Wisdom, Your Name is Sir Ken Robinson

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Posted on 25th June 2010 by Race Bannon in creativity

As readers of this blog know, TED is my favorite website. I’ve sent my readers to that site to view many of the short talks given by some of the world’s most brilliant and inspiring people.

Well, now I’m sending you to one of their blog postings. It’s the first in TED’s series of community-driven question and answer sessions with notable people. The first notable person to whom they pose questions is creativity expert Sir Ken Robinson.

Sir Ken Robinson is the author of one of my favorite books, The Element: How Finding Your Passion Changes Everything. I find Mr. Robinson quite inspiring and I hope you do too.

8 Ways To Bring Your Creative Passions to Work

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Posted on 22nd June 2010 by Mike Brown in Communication |Featured |Lifestyle |career |creativity |personal-development |planning |stress


A “creative” person I worked with at a “trucking company” developed a reputation as frustrated  and bitter over her 30-year career. At her retirement, I inquired about her plans, particularly since she was relatively young. Asking if she hoped to create more art since she was now freed from cranking out corporate brochures, she told me, “No.” Instead, she was going to work at a garden center, since she loved plants and being outdoors.

While her answer was startling, the next time I saw her confirmed the impact this life change made. She was barely recognizable! Her long white hair was cut short and stylishly, she was tanned, and had a huge smile you couldn’t wipe off her face.  All this, a result of finally expressing her creativity as she truly enjoyed.

Makes you wonder why, if your creative passions involved the outdoors and plants, you’d sit in a cube for 30 years working on sales collateral while your bitterness festered? Maybe she felt stuck because she didn’t think a garden center job would pay enough. Yet surely, there were other alternatives.

Many people find themselves in similar situations. You have creative pursuits you enjoy OUTSIDE work, but can’t imagine incorporating them into your day job to make it more enjoyable. If you feel that’s your situation, it doesn’t have to be. Using my “graphic artist in a decidedly non-creative trucking company friend” (let’s call her Betty) as an example, here are 8 ways to incorporate your creative passions into your job:

1. Don’t complain about your situation. Start figuring out how to adapt it.

Betty was all about complaining, which stopped people from wanting to work with her in new, creative ways. Instead of griping, invest your energy in thinking strategically about how you could adapt your work to be more creative. What co-workers, customers, situations, projects, programs, products, and critical business needs might be waiting to incorporate the creative skills you’re truly passionate about using?

2. Map out how your interests could tie to your job.

Step back to generalize and innovate on how your creative passion could connect to your current company’s business. This will start creating potential hooks you can use to attach your passion to your job. In Betty’s case, working with plants at a garden center could be generalized to cultivating and growing things, design, customer interaction, outdoor settings, etc. Once you’ve moved from “working in a garden center” to “what happens at a garden center,” you have the seeds (pun intended) to plant in your regular job for new sources of creativity to spring up.

3. Do some thinking on your own to imagine hidden opportunities.

After thinking about your outside passion, consider your company and where it might need the same talents, experiences, and results related to your creativity. In the trucking company example, Betty’s list could have included: landscaping around our headquarters, design and planning for field facilities, plants in offices and common areas inside our building, sprucing up corporate meetings and conferences, and employees’ club fund raising projects and events. Any of these (and more) could easily have components tied to gardening and design.

4. Put your interests into the language of business.

When trying to introduce creativity, you’ll hit brick walls if you talk in the language of your creative passion. If Betty walked in and announced, “I want to work with flowers here at the trucking company,” her ideas would have been dead on arrival. Instead, consider the language you can use to express your interests. Betty could have used vocabulary related to events and facilities to initiate conversations.

5. Find like minded people.

Ask others about their outside creative interests: “What do you like to do for fun? How do you express yourself creatively?” If the company is of any size and your creative interests are anywhere near the mainstream, you’ll likely discover others who share your passions. Learn what ideas they may have and how they react to your possibilities for bringing your creativity more squarely into the workplace.

6. Volunteer for smart opportunities even if they’re out of the spotlight.

Start expending energy to insert yourself into smart opportunities you’ve identified. In Betty’s case, the first stop should have been the company employees’ club since it offered opportunities to help plan a summer get together (being outdoors), coordinate a holiday party (floral design and decoration), sponsor fund raisers (a plant sale), and at one time, send floral arrangements to hospitalized employees (direct interaction w/ florists). While Betty’s is a specific instance, the same concept applies for you. Map out and implement the plan to seize opportunities (even if they’re small ones) and increase your workplace creativity.

7. Begin doing even more.

Once you start to get a reputation for contributing successfully in innovative ways, the word will spread, and new opportunities will surface. In our company, we ultimately started sponsoring major events for hundreds of customers – both meetings and NASCAR events. New and enhanced creative approaches were always desirable and could certainly have included floral design as an element. Since no one wanted to work with Betty, however, she was never asked to participate. Being able to realize those first small successes, however, can lead to new opportunities to do even more creatively.

8. If it’s not working, don’t stick around and be miserable.

Betty chose to stay 30 years making herself and those around her miserable. If you try this approach, and for whatever reasons it doesn’t work in your particular company, look for another job rather than fuming. In a similar situation, our neighbor was a nurse who also wanted to work at a garden center. One day, she quit her nursing job and made the switch. The garden center only paid about 1/3 of what nursing did, so after a few years of blissful work at a garden center, she went back into another area of nursing. Not only does she have the memories to sustain her, she still works part-time at the garden place, keeps in touch with friends she made, and always knows she can make the switch again in the future. She’s happy, not miserable, realizing she has options.

I used these tips in the same not particularly creative company as Betty to uncover ways to introduce my love for art, music, and speaking into my job to make it much more fulfilling. While it wasn’t always exactly how I wanted things to be, it was so much better than never being able to exercise my creative passions. Whether you try just one tip or use them in sequence as a personal success plan, make sure you get started today!

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Mike Brown leads The Brainzooming Group, helping organizations succeed more rapidly by expanding their strategic options and efficiently implementing innovative plans. He authors the Brainzooming™ blog, shares innovation ideas on Twitter, and wrote the ebook “Taking the NO Out of InNOvation.” He's also a frequent keynote presenter.

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How to Tell a Funny Joke

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Posted on 8th April 2010 by Hulbert Lee in Communication |Featured |creativity |howto |learning


“The human race has only one effective weapon, and that is laughter.” -Mark Twain

If you want to impress somebody, make them laugh. If you want to connect with someone new, make them laugh. If you want to get a raise from your boss, make him laugh. If you want to take yourself out of a completely miserable situation, make yourself laugh. And if you want to change the world, make the world laugh. What’s the easiest way to make someone laugh? Tell a joke.

Some people are good at telling jokes, but have no idea how the jokes come out of their mouths. These people are naturally funny. But if you are not one of these people or have always had a problem with being funny, don’t sweat. Understand that all jokes have a formula behind them that makes them funny; otherwise, it’s not funny and that’s not a joke. Here are the ingredients to tell a joke. I’ll walk you through it step-by-step.

The Anatomy of a Joke and Its Formula

1. Target. Every joke begins with a target, and it can be targeting anything – people, places, ideas, etc. The most important thing to remember here is to relate the target to the person or people you’re telling the joke to, so they won’t be offended. For example, if you were telling a joke to your friends about your wife, you’re friends are going to laugh with you because they can relate. But if you were to tell that same joke to your wife, she’s not going to crack a smile. She’ll just slowly stare you down while you slowly tiptoe out of the room.

2. Hostility. I know some people are going to cringe at this, but the truth is jokes aren’t always “nice”. The essence of a joke is usually going against an idea or a type of person, but because the joke is funny (if you can pull it off the right way), it usually loosens the tension and eradicates all hostile feelings at the end. If you don’t get this, ask yourself if you have ever heard of a joke that was between two perfectly happy people? Take a look at these examples and see if you can pinpoint the target and who the joke is making fun of.

  • “Artificial hearts are nothing new. Politicians have had them for years.” -Mack McGinnis
  • “My wife said that her wildest sexual fantasy would be if I got my own apartment. -Rodney Dangerfield

3. Realism. Jokes aren’t funny unless there is some truth in them. You can’t just go in and start telling something ridiculous because first of all, the audience won’t be able to relate to it and secondly, you won’t get a chance to surprise them. Humor is a paradox. It’s funny because you’re juxtaposing the reasonable next to the unreasonable. If you don’t understand this, just remember that the more you can start a joke in a serious, casual way, the higher the payoff will be towards the end. For example, imagine if somebody with a straight face walked up to you and said:

  • “If you think the world is normal, why do hot dogs come in packages of ten and hot dog buns come in packages of eight?”

4. Exaggeration. If you have a realistic setup from the previous step, then the next step is to exaggerate the second part of the joke. You want to make it “just a little bit more” out there than what human beings expect. The more you can exaggerate it but not completely ruin it by not saying something that’s completely unrelated or random at the end, the funnier it will be. In essence, could you exaggerate the joke as far as you can and yet make it still believable at the same time?

  • “You know, it was pretty hot yesterday. I saw a dog chasing after a cat, and they were both walking.”

5. Emotion. Why do human beings laugh? Biologically speaking, it is because there is a release in our emotions. That’s why this step is so crucial. For any joke to be hilarious –
I mean out-of-this-room hilarious – you to learn how build up anticipation. You want to person or group of people you’re telling the joke to feel like what’s coming next? You want to keep them guessing, on their toes, biting their nails, and leaning over their seat waiting for an answer that they will expect to hear. Here are some ways to create anticipation.

  • The Pause

“Take my wife – please!” -Henny Youngman

  • The Question

“Okay class. Calm down. Who wants to hear the latest dope?”

(Class cheers)

“Well, well, well… Here I am.”

6. Surprise. Alright so we’ve come to the last step of the joke and perhaps the most vital one and that is the surprise. No surprise, no joke. When you go through steps 1 through 5, your audience or whoever you’re telling the joke to is going to expect something. So what do you do? Give them the unexpected. Imagine if a pitcher threw a ball and right before the batter hits it, it curves, and then flies out of the ball park. It’s sort of like that. The more anticipation and the greater the surprise, the funnier the joke, and the greater the laugh.

  • No Surprise

“He may not be able to sing, but he can act pretty well.”

  • Surprise

“He may not be able to sing, and he sure can’t dance either.”

So let’s review again.

Every joke begins with a target. The target can be anything from dogs and cats to lawyers or bosses. Just remember to cater the joke to the right audience. The joke is usually going to be hostile in some way, shape, or form. It’s going to make fun or someone or something, but usually the end result will not even make the joke seem hostile at all. And if you happen to find yourself to be in the position of where you are one of the nicest or kindest people on earth, like me, then you can always slim down the hostility. It’s okay.

After this, the joke needs to start off real – something that people can relate to and tell themselves that what you’re telling them about is real and there’s nothing to worry about. From there you can build up a story through anticipation or tension, and then give them an exaggerated response that has a surprise ending the blows them away. You choose how you want to go about doing this.

“A man and a woman who have never met before find themselves in the same sleeping carriage of a train. After the initial embarrassment, they both manage to get to sleep; the woman on the top bunk, the man on the lower.

In the middle of the night the woman leans over and says, “I’m sorry to bother you but I’m awfully cold and I was wondering if you could possibly pass me another blanket.”

The man leans out, with a glint in his eye, says, “I’ve got a better idea… let’s pretend we’re married.”

“Why not?” giggles the woman.

“Good,” he replies, “Get your own blanket.”

-Pass me another blanket.

Final Thoughts

I’m not even going to begin listing the positive traits that humor gives us which include relieving stress, living longer, feeling healthier, and feeling better about your day. If you can master telling a joke, people will like you and you’ll be able to make connections easily. If anything, life will be a lot less seriously and a lot more fun. Opportunities will come to you if you can be funny and people will be attracted to you as well. So now that I have given you the magical formula for being a jokester, do you have any jokes up your sleeve? Why not share one in the comment section below?

“Laugh at yourself for a man is most comical when he takes himself too seriously.” -Og Mandino

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Hulbert Lee writes an inspiration blog at From Bottom Up. The people he writes about include famous entrepreneurs, famous celebrities, and famous leaders. If there's one message that these people can offer, he wants to deliver that message to his readers to inspire them and to help them succeed in life. Visit his blog here.

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Change Your Focus For Better Results

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Posted on 11th March 2010 by Craig Harper in Communication |creativity |learning


In some of my workshops, I run a short activity which provides the audience members with an immediate and practical example of how and where we focus our attention and energy – and the potential consequences. It’s a pretty simple process used by plenty of facilitators.

How it works:

I ask my audience to spend sixty seconds looking around the room and to take note of everything that’s red. Any shade of red will do. Crimson. Fire-engine red. Burgundy. Maroon (are they the same?). If I’m feeling generous, I’ll even allow hot pink. I then tell them to commit as many red things to memory as possible. I tell them not to over-think the process, not to try to figure out the point of the exercise (and thereby miss out on the benefit), not to talk to anyone else, not to write anything down and to use whatever memory or recall method they feel will give them the best result. That is, optimal retention.

Turning Cogs

For sixty seconds there is total silence. An intense silence – if that’s possible. I can almost hear the cogs turning and the competitive juices flowing as each person scans the room frantically trying to absorb and remember as much (relevant) information as possible. Talk about focus – sometimes it’s as though they’re looking into the face of a loved one for the last time.

At the end of the allocated time I ask the group to keep their eyes closed. I then ask them a whole bunch of irrelevant and (seemingly) pointless questions for about two minutes. At this stage, the quantity and quality of their responses (to my questions) is pretty underwhelming as (1) their eyes are still closed and (2) they are desperately trying to retain the required information (the red stuff in the room) and to dispense with my stupid and annoying questions without being too distracted from their mental list.

But You Said….

Just when they’re about to storm the stage and punch me in the head, I ask them if they’re ready to share their memorised list with me. I place myself in front of a whiteboard with a marker in hand and say, “okay, keep your eyes closed and give me a list of everything in this room that’s… brown.”

At this point, I can literally sense the frustration in the room.

“But you said red?”
“I know, but now I want the brown list – keep your eyes closed.”
“That’s not fair.”
“Life’s like that.”

Over the course of a few minutes, with all eyes still closed, the group begins to shift its focus and to review the room (in their mind’s eye) in a different way. Typically, most people will recall less than a quarter of the brown things in the room while being able to recall almost one hundred percent of the red.

“But you all studied the room before you closed your eyes”, I tell them.
“Yeah, but we were looking for red, not brown.”

A New Perspective

After a few frustrating minutes, I allow them to open their eyes and to instantly see what they hadn’t before: all things brown. It’s amazing what becomes apparent when we look at the same thing (room, relationship, career, business, opportunity, person, health) with a totally different focus. What was once invisible, becomes immediately apparent. Obvious even. When we shift our attention, we can find gold. We find ourselves with a different level of consciousness and a new appreciation for, and awareness of, what has always been there. In some ways, it’s like we’re opening our eyes for the first time.

This brief activity (looking for red) is a simple, yet effective, one – we find what we’re searching for. When we have a narrow focus (which we often do), we don’t see the entirety of what’s there. The potential. The gifts. The joy. The fun. The good. The opportunity. When we look for bad, we’ll find it. When we expect rejection, we’ll find that too. If we’re constantly searching for problems, we’ll never see the solutions.

Our focus becomes our reality and we wind up creating the very thing (situation, outcome) that we desperately want to avoid.

Sometimes we’re so obsessed with, and fearful of, the bad, we miss out on the considerable good in our world. Sometimes we’re so preoccupied with finding the red things in the room that we don’t notice (enjoy, celebrate, appreciate) any of the other amazing colours. Today I’m encouraging you to consciously take a look at your world through the eyes of optimism, gratitude and greater awareness.

Consciously find the good. It’s there.

So now it’s your turn to share a thought, idea, story or experience relating to this post… and yes, even you Newbies. Have you ever shifted your focus to shift your reality? Tell us about it.

Craig Harper (B.Ex.Sci.) is a qualified exercise scientist, author, columnist, radio presenter, television host, motivational speaker and university lecturer. For the past 25 years he has been a leading presenter, educator, motivator and commentator in the areas of personal and professional development. You can visit Craig's blog at Motivational Speaker.FREE eBook – So… You’ve Decided to Get in Shape (Again) Craig's FREE eBook takes 20 – 30 minutes to read, and addresses the REAL getting-in-shape issues based on his 25 years of experience. To get Craig’s FREE eBook click here, weight loss books.

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9 Ways To Handle Interruptions Like A Pro

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Posted on 8th March 2010 by Seth Simonds in Featured |Productivity |creativity |howto |personal-development


9 Ways To Handle Interruptions Like A Pro

Are you easily distracted? I bet you are. If I told you this link led to a list of funny pics of deranged kittens, you’d likely click through and quickly forget our conversation.

That won’t happen this time!

Interruptions do the most damage when we allow their appearance to affect us long after we’ve returned to our initial task. This can happen for a few reasons:

  • We treat any break in our work flow like it’s a fracture in the final product.
  • We resent our seeming inability to avoid distractions and end up treating their appearance as a personal weakness.
  • We view distractions as a change in our journey instead of just another bend in the river.

What can you do about it?

1. Embrace Your Fear

You are not, contrary to what your mother may have told you, different from the rest of us. We all get distracted. We all get annoyed when a productive moment is interrupted. We all get fed up when scheduled events don’t go as planned. If you allow trepidation to sneak into your mind at the prospect of distractions, you’ll cripple your productive abilities.

Fearing distractions also fosters resentment against the ones doing the distracting. Recognize that you will be distracted sometimes and accept those distractions as opportunities to improve. You can’t stop distractions but you can keep them from taking over your day. This is your time!

2. Plan For Interruptions

Effective planning is a cornerstone of the productive lifestyle. Planning for interruptions might seem impossible. Does it to you? Here’s an easy visualization that will help you get started with your planning:

Start each work session by drawing a few squares on a small piece of scrap paper. These represent distractions that will almost certainly pop up. As you encounter and conquer distractions, put a check mark in the appropriate box. After awhile you’ll be able to do this in your head. Sounds easy, right? An expected distraction has no power over your day. You still have control.

3. Delegate And Postpone

Once you’ve identified an interruption as something that needs attention and not just a nascent longing to goof off, try to postpone your involvement. The brute way of doing this is to shout out, “I don’t have time right now. Don’t bother me!”

The classy option is a bit more involved. Take a moment to understand what the distraction involves. Is somebody dying? Is there a deadline you’ve forgotten? Is there a networking opportunity here? If it turns out that you’re not facing an emergency, postpone your involvement and delegate as much of the detail work to somebody with available resources.

4. Attack Procrastination

It’s safe to say that most of us welcome far more distractions than we should. Why? Because we’re chronic procrastinators and distractions offer us a way to slack off without being overtly lazy. The simplest way to attack procrastination is to synthesize urgency with truncated deadlines. If it normally takes you 3 hours to do something, hit the bathroom, grab a glass of water, set a timer for 90 minutes, and tear into your work! This won’t work for every project but it’s a lot of fun when it does!

5. Split Your Day Into Targets

Distractions are most dangerous to the person working without short-term goals. You can keep yourself out of the danger zone by setting targets throughout your day. You’ll probably only need to do this for tasks you really don’t want to complete. For example:

  1. Send uncomfortable email by 9am
  2. Complete meeting agenda by 12pm
  3. Say pleasant thing to annoying boss by 2pm

The power in this process is that you now have time-sensitive targets to steer toward once you’ve escaped distractions. That 8:45am phone conversation that might have gone on for an hour? Nixed by the email deadline. Crops dying on Farmville at 11am? Overruled by the meeting agenda!

6. Limit Inputs

The more you limit channels people can use to distract you, the less likely it is that you’ll be distracted. It takes strength of character to ignore social media and your ever-friendly smartphone. It takes trust in the people who work for you to step away from the rush of business and crunch numbers in the back room. It’s hard to disconnect because we often feel a tinge of irrelevance when we step out of the rush.

Do it. Your results will be proof that it was worth the effort.

7. Batch Outputs

Responding to emails in batches and scheduling a block of time to make phone calls can seem like a dreary way to do business but it’s a highly effective way to keep distractions at arms length. Batching is even more effective in minimizing the collateral damage caused by Twitter and other social networks if you jump in without a set time frame.

To get started, make a list of the things you must do every day to maintain good communication in your business and throughout your social networks. Give each tool or action it’s own time slot and allow a bit of margin at the end. You won’t get the momentary social high of constant real-time interactions but the long-term benefits will make up for your loss.

8. Communicate Your Schedule To Others

When it comes to managing people-based distractions, communication is key. Need to finish a project? Let the people in your work group know that you’ll be off-limits until a certain time. Trying to finish a freelance project in a houseful of kids? Let them know that unless somebody is dying or the house is burning down, you’ll murder a kitten if they interrupt you.

Obviously, if you haven’t taken the time to create a realistic schedule for yourself, sharing that schedule won’t help as much.

9. Begin With The Main Point

When you encounter a distraction, get to the heart of it immediately. Your “get to the point” style may go over badly with some people who prefer to give back story before sharing their main point. Apologize for any possible rudeness and ask for the main point anyway.

Once you know the main point you can ask for supporting information and make a smart decision about what to do before getting back to work.

Getting back to work is what you were about to do, wasn’t it?

If you’ve found a particular tip or trick helpful in your quest to beat distractions, I hope you’ll take a moment to share it!

Opportunity is missed by most people because it is dressed in overalls and looks like work. ~Thomas Edison

Seth Simonds is an editor here at Lifehack.org. Get even more tips by following Lifehack on Twitter or subscribing via RSS.

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I'm an editor here at Stepcase Lifehack. I know the value of long walks, good books, joyful repartee, and a well-made martini. Say hello in the comments here, find me on my blog or hit me up for a follow on Twitter.

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On “The Substance of Style”

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Posted on 3rd March 2010 by Art Carden in Featured |Management |creativity |fashion |innovation


  • Review of Virginia Postrel, The Substance of Style (2004, Harper Perennial, Paperback)

Virginia Postrel’s The Substance of Style is a book I’ve been meaning to read for a long time.  Postrel has a rare combination of talents: her writing is fluid, vivid, and memorable, her writing is informed by careful economic reasoning, and despite her expertise she doesn’t assume that her aesthetic and cultural choices are self-evidently better than anyone else’s.  In a quote from a review in The Guardian in the inside cover of the paperback edition, Steven Pinker writes: “In this delightful book, Virginia Postrel invents a new kind of social criticism, one that is economically literate, brimming with psychological insight, and deeply resepctful of ordinary people.”  Pinker’s assessment is accurate.  For people interested in design, aesthetics, and social change very broadly, The Substance of Style takes its place next to her earlier The Future and Its Enemies as a must-read.

The Substance of Style coverPostrel makes several contributions.  First, her discussion of what she calls “the aesthetic imperative” attacks aesthetic and cultural elitism on every margin.  She engages both those who think that style and fashion are superficial and unnecessary, and she engages those who think that the unwashed masses are making incorrect aesthetic decisions.  Second, she argues that even though they are increasing in importance, aesthetic values are not reflected in conventional measures of living standards.  Finally, she shows that there isn’t really a tradeoff between substance and style.  If you’re familiar with a cliche about selling “the sizzle, not the steak,” as aesthetics get progressively more important the sizzle becomes an integrally important part of the steak-eating experience.

Postrel hooks the reader almost immediately with a discussion of the sudden change that occurred in Afghanistan after the Taliban fell:

Afghan men lined up at barbershops to have their beards shaved off.  Women painted their nails with once-forbidden polish.  Formerly clandestine beatuy salons opened in prominent locations.  Men traded postcards of beautiful Indian movie stars, and thronged to buy imported TVs, VCRs, and videotapes.  Even burka merchants diversified their wares, adding colors like brown, peach, and green to the blue and off-white dictated by the Taliban’s whip-wielding virtue police.  Freed to travel to city markets, village women demanded better fabric, finer embroidery, and more variety in their traditional garments. (p. ix)

Throughout the book, Postrel revisits this theme and argues that, contrary to the claim that style is a ruse cooked up by manipulative advertisers, it actually touches a deep and fundamental human appreciation for beauty.  Simply put, people value pleasant aesthetic experiences as such.  If you need a cosmic justification, consider what it says about our ability to cooperate for the production of truly beautiful things.  The writer of Proverbs asked the sluggard to consider the ant.  I ask the elitist to consider the iPod, which combines incredible functionality with beauty that is difficult to articulate.  The iPod is the product of countless hours of effort among countless people.  They cooperated to produce something that is visually stunning and that allows you to carry the great artistic achievements of humankind in your pocket.

There are important takeaway points for critics, entrepreneurs, and managers. For critics, Postrel’s book draws on classical liberal and libertarian respect for people with self-evident and inalienable rights rather than as members of a churning mass waiting to be managed by moral, intellectual, and aesthetic elites (see the quote from Steven Pinker, above).  She disputes the claim that fashion and style are only about status.  Through a number of examples, she argues that while people try to keep up with the Joneses on some margins, a more plausible explanation is that people actually value aesthetic pleasures.

The Viking Range, for example, which some critics denigrate as a wasteful status symbol, is considered by some to be an aesthetic addition to the kitchen.  Some buy them for the same reason they buy artwork (p. 76).  Is it to my taste?  Not really, but the fact that I’m an economist should tell you everything you need to know about my fashion sense.  My disagreement with and puzzlement about others’ aesthetic choices is an invitation for me to practice a little humility and maybe see if I can learn something.  My confusion isn’t a license to exercise veto power over others’ choices.

Postrel emphasizes again and again that “People are different” (cf. pp. 150-152, emphasis in original).  In a recent episode of The Simpsons, Marge criticized the new “ultimate punching” MMA fad by saying “call me a killjoy, but I think that because this is not to my taste, no one else should be able to enjoy it.”  Unfortunately, this is exactly the sentiment a lot of critics express when the call for design restrictions that (for example) prevent people from building houses certain ways.

The takeaway point for entrepreneurs and managers is that they ignore the aesthetic imperative at their peril.  Style and beauty aren’t superficial.  They are yet another margin on which people create meaningful value. You can serve great food, but the quality of the food itself is only one aspect of what people want when they go to restaurants.  Businesspeople who forget that the aesthetic imperative matters can manage their businesses into bankruptcy (pp. 164-165).

And so we return to Steven Pinker’s assessment.  The Substance of Style helps us think about individual decisions and social problems in new ways.  This is a book that is seven years old but that has aged well: if anything, it is more relevant now than it was then.

Art Carden is Assistant Professor of Economics and Business at Rhodes College in Memphis, Tennessee and an Adjunct Fellow with the Oakland, California-based Independent Institute and the Auburn, Alabama-based Ludwig von Mises Institute. His research papers are available on his SSRN Author Page and at ArtCarden.com. His commentaries appear regularly at Mises.org and Forbes.com, and he is a regular contributor to Division of Labour.  His wife Shannon blogs about healthy eating for a young family at No More Nuggets.  Their son Jacob is a source of constant joy, and they look forward to the birth of their daughter Taylor Grace in July.

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Do Your Beliefs Empower You or Limit You?

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Posted on 16th February 2010 by Craig Harper in Lifestyle |belief |certainty |creativity |self-awareness


Do Your Beliefs Empower You or Limit You

What if it Just Ain’t True?

A few years ago one of my friends accidentally discovered that his dad was in fact not his dad at all. Ouch. At twenty seven years of age, he discovered that something he absolutely knew (not thought, hoped, or wished) to be fact, was in reality, not true at all. Let’s just say that his reaction wasn’t a totally positive one. It never occurred to him that his ‘truth’, may in fact, be a big lie. A well-meaning lie (his mum had tried to protect him). A noble lie (is there such a thing?). But a major deception nonetheless.

What if you were to wake up tomorrow and discover that something you’ve believed (thought to be absolute fact) for years, simply wasn’t true? Completely and utterly false. You weren’t even close. How would you feel? Mad? Betrayed? Confused? Stupid? Maybe a little of each? Could it be that some of us hold on to certain beliefs in order to avoid the above feelings? After all, imagine having to unlearn something we’ve believed for decades? That would be quite the mental and emotional challenge, wouldn’t it?

We’ve spoken about beliefs many times here at me-dot-com but today I want to give you a little something to chew on, think about and discuss; if you feel so inspired.

Some questions for you:

  1. Is it possible that you’ve ‘learned’ certain things over the years that are, in fact, false? Is it maybe even likely?
  2. Is it possible that some of your (self-limiting) beliefs are the very things which stop you from fulfilling (or at least, exploring) your potential, making certain decisions, taking chances and possibly finding happiness?
  3. Did you consciously choose and develop your own beliefs, or did you simply adopt ”hand-me-downs” from somebody else? (Many people do this). But Craig, why wouldn’t I believe dad? He knows and I trust him, so his beliefs become mine - consciously or not. Intentionally or not. Besides, I wouldn’t want to offend him would I?
  4. Is it possible that you’ve believed certain things (seen the world in a particular way) for so long that the very thought of questioning some of your long-held beliefs makes you feel (1) uncomfortable, (2) anxious, (3) disloyal, (4) unfaithful, or perhaps even (5) overwhelmed?
  5. Have you ever been coerced, pressured or expected to believe certain things, and because of those imposed beliefs you have been compelled to adhere to certain standards, rules and behaviours? Even though deep down you resented it?
  6. Have you ever felt like questioning certain beliefs (to others) but held your tongue in order to keep the peace and avoid potential confrontation? (Why bother – it will only create problems?).
  7. For the most part, do your beliefs empower you or limit you?

Breaking Free

Sometimes beliefs are like handcuffs or leg irons. They restrict movement, potential, exploration and of course, freedom. Freedom to learn, grow and change. They keep us in the custody of something or someone. You know what I mean.

One of the most liberating, empowering and cathartic things we can do as authors of our own lives is to question our beliefs. Not for the sake of being different, difficult or rebellious, but for the sake of learning who we are, what we are and what we really believe beyond the social conditioning, the weight of expectation, the years of mental and emotional programming and beyond the pressure of group thinking.

After all, our beliefs determine our choices and behaviours (for the most part) and our choices and behaviours determine the kind of results we produce in our world. So why wouldn’t we? Is it time for you to do a little unlearning?

Tell me about what you’ve unlearned lately.

Craig Harper (B.Ex.Sci.) is a qualified exercise scientist, author, columnist, radio presenter, television host, motivational speaker and university lecturer. For the past 25 years he has been a leading presenter, educator, motivator and commentator in the areas of personal and professional development. You can visit Craig's blog at Motivational Speaker.FREE eBook – So… You’ve Decided to Get in Shape (Again) Craig's FREE eBook takes 20 – 30 minutes to read, and addresses the REAL getting-in-shape issues based on his 25 years of experience. To get Craig’s FREE eBook click here, weight loss books.

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How to Kill a Radical Idea

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Posted on 9th February 2010 by Paul Sloane in Featured |Management |creativity |einstein |idea |innovation |radical |rejection |twitter


How to Kill a Radical Idea

Einstein said that all great original ideas at first appear absurd.  This is why it is so easy to dismiss radical suggestions when they surface.  We point out that they are absurd and so miss great opportunities.  How would you react if an unorthodox business idea was presented to you and you could immediately see problems with it?   Imagine that you are the boss in each of these situations:

1.  Spectacles manufacturer in the 1960s

Employee: I think we should investigate a new idea I have heard about called contact lenses.

Boss: How does it work?

Employee: We make prescription lenses that people attach to their eyeballs so that they can see well without spectacles.

Boss: You mean I stick a piece of glass onto my eyeball?

Employee: It could be glass or plastic.

Boss: That is ridiculous.  What if it slipped behind the eye?  What if it damaged the eye?  We could be sued for millions.  No-one is going to want something so dangerous and inconvenient.  Spectacles are safe, cheap and popular.  Let’s focus on doing what we know.

2.  Radio manufacturer in the 1980s

Employee: I read about this guy Trevor Bayliss who has invented a clockwork radio.  It is an interesting idea – do you think we should look at this?

Boss: Don’t be silly.  I heard about this too.  It will never catch on.

Employee: Really?

Boss: Sure.  Let me give you three reasons.  First radios need electricity and the easiest way to get that is through the mains or batteries – that is what consumers and the trade want.  Secondly the radio will have to be really big to contain the winding mechanism.  Third, the radio will suddenly stop in the middle of a programme waiting to be wound up – how annoying will that be?  Customers want convenience – not the bother of stopping to wind up a radio every 10 minutes.

Employee: I guess you are right.

3.  Website entrepreneur in 2000s

Programmer: I have this idea for a new social media site.

Boss: Great.  How does it work?

Programmer: People can make short broadcasts of up to 140 characters.

Boss: 140 characters!  Why restrict them?  Can they add pictures, music and videos?

Programmer: No – it is just a box for 140 characters of text.

Boss: Don’t be silly.  Facebook and Myspace already offer far more than that.  We need something more exciting than a text box.  How about we copy Facebook and add more features?

See how easy it is?  Every day in every organisation bosses are rejecting interesting ideas because the ideas look silly.  How can you overcome this problem?  You train people to ask questions rather than be judgmental.  When somebody comes to you with a bizarre idea do not find fault with it; instead ask questions.  How could we make it work?  What are the benefits for customers if this happened?  Is there a better way to do this?

If you want innovation in your organisation then you must encourage people at all levels to welcome, entertain and explore crazy ideas – they are the ones that can lead to breakthroughs.

Paul Sloane is an author and speaker on leadership, innovation and lateral thinking. His most recent book is The Innovative Leader. He helps organizations improve innovation, creativity and leadership. He is the founder of Destination Innovation. He has written 15 books of lateral thinking puzzles and hosts the lateral puzzles forum.Follow him on Twitter at twitter.com/PaulSloane.

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Nonfiction and Fiction Writing – Worlds Apart

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Posted on 25th January 2010 by Alexandra Levit in Communication |Featured |creativity |fiction |writer |writing


One of my role models is Cory Doctorow.  Cory’s the co-editor of Boing Boing and the author of Little Brother, a teen sci fi adventure set in San Francisco in the near future.

I love Cory because like me, he has about ten jobs, and I admire him because he’s made a successful transition from nonfiction to fiction writing.  You heard it here – this year I’m hoping to publish my YA (young adult) novel, Doubtful Sound.  The book is in editing right now, and here are some things I’ve learned about how writing fiction for teens is different from writing career advice for the over twenty set:

Good fiction writing does not happen on command: When I’m on deadline for a Wall Street Journal piece, I just sit down and write.  It doesn’t matter if I’m not in the mood, I produce anyway, and I’m fortunate in that the quality does not suffer.   For my fiction to be any good, however, I have to feel inspired, and such a feeling is often difficult to pin down.  If I had to earn a living every week based on how many decent fiction paragraphs I could churn out, I would probably starve.

Good fiction writing is an art form: To write my journalism articles, and even my nonfiction books, I follow a strict process that begins with research, continues with interviewing and draft writing, and finishes with one – maybe two – edits.  When my editors provide feedback, it’s usually in the form of nips and tucks.  Novel writing, on the the other hand, involves mixing a pallet of characters, settings, and plot lines.  Sometimes you get lucky and you come across something brilliant, and sometimes it all goes horribly wrong.  And the editing is often done by chainsaw.

An objective style will kill you: My nonfiction editors balk when I insert too much of myself in my material, even when it’s an opinion piece.  My job is to be a non-partisan distributor of information, and I am to do that job as parsimoniously as possible.  As a fiction writer, though, I am expected to possess an artistic style that is unlike anyone else on the planet, and to feel comfortable expressing that style fully.  A removed, unrelatable author and/or narrator is the kiss of death.  This takes some getting used to, and I’m still working at it.

Immersion helps: I write nonfiction pieces on so many different careers and aspects of the business world that if I were to go onsite and experience each and every one for myself, I would never get anything done.  I rely instead on the accounts and experiences of others to make my material true to life.  As a writer of YA fiction, I can’t get away with this.  In order to accurately portray the lives of teens in the early 2000s, I need to be among them.  For this reason, I workshopped my novel at a private school in Chicago among 60 eighth graders.  What I lost in time, I more than made up for in authenticity.

Maybe it’s different for everyone who writes both nonfiction and fiction, but for me, the latter is much, much, more difficult.  Fiction writing is more creative, but you shouldn’t be fooled.  The effort and strategy that go into every strong novel are immense and sometimes overwhelming.  I am humbled to think that someday my book can stand alongside the novels of authors who make it look easy.

Alexandra Levit's goal is to help people find meaningful jobs - quickly and simply - and to succeed beyond measure once they get there. If you're struggling with what to do with your career in the New Year, visit www.newjobnewyou.com for free guidance and resources.

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