wilderness, for any number of reasons. They may love where they live or dislike it intensely but still feel bound to the place. Those people can work to make their residences or work spaces into an environment that supports their art. A man I know loves where he lives, but when Hurricane Harvey put the ground floor of his house underwater, he did not build the house back as it was. Instead, he spent the insurance money and then some on redesigning the entire house to reflect his artistic interests, even down to changing all the of the (undamaged) wall art to pieces that he found more inspirational.

Another person I know really dislikes the town that she lives in, but feels she needs to stay there. So she has made her home into an artistic sanctuary full of artifacts from which she gets inspiration on a daily basis. She even has certain spots in the house designated for wall art which she changes at irregular intervals in order to keep things fresh. She is currently spending money on the landscaping of her back yard, which she has come to consider an extension of her sanctuary, into a garden that encourages meditation and reflection.

Artists who are place-bound but do not have the funds or inclination to turn their homes into complete artistic environments, might work on a smaller scale. Many artists have an office or studio in which they work. This space can be turned into an artistic environment so that when they are working they can absorb inspiration from the space. It is likely that this will make the work space radically different from the rest of the house or apartment, but that’s really the idea—to modify the environment so that it supports the artist’s work.

Some artists, particularly those living in small rental spaces do not have an entire room in which they work. Rather, they have a small area, a nook, perhaps, which is where they create. Even in tiny spaces, adjustments can be made to provide an inspirational environment, even if it is simply the use of a wall or a board upon which to tape, tack, pin inspirational images and quotes, such as Wendy MacNaughton’s studio wall of inspiration.

We all may not be able to lead a completely artistic lives; some of us may not even want to. We can, however, create environments, no matter how small, that provide creative inspiration.  While we may not immediately embrace such an idea, it is certainly worthy of consideration.

Category:Creativity | Comment (0) | Autor:

You Have to Be Ready for Inspiration

Sunday, 9. June 2019 23:57

Several weeks ago, I was talking with a friend about it being time to write the next blog post. He asked, “Where do you get your inspiration?” I don’t recall my answer, but it was lame, I’m sure. The real answer is that it comes from all sorts of places. Sometimes it’s something I see, or something I hear or something I read. Or it could be any one of those that sets off a chain reaction of thoughts that ends in what might be called inspiration.

Then as I was thinking about inspiration, this week serendipitously brought Austin Kleon’s blog post “It’s not inside you trying to get out, it’s outside you trying to get in,” which posits that inspiration comes from outside. We do not have books, or songs or photographs or paintings or poems inside us. Rather they exist in the universe and come to us for expression. He quotes artists as divers as Nick Cave, Tom Waits, Michael Jackson, and Henry David Thoreau to make his point. Not only do inspirations come from outside, but if we are not receptive, they go elsewhere to find acceptance.

There are at least two implications contained in this idea. The first is that we creatives are not really creators. We don’t originate the ideas, the inspirations. Rather, we in some way prepare ourselves so that we are ready to receive the idea when it comes. Then we snatch it out of the air or ether or wherever it is and write it or paint it or sculpt it or do whatever we do. Cave as much as says this in his advice to a “blocked” songwriter.

The second implication is contained in the first. It is that we as artists must make ourselves ready to seize inspiration when it does arrive. As I have written before, inspiration is not something that we can always count on. Sometimes it comes; sometimes it doesn’t. What is important is that we are ready, which means that we show up, we exercise discipline, we do the work—every day. And that showing up and doing the work readies us for inspiration. As Kleon puts it in one of his blackout poems:

the Muse

is ready to

surprise me

if

i

show   up every day

and

say,

“Wanna hang out?”

Art is, at least in part, about making connections and seeing patterns. The inspiration triggers a set of ideas which ends in our making those connections and seeing those patterns. And if we don’t figure out a way to ready ourselves, then the inspirations fly by unnoticed. Connections don’t get made; patterns don’t get recognized.  We call that “being blocked.” Then we often bear down, which closes us off even more from the universe, and then we really are creatively blocked.

It’s not really magical, although it may look and sound that way. It may not even be mystical, although some would argue with that. It is simply doing the work that is required to be creative and doing it regularly, putting ourselves in a mental and physical place to be receptive to our own flow of ideas and not thinking so hard in a single direction that we close out other possibilities. Only when we are open can a new idea develop. Then all we have to do is recognize it and do something with it.

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You’re Always Auditioning

Monday, 15. April 2019 0:08

Auditions suck. Just ask any actor. For that matter, ask any director. The problem from an acting point of view is to demonstrate that you are the best choice to perform a given role with—if it’s a generous audition—a couple of prepared monologues and a cold read against people you’ve never met. In just a few minutes you have somehow convince a director that after you’ve learned the lines and had some time to work on the character, you will be able to bring this character to life on the stage. It’s an impossible task. And it’s just as bad from the director’s point of view.

This is why directors use other means to help them make their casting decisions. Some even use casting directors, who also use methodologies in addition to the actual audition. Directors will call other directors and their friends to find out about potential actors. They go to shows and observe the actors, how they work, how they perform, what they might be capable of. They network. They invite actors they think might be able to do the job to come in. They interview. Then they hold an audition, sometimes to see if what they thought was true really is true.

Directors are in the judging business; it’s what they do. And they mostly do it all the time. The wise actor learns, hopefully sooner rather than later, that s/he is always auditioning.  Audition time is not limited to the time the actor is actively auditioning.

Here are a couple of stories to illustrate. A good while back an actor I know went to an audition. She is a bubbly out-going person and a man walked by as she was getting out of her car. They had a brief conversation about the difficulty of finding parking spaces. Then they met again in the elevator that she was taking to the interview/audition. Again they had a brief up-beat conversation. They both got off at the same floor but went in different directions. She checked in for the interview, waited a few moments and was ushered into the interview room. Behind the desk sat the man with whom she had just made friends. Her formal audition went well, perhaps because she had already auditioned and didn’t know it. She got the job.

The other story didn’t turn out quite as well. We were casting a musical; when I say we, I mean I was the director; additionally there was the musical director and the choreographer. We were doing an open callback, which is to say that all those called back were in the room. There was one actor we had pretty much decided would be the second lead, but we wanted the callback to confirm that decision. The actor that we had in mind was in the room when we got there, as were a number of other actors. As we got settled, we noticed that the actor we had in mind was not only overly loud and boisterous for the situation, but he was displaying an inordinate amount of egocentricity. His behavior was offensive and unacceptable. Each of us decided individually (we discovered later—we did not discuss it at the time) that we would rather not put up with that behavior and attitude for the rehearsal period. Fortunately, there was another actor there whose callback was excellent; he was the actor who got the role.

Behavior and attitude before and after the actual audition matter. In fact they matter all the time. It’s something actors need to know.  And it’s not just in the theatre that this happens. Wedding photographers, for example, are auditioning every time they meet potential clients.  Even when they are shooting, a potential client is watching and judging—deciding if this is the person they want to do their wedding. Graphic artists are always auditioning for the next project. Painters are always auditioning for the next commission or the next show or both at the same time. Writers audition for readership for their next book. Both stage and film directors are always auditioning for producers. No one escapes.

Like stage directors, people who seek creative services ask others; they watch, they evaluate—before they ever get around to calling for an appointment.

Not only actors, but every creative person who sells his/her work is always auditioning; there is no down time. It is something that we all need to be aware of—all the time.

Category:Marketing, Theatre | Comment (0) | Autor:

Chunk It

Sunday, 31. March 2019 23:32

A couple of weeks ago I took on a new project. This brings the total of personal projects to seven plus my day job which has its own set of projects. That may not be a lot for you, but it’s a significant number for me, particularly because the new project is a very different project with challenges different from my normal run of projects and thus demands a different kind of attention to actually get it done.

The question of how to move forward on all these projects at once naturally arises. Multitasking would be the immediate answer of many. Unfortunately, multitasking is mythology—at least for me. I find that if I try to do more than one thing at a time, everything seems to take longer and the work on each task is less than it could be. But dutifully I went to the internet to see if perhaps I was missing something. It turns out that multitasking really is a myth. Look it up. And it turns out that my experiences with attempted multitasking are supported by nearly every study on that topic. Study after study shows that attempted multitasking really takes more time and results in lowered productivity; one study even suggested that multitasking was actually bad for brains.

If not multitasking, what? Handling the projects sequentially would seem be a good choice, particularly as it facilitates flow and appeals to my obsessive personality; however, because of the nature of the projects and various deadlines, this is not feasible. The question then becomes how to move forward on all projects in a somewhat efficient manner.

The answer is to chunk it, it being time. Basically it just means spending significant time on each project successively. Hardly a new idea, but one that seems to work.

For me, this idea evolved into a two-step procedure: (1) Review each project every day to refresh and determine the next step in whatever process is involved. This brief review also allows the subconscious the opportunity to consider the project and work on it while I’m eating lunch. (2) Select a project and a chunk of time and do nothing else for that amount of time. (I’m not using a timer, but the thought occurred to me.) Presetting an amount of time to work on the project allows full concentration for that chunk of time, which, in turn, allows the development of flow and the minimization of distractions. Limiting the time also allows moving from one project to another in the same evening. Obviously, the longer the time spent on a single project, the better, but this becomes an individual choice. Chunks could be so large that one would take up the entire project time for one day; the next day could then be used for a different project, and so on.

There is an alternative to presetting the amount of time allotted for each project. When I review projects, I look for the next step. The completion of that next step then becomes my target. I then work on that project until that target is achieved or until that step becomes a failure; only then do I move on to the next project.

It’s a new system—to me anyway, but so far it’s working well. Will it work for you? It might. Give it a try; chunk it.

Category:Creativity, Productivity | Comment (0) | Autor:

Want to Be Famous? Make Some Friends

Sunday, 3. March 2019 23:03

We’ve all heard the saying “it’s not what you know; it’s who you know.” It turns out that in the case of artists, it’s not what you know or who you know; it’s how many who’s you know. In a 2018 study of abstract artists’ fame, Paul Ingram and Mitali Banerjee determined that cosmopolitan social networking was a better indicator of fame than either creativity or originality. Essentially, the study found that artists generally labeled “abstract” were famous in direct proportion to the size of their circle of friendship, with more fame attributed to those whose groups of friends were multinational.

A thorough discussion of this study by Casey Lesser can be found at artsy.net. In this article, Lesser posits that not only were diverse networks important as indicators of fame, but that they were also a “source of creativity” and had the additional benefit of providing the artist with a “cosmopolitan identity.”

Much of the data for this study originated with a 2012 exhibition about the birth of abstraction at New York’s Museum of Modern Art. MoMA has provided an interactive diagram of who knew whom that clearly makes the point that the most connected artists—in this case Pablo Picasso and Wassily Kandinsky—were the most famous.

And lest we think that this study represents an anomaly, remember that Emily Dickinson did not become famous until relatives who had much wider social networks worked to get her poems published. It is also notable that people who are famous in one art can let it be known that they are involved in another art and instantly be more famous in that second field than many who have worked in the field for a lifetime, but who have had much smaller networks of friends and acquaintances. For example, Jim Carrey and Jonathan Winters are two comedian/actors who have become almost as famous for their paintings as for their performing.

So what does that mean to us?  It means, simply, that all the hype about establishing a diverse social network isn’t hype, it’s the path to recognition. Of course, there is no indication as to whether today’s social networks, e.g. Linkedin, Facebook, Twitter, Instagram, Tumblr, et al constitute networks of “friends” as the term is used in this study, i.e. a group of people who actually know each other. One would guess that the more active one is in any given forum, the more likely s/he is to be able to call it a real group of friends.

Please note also that the more diverse the group of friends, the more likely it is to indicate potential recognition. Also, internationality counts.

In concrete terms, this means that we must “meet new people and network across professional industries in order to open [ourselves] up to career opportunities and advancement….We won’t become famous in a vacuum and should seek to diversify our social circles.” And although we may not want to be movie-star famous, we probably do want to have our work seen and known. That, in itself, is a kind of fame. To achieve that we must not only maintain social networks, but we probably need to curate our followers and followings, so that we come to actually know those with whom we interact.

And we must not forget personal, in-person networking, which is probably the most potent form of networking going. If Ingram and Banerjee’s study is to be believed, in order to have our work known to the world we must enlarge our circle of friends. Today would be a good day to start.

Category:Audience, Creativity, Social Media | Comment (0) | Autor:

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