From the category archives:

Meaning

Zoë Westhof has me thinking again, this time about what it specifically means to change the world. (I encourage you to go to her site and join the conversation, or add a comment below.)

What does change have to do with creativity?

Changing the world is a particular form of creativity in which our chosen medium is life itself. Tactics for creativity and tactics for change largely overlap.

This connection between change and creativity is a segue-way into a new series I have in the works on the topic of why creativity matters. Consider this a preview.

Attempts at change benefit from a creative approach, both to imagine the kind of transformation you want to accomplish and determine the scope of your ambitions.

And creativity generates change — if not directly, at least as a side-effect.  What we create may be radically different or only a slight variation, but if it is exactly the same as what already exists, we wouldn’t call it creativity, we’d call it re-enactment or repetition.

Creativity is the driving force behind everything we do that’s different from what we’ve already done.

The Tactics

Read history: Learning more about the past will constantly remind you how dynamic the world really is, and how lucky we are — in so many ways — to be living in this moment.

For example: Did you know that the life expectancy for the working poor in mid-19th century Bethnal Green, London was sixteen?! (via Stephen Johnson’s Ghost Map.)

Study past change agents: Those who did it well and those who botched it.  What went right and what went wrong?

Look for unlikely allies: Find people who seem very different from you, but, in your chosen arena of change, want essentially the same thing.

Develop empathy with opponents: Why do they want to hold on to the very things you are trying to change?  How can you ease their valid fears, undermine their irrational fears, and at least partially co-opt them?

Draw clear lines: Determine those whose minds can’t be changed. Ignore them if you can, marginalize them and mitigate their effects if you can’t.

Don’t wait for someone else: Maybe they are waiting for you?

Get yourself stabilized first: Change is a marathon, not a sprint, and you need to train and stay fit for the long haul. (See Bobby’s comment on Zoë’s post for a great example.)

Everyone has a role to play: All across the spectrum, from the radical marching in the street, to the contemplative researcher assembling the data to make the arguments that get people into the street, and everyone in between. Find your role, excel, and don’t waste time and energy fretting that you can’t do everything.

Don’t get discouraged by what’s beyond your reach: In today’s information environment, our sphere of awareness is vastly larger than our sphere of possible action. That’s a situation that sets us all up for disillusionment and despair.

We can’t individually fix every tragedy we know about.  The challenge is to stay connected at the global level, to the good and bad, while maintaining our momentum in making change on an achievable scale.

Challenge broad patterns and viewpoints, not just specific instances: Switching to low-power light bulbs is great, but if a public figure declares conservation a “personal virtue” you have an advocacy problem, not a light bulb problem.

Be open-minded: Change happens in unexpected and unplanned ways.

Beware of revolutions: Change that begins with a stated goal of shattering existing structures often spills a lot of blood, and what is shattered is rarely reassembled into something positive.  Most revolutions are disasters for just about everyone involved. (See the point above about studying history.)

Think of the world as malleable: something that can be hammered and shaped into new forms without breaking completely.

Beware of incrementalism: Tentatively proposing small change, and submitting it to a process of bureaucracy, negotiation and consensus-building is like running through the surf: you’ll expend a lot of energy, but you might not get very far.

Incrementalism is often a tool used by incumbents to shut change down.

Instead, make subtle and barely perceptible changes so far out of the range of expectations that they befuddle the establishment. Change the underlying reality before the status quo backers understand what you are up to, and put them in the position of defending a return to what has become an unpopular and undesirable past.

And don’t ask first.

Leave a trace: Leave No Trace is great for backcountry trails and Burning Man, not so great as a life philosophy. Your every action adds to your legacy. It is impossible not to have an impact. In every decision, try to make sure you bend the world towards your values, however slightly.

Slow and steady wins the race: Is it bad form to end a list of change tactics with a cliché?

Spread your ideas, and sow the seeds of the changes you want to see.

Just like art and culture, profound and lasting change is bigger than you and unfolds on a time scale longer than your lifetime.

{ 2 comments }

If inefficiency is culture, as I recently asserted, what is the effect of a nationwide preoccupation with efficiency? Isn’t that just another kind of culture?

When I use the word culture, I’m describing what I see as an ideal culture: a diverse and evolving conversation of ideas.

If enough people in a particular society decide that productivity is more important than quality, they are likely to adopt similar hyper-productive techniques and approaches. This can produce an abundance of something that is healthy in smaller amounts, but might not necessarily be good for us in large amounts. Overall diversity suffers. Culture suffers.

The Maize is All The Same

America grows so much corn that we don’t know what to do with it anymore, so we’ve starting stuffing it in every kind of food and drink we can find. After we ran out of ways to use it to fuel our own bodies, we started turning it into fuel for other animals, machines and manufacturing processes.

As Michael Pollan put it in a 2002 article:

“Even farm-raised salmon are being bred to tolerate corn — not a food their evolution has prepared them for. Why feed fish corn? Because it’s the cheapest thing you can feed any animal, thanks to federal subsidies. But even with more than half of the 10 billion bushels of corn produced annually being fed to animals, there is plenty left over. So companies like A.D.M., Cargill and ConAgra have figured ingenious new ways to dispose of it, turning it into everything from ethanol to Vitamin C and biodegradable plastics.”

No surprise that enthusiasts in South Dakota even assemble a ‘palace’ every year in its honor:

Mitchell Corn Palace

But if you want corn like this in the United States:

Corn in a market in Peru

Corn in a market in Peru

You are most likely out of luck. It’s harder to grow. It’s different. “No one” wants it.

But I want it.

Adaptability

Culture is the accumulation and assemblage of myriad small decisions: if individuals are making decisions based on their own interests and aptitudes and surroundings, the results will be varied and idiosyncratic.  Some pockets will be very interesting and fertile, while others are less so, but as a whole, the culture will be very rich.

Yet if individuals start to perceive that they are all solving the same problems and answering the same questions, they are more likely to adopt similar techniques and solutions. The results converge towards the middle of all possibilities, and the choices for everyone become more limited.

The scope of our knowledge as a society becomes smaller, our modes of thinking fewer and our perspectives narrower. Even our empathy diminishes.

This is the macro-effect of a society-wide surplus of sameness: We are less adaptable, not only as artists or thinkers, but as a community and a civilization.

In Praise of Peculiarity

I have some very specific, and in some ways peculiar, thoughts about the creative process. Some of my ideas are pretty solid, based on years of personal experience.  Some are nascent and emerging and subject to change. And most of them are still so tiny and tentative I probably haven’t noticed them yet.

I would never say that any of my ideas are the one way to do it — even for myself.

I delight in coming across ideas that point in an entirely different direction from my own.  I think, “Wow, that actually works for that person? I wonder why?”  Part of it is natural skepticism, but it is mostly curiosity.  We are all so different, and the more insights I’ve sought into the ways we perceive and process and think and work, the more nuance I find.

Peculiarity is Incalculable

To twist a cliché, creativity isn’t rocket science. And by that I mean that it isn’t a process that works by mathematical rules, according to testable concepts, with repeatable results.

There’s not one way to do it. There is no orthodoxy.

Creativity and art are natural heterodoxies, systems that encourage a flourishing divergence of thought.

One of culture’s most important functions is to serve as a repository for stories, perspectives and experiences. It is a storehouse which we can visit when we seek beauty or meaning, or encounter difficulty — both personal and societal. The more similar the ideas in that storehouse, the fewer our resources. The less diverse our models of what it means to be human, the fewer solutions we have to apply to emerging and present challenges. We are poorer.

This is why creative diversity and cultural richness matter.

Instead of techniques that generate a surplus of similar ideas, we need techniques and approaches that give us a diversity of ideas.

We don’t need questions that suggest similar answers: we need techniques and formulas and patterns and attitudes that yield an ever-changing series of new questions.

Related: This article is part of a series on creative surplus.

{ 1 comment }

Disposable Culture

by Matt Blair on April 29, 2009

in Meaning,Perception,Publishing

As I was working on the next piece in the surplus series, I found the following quote in an article by Michael Pollan:

“But even with more than half of the 10 billion bushels of corn produced annually being fed to animals, there is plenty left over. So companies like A.D.M., Cargill and ConAgra have figured ingenious new ways to dispose of it, turning it into everything from ethanol to Vitamin C and biodegradable plastics.”

I’m highlighting other aspects of the quote in my next post, but in this one, the word I want to point out is dispose.

If you are a hungry person, corn has intrinsic value. It has nutrition, and your hunger is telling you that you need nutrition. Corn doesn’t lose value and become something that a society needs to “dispose of” until there is far more supply than demand.

Faith -- by The Cure

Faith -- by The Cure

I was recently going through old records (the musical kind, not the financial statement-kind) that I have in storage, thinking about selling some of them. The Cure’s “Faith” came out in 1981, and though it is still one of my favorite records, I don’t necessarily need the physical object in my house anymore.

It’s old enough that I figured a collector might be interested in it, until my thumb felt something at the lower right corner of the sleeve: a precise cut, about 1 cm into the cardboard.

It had been remaindered before I bought it.

You’ve probably encountered cassettes or CDs or DVDs that have a cut in the plastic container, or books that have ink from a marker across the bottom of the pages, and are selling for a third of the original price.

Remaindered Books

Remaindered Books

At some moment in the past, there were 20,000 too many units sitting in someone’s warehouse.  Their solution? Mark it down, and sell it off as cultural scrap. It was an inventory management decision, a change in accounting status at a particular time in the life of that physical expression of an idea.

Such intentional damage is a minor humiliation compared to the common practice in the book publishing world of pulping unsold copies.

Price and Value

Physical surplus makes culture seem cheap.  It creates an illusion of valuelessness.

The price of a particular cultural product is only a comment on that product at a specific moment, and not an indicator of the real value of the ideas the product conveys.

Not long after the vibrations caused by vinyl grooves have been dutifully transcribed by iTunes and saved on my phone, I won’t remember that the sleeve of that Cure album was cut — that someone somewhere years ago thought it was only worth half of what it was the day before.

As I listen, I’ll remember what it has always meant to me, regardless of scarcity or surplus.

Price is often a false or ephemeral indicator of  true, long-term value.

Want a more corporeal example?

Paper is relatively cheap.  Paper masks are relatively cheap.  What is the value of a paper mask that keeps someone from getting sick?

Related: This article is part of a series on creative surplus.

{ 0 comments }

I’ve been mulling over Zoë Westhof’s recent post Midnight Blogging from the Bathroom: Do We Have to Choose?

Here is her framing of her key question:

“The dilemma it leads me to is this: I cannot decide if I want to devote myself to supporting creative endeavors or to supporting deep-rooted social issues. When it comes down to it, I adore giving my attention to both. So my question is this: Do we have to choose?

Should we be creative, or should we save the world?

What if the only way to save the world is to be more creative?

The Big Problems

The most profound problems we face as a global society are complex, hard-to-understand, and require ‘non-linear’ solutions. Small solutions fail as we scale them up to the size of the need.

For example, how do I reduce my carbon footprint? I know how to do that. How do we get nation-states to do the same in a coordinated and effective way? That’s hard.

How do we prevent one pregnant HIV-positive mother from passing the virus on to her child? We know the answer to that. How do we prevent 20 million mothers in the next five years from passing the virus on to their children? We don’t know the answers to that yet — financially, socially or logistically. It’s still too big for us.

We can make big problems little through cooperation, attrition and persistence, but sustaining those efforts requires creative and non-linear approaches.

Personal Choices

In a sense, this question of choosing is a personal version of a classic political question: how can a society spend a cent on space exploration or some other long-term investment when there is a single person hungry?

It is a moral riddle with many unsatisfactory answers. The most satisfactory answer for me: we invest in basic research in the hope that it will help us learn something that will dramatically reduce hunger in the future, and we balance that with what we can do to help our fellow citizens today, in this moment.

When we make this societal dilemma personal, when we place the goal of long-term progress on one shoulder, and instant relief on the other, we may wilt under the pressure, and not achieve either one. While a sense of duty and obligation can be motivating, and keep us from inertia and apathy, too much can tear us apart.

Choosing is excruciating for the curious mind. There is so much to know, so much to learn, so much that needs to be done.

Do we personally have to choose?  In a given moment, for a specific period of time, I think the answer is yes. There is no reason you can’t lean from one side to the other over your lifetime, as your skills and opportunities allow.  But in terms of effectiveness, if you constantly feel the tug of all the other undone things, will you be able to do your best work in a particular moment?

Do we want a scientist, on the verge of a breakthrough in discovering an HIV vaccine, to feel an obligation to stop researching, leave the lab and spend a month working in a soup kitchen? And do we want someone who genuinely enjoys running a soup kitchen to leave that critical job to study biology so that they might know enough to do vaccine research in five or ten years, even if they don’t feel they have an aptitude for it?

This dilemma is a variation of the ‘too many ideas’ theme I started exploring in my last post. In this case, the problem is too many worthwhile projects and needs. I’ll be returning to the exploration of ‘too many ideas’ in the next few posts. I wanted to respond to Zoë’s post first, while it was fresh in my mind.

Your Role

We each have a role to play. Creative exploration can help us find it.

What if your role in solving a particular problem is not navigating the complexities of international law, but helping a legal expert think more creatively?

If you are writing about the creative process, maybe there is a lawyer somewhere reading your work, and it gives her a new insight into how to approach a tricky human rights advocacy issue? Would that make your writing human rights-focused, or still ‘just’ creative? Maybe it is both?

You can’t know the effect of the ideas you share. You can do your best to craft your ideas, and share them widely.

Sowing Seeds

For the past few years, Mercy Corps has used a quote by Gandhi: “Be the change you want to see in the world.”

I’d like to suggest a slightly altered version: Seed the change you want to see in the world.

To me, the verb ‘be’ implies an immediate and localized effect: by embodying our values, we change those around us, who, in turn, change those around them.

The word ‘seed’ reminds us that results take time. Different seeds take root in different seasons. We don’t have to limit ourselves to one kind of seed. When we fling the seeds of our ideas far and wide, they can spread beyond our reach, out of our sight.

We cultivate those seeds, whatever they may be, because that’s what we do best.

And we sow the seeds of our beliefs, with no assurances we’ll be there for the reaping.

Related: This article is part of a series on creative surplus.

Update: A hat-tip to Sunday Oliver for pointing out the difficulty of ‘sewing’ seeds, and reminding me the correct spelling is ‘sowing’ seeds. I tend to think aurally, and the homophones always trip me up. (And yes, I did mean aurally, and not its homophone orally!)

{ 3 comments }

Reconsidering Wealth

by Matt Blair on March 20, 2009

in Meaning,Perception,Senses

I was traveling through Europe during the financial crisis of 1998. While it was not the kind of crisis that was obvious on the streets of western Europe, there were stories here and there of how the froth of the markets — especially the currency markets — had spilled into every day life.

In Helsinki, I met a German motorcyclist who was making plans to return home by ferry.  He’d made it through Poland, the Baltics and Russia, but with great difficulty: he couldn’t get any hard currency out of the banks at all during the last half of his trip, though everyone wanted to hand him rubles — as many as he could take.  But no one would accept rubles from him, a non-Russian.  Dollars, they told him.  Deutsche marks.  British pounds.  You’re a foreigner, went the implied argument.  You must have some real money.

He did, back in Germany. But the numbers in that account didn’t matter to a local bank in Latvia.  They had no dollars or Deutsche marks to give. No one was willing to translate those distant numbers into a fungible, functional currency, though they were eager to give him all the local paper he could carry.

He told me of the relief he felt crossing into Finland, inserting his bank card into a machine, and watching it proceed with the transaction, as though nothing unusual was going on. The alchemy of the ATM seemed like a small miracle. The numbers in his account in Germany could be made real again, translated into paper that meant something, no questions asked or explanations needed.

A few weeks later, I was in Paris, and pensive photos of Bill Clinton had pushed the financial crisis to the inside pages of the newspaper.

As I reached the top of one of the towers of the Notre Dame cathedral, my eyes moved upward to look out over the city, and stopped at a newspaper resting on the ledge. It had been carefully folded to the section with stock quotes. Given the climate, I immediately began to imagine some poor soul who had read it one last time, then set it aside before jumping. I hadn’t heard murmurs of anything like that, so maybe this paper’s reader had the sense to set it down and walk away, life intact, regardless of financial status.

I hadn’t followed any details of how the crisis was affecting America at all during my travels. I had limited access to the internet, a very small amount of money invested, and there was just too much to see to be bothered or worried. But curiosity got the better of me. On closer inspection, without even turning the page, I noticed one of the minor tech stocks I owned: it had lost more than half its value since I had landed at Heathrow ten weeks earlier. I shrugged — not because I didn’t care. I shrugged, as my eyes looked out across the city again, because I was in Paris.

I slowly walked back to the youth hostel where I was staying for the week. It was autumn, and I wanted to change into warmer clothes before a night of wandering.

Returning downstairs, I noticed two of my roommates sitting at the bar, in a cloud of smoke and gloom. They were paying 12 francs each for bottles of Kronenbourg beer, and I counted at least six empties on the table in front of them. (This was before paper Euros, and 12 francs was about US$2 at that time.) I walked over for a chat, and before I’d finished my hello, one of them said “We’re so broke, and everything costs.”

This was actually a decent youth hostel, one of the better ones I stayed in during that trip. It was not as though they had been subject to the kind of humiliating delousing described in Orwell’s Down and Out in Paris and London or were shriveled by hunger with nothing but murky water and days-old bread to eat. They had blown through more francs in beer in one afternoon than I had spent on food and drink in two days. And still they thought themselves poor.

The places we go, the books we read, the films we see, the ideas that excite us, the culture we share, the beauty we perceive, the friends we make, the people we care for, and who care for us — that’s wealth. Some of these require money, and some don’t. But they all add to the richness of life.

Earlier that afternoon, I’d had a late lunch, sitting in the sun, on the tip of the Île de la Cité, as the Seine seemed to flow all around me. I had a loaf of fresh bread, still warm from the oven, that cost me three and a half francs, and a large bottle of Volvic water, which cost me two francs at a small grocery store in a neighborhood I’d meandered through earlier.

Bread and water — the old stereotype of prison food? Not on that day, in this spot:


View Larger Map

I’d had a great day. I’d go so far as to say intoxicating. This couple had spent at least twelve times the amount of money I had spent, getting drunk and bemoaning their poverty, staring at the wall of a dark lobby in the city of lights. Their mindset was costing them more than anything else, because it prevented them from seeing the the beauty and potential all around them.

They asked me to join them at the bar, and I just smiled, politely declined and walked out.  At that moment, it didn’t matter how many francs or centimes were in my pocket, or how many numbers were attached to other numbers in a data center on the other side of the world.

I had a whole city to see, and so many of the best parts were free.

{ 0 comments }

Fluxional

by Matt Blair on March 5, 2009

in Meaning,Quotes

“But the quality of the imagination is to flow, and not to freeze. The poet did not stop at the color or the form, but read their meaning; neither may he rest in this meaning, but he makes the same objects exponents of his new thought. Here is the difference betwixt the poet and the mystic, that the last nails a symbol to one sense, which was a true sense for a moment, but soon becomes old and false. For all symbols are fluxional; all language is vehicular and transitive, and is good, as ferries and horses are, for conveyance, not as farms and houses are, for homestead.”

from The Poet by Ralph Waldo Emerson

{ 0 comments }