oil painting, Risk, Uncategorized

Oil Painting Canadian Geese in Times of U.S. Turmoil

When one is accustomed to watercolor painting, experimenting with oil paints is initially frustrating.  There are a lot of differences and one is that it’s a whole lot messier. There must be a method to your madness too, or the colors will quickly become muddy from careless mixing and intermingling of brushes.  I set myself up with some Gamblin oil paints, which came with a handy 6″ x 12″ wooden panel.  I used this panel as my first surface (seen below). It’s easy to see how (and why) one could spend a lifetime trying to master this. As with watercolor, however, there is a difference between somewhat heavy-handed applications of paint, and a lighter hand.  It’s all going to require a lot more experimenting…

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Illustration: “Canadian Geese on a Fountain”, Oil on 6″ x12″ panel by Black Elephant Blog author (2017)

As to this image, it sprang to mind when I faced off with the blank wooden panel. While out taking a walk recently, I noticed that a nearby fountain is currently undergoing maintenance and our ubiquitous Canadian geese were resting on it in the middle of the lake.  This became my subject.  But remembering what Canadian geese look like proved harder than it should be–given that there are so many in this area that groups of them waddle through parking lots in search of food.  So I went out and looked at them again!

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Illustration:  Trying to make the Canadian geese more realistic!

A “touch up” later and the whole thing got still more complicated; (maybe this is like revising an already unacceptable healthcare bill).  When I start over next time,  I will try to stick with simple shapes, and see what happens.  Anyway, this is welcome distraction from the just-announced “healthcare” bill which, if passed, will cause immense damage to this country, apparently intentionally so!

A brief break from the easel to check the news online… and what do I see?   Video clips of U.S. Capitol Police trying to carry elderly and apparently disabled people out of the halls of the U.S. Capitol…   This is not very positive imagery for the erstwhile “leader of the free world” clearly.   Evidently these people had gathered there at considerable personal effort, in wheelchairs and on canes, to protest the secretly cobbled-together “healthcare” bill that will throw all of them out onto the street.  Here they were being picked up off the floor to be carried out to the street…how symbolic of the new government approach to people in need.  These are exactly the type of people who will be harmed the most if this bill passes, as major insurances companies warned again just today:  The proposed bill will most hurt “74 million low-income, disabled and elderly Americans whose health care coverage through Medicaid” depends on Congress’s next moves.  Right now, their obvious preferred option is to make the rich richer, and let the less fortunate fall through the widening cracks, come what may…  What kind of policy-maker thinks this way?

Ironic that Canadian geese must have determined this is a better place to live when, at least for American people (except for the famous “1 %”), it will become much more difficult in the U.S. in the years ahead. That is, unless we suddenly see an outbreak of forward-thinking readiness to consider the public good  among the people’s elected representatives–thinking that is not much in evidence, tragically.   They cannot connect the dots between the public good and national and global security, obviously.

As I turn back to the easel, I think about what I just saw:  U.S. Senators are embracing a bill that the U.S. President has described as “mean” even as he urges them to pass it without delay. It’s not making America great apparently that is the goal, but making America “mean”?  How could this sort of thinking possibly prepare this great nation for the unprecedented challenges rushing headlong at us, irrespective of our political leanings, in the years just ahead?  Clearly making sense of the news is harder than painting in oils.  I’ll stick with the task at hand…for now.

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Innovation, Uncategorized, Uncertainty

Goodbye to a Tumultuous Year

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Illustration: Watercolor by Black Elephant Blog author (December 2016)

As 2016 winds down, it’s fitting in the quiet week before a New Year to consider the meaning of Black Elephants, Black Swans and the other metaphorical creatures of surprise, such as the boiling frog,  who opened up this blog two years ago this month.  There’s been a lot more attention given to them since then in other venues.  It’s surprising but true.  It’s equally surprising but true that the journey of many artists has, it seems to me, much to offer the rapidly changing world in which we find ourselves today–if we were to want to face up to these creatures of surprise.  This is because artists often try to see beyond the surface impressions to get at the truth of things–that’s what gives art its special meaning to many of us.

One could even say that we live in Black Elephant times if, by that, what we mean is what Thomas Friedman referred to in his op-ed of two years ago, called “Stampeding Black Elephants.”  In that article, he defined the metaphor “Black Elephant” as follows:

 “a cross between “a black swan” (an unlikely, unexpected event with enormous ramifications) and the “elephant in the room” (a problem that is visible to everyone, yet no one still wants to address it) even though we know that one day it will have vast, black-swan-like consequences.”

As I understand it, the phrase (which Friedman picked up from an environmentalist he’d recently met) “Black Elephants” refers to the concept of the uncomfortable, unthinkably unpalatable “elephant in the room” that we would rather not discuss or acknowledge, and therefore–too often–fail to address in time.  (This is also known as the “boiling frog syndrome,” or the “ostrich with its head in the sand,” or the “deer in the headlights” syndrome, etc.)

boiling frog image

Image: Watercolor, gouache, and ink by Black Elephant Blog author (2014)

This concept covers the increasingly (but extraordinarily dangerous) popular tendency to avoid what the accumulated history of knowledge and scientific progress tells us to be true. And so, perhaps it is another “Black Elephant” to observe that these “elephants” may be multiplying right now (paradoxically and quite sadly as their real-life versions dwindle in number due to poaching and encroachment on their natural habitat.)  Facing up to these “elephants” is something that calls for well-honed critical and creative thinking skills–whereby people of all backgrounds including, of course, artists–join forces in shedding new light and creating new possibilities for dealing with the challenges of today in a fact-based way.  This is in fact how mankind has conquered so many diseases that previously killed so many in childhood.  Understanding how innovative breakthroughs occur,and accelerating our society’s capacities for innovation in so many sectors, are right now key to survival on a collective level.

Fortunately there is more awareness of these challenges, as well as our own inherently human desire to ignore them–aided by the fact of more frequent “black elephant” and “black swan” events in the last two years alone.  It turns out this awareness extends well into the suites of CEOS around the world.  I refer in particular to a recent paper, Thinking the Unthinkable: A New Imperative for Leadership in a Digital Age, which I’ll turn to soon.  Last month I had an opportunity to hear the authors brief an audience on their research findings, and found their conclusions compelling enough to include in a revised syllabus for the coming semester of classes.  Interestingly, they too distinguish in their report between “Black Swans” and “Black Elephants”; the creatures of surprise are everywhere!

Black Elephants 1

Illustration: Watercolor, gouache, ink, pencil, gesso, and coffee grounds by Black Elephant Blog author (2014)

But for now with another spring-like day of temperatures in the 60s Fahrenheit, it’s time to be out enjoying the warm December weather, and re-charging our own personal energy reserves for what promises to be a challenging 2017!   Best wishes to all for a joyous New Year!

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Innovation, Risk, Surprise, Uncategorized, Uncertainty, urban sketching

Painting Pan & Avoiding Panic

Painting in the outdoors, or “plein air,” is a popular past-time for artists and great practice for everyone who wants to learn to appreciate their surroundings with new eyes. I am most likely to be found doing this on weekends when I have painting pals who want to be outdoors.  But a few (most, actually) of the people with whom I correspond do not have much time to paint whether in or out of doors, so I thought I’d write a post about what art is teaching me about readiness for the unexpected.

The other day, I found myself in a setting devoted to sustainable gardening and wild meadows where my subject turned out to be a small garden statue of the ancient Greek god of the wilds, fields, and flocks, Pan, with his man-like body and a goat’s hind legs.  The word “panic” is derived, I’ve since learned, from Pan’s name.

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Illustration:  Photo of garden statue of Pan at the River Farm, Alexandria, Virginia

This subject promised to be challenging, especially given changing circumstances. Sunlight vied with overcast skies, changing the shadows on the figure every few minutes.  In addition, a wedding was scheduled for these very grounds in a short time, so planning ahead was of the essence.  First off was a quick sketch to familiarize myself with this scene, and gain some idea of lights and darks.

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Illustration:  Quick sketch in terracotta watercolor pencil by Black Elephant Blog author

Such a sketch can boost confidence for the next step, though it is true that you never know how a sketch is going to turn out and many sketchbooks, like diaries, are private partly for this reason.  Nor, increasingly, do we know what we will face, so sketching (or  a rehearsal or a “scenario”of any kind) is a way to increase our readiness for the unexpected, a subject that received more attention in the early days of this blog.

Seeing Things Differently and Avoiding Panic  Learning how to see in different ways, sometimes very quickly–including connecting with others who see things differently–is fundamental to survival, not only for the artist.  It has been called various things including cognitive agility, mindfulness, and “rapid reflection.” But I’ve observed that it often doesn’t get the attention you’d expect for something so critical.  In fact, in too many places, people are incentivized to ignore the unfamiliar and to treat it as irrelevant until an altogether too-obvious change in the status quo forces (some of) them to reconsider…and sometimes that is too late.   (Even in the absence of crisis, such a disinterest in the world can harden into a lack of curiosity which calcifies one’s situational awareness at a dangerously low level.  This has proven in the past to be particularly bad for living species of all kinds–not to mention modern-age businesses–and is especially risky in today’s world where we–and all our things, such as watches, cars, and phones–are more interconnected than ever before.)

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Illustration:  Watercolor on Arches Hot Press by Black Elephant Blog author

Topping off this day  of plein air painting was the opportunity to see the movie, “Sully,” on the inspirational pilot and the first responders on that incredible day when a fully-loaded passenger plan had to land on the Hudson River.  From painting Pan in the wilds, I was confronted with wild scenes that would leave most of us panic-stricken if we were in the midst of them.

sully-photo

Illustration: Photo from indiewire: http://www.indiewire.com/

But this is a film of human strength and prowess, strong team work, and genuine leadership.  From the pilot and his co-pilot, to the crew, the ferryboat operators, air traffic control, and many other responders, the rapid response to this unprecedented event demonstrated the value of consciously preparing (across disciplines, stovepipes, and other boundaries) for the unexpected.    In this case, one imagines that such pre-crisis teamwork contributed to enhancing preparedness for an unprecedented situation.  Remembering the importance of the  “human factor”, as per Sully when he explains himself to the NTSB (National Transportation Safety Board), is the critical difference.  His performance seems to be an example of “rapid reflection” crisis management in action; this film carefully adheres to the facts of the crisis as it actually unfolded and, therefore, truly is a “must-see” for all those in top management, whatever the field.

I’ve been reminded regularly that true artists respect unintended consequences  whereas experts of other stripes too often don’t.  Artists regularly experiment with techniques and materials, and absorb others’ approaches like sponges; many experts of other stripes too often don’t. There is seemingly an important paradox in this.

In an age when many clearly believe it is more acceptable to bash experts than to emulate them, the aspiring artist knows that study of others’ solidly perfected techniques–and, beyond this, historical appreciation as to what has been humanly possible and achieved over time–leads to greater consciousness of our individual shortcomings and more rapid recognition of the truly exceptional (as the film, Sully, also reminds us).  Recognizing these gaps can inspire us to be more curious and to learn more.  At the same time, experts themselves must prepare for circumstances never before seen (and, thus, for which there is no sketch, textbook or field of expertise). Indeed, a certain cognitive and doctrinal flexibility seems necessary, at a minimum, lest very deep expertise lead us to think that everything can be scripted, measured, and predicted ahead of time–as the differences between the NTSB and Sully demonstrated in the film.

The artist with skill in applying paint (or ink or any other medium) to paper or canvas–and expertise such as pilot Sully’s extraordinary tacit knowledge of the limits of his airplane, his ability to derive quickly from different inputs the most sensible course of action, as well as his abiding awareness of the value of human life–demonstrate human capacities  that total reliance on computers, for instance, or checklists can never achieve.

So, while it is true that you generally don’t want the pilot of your commercial jet to be creative in getting you from point A to B, the movie, Sully, does show us that adaptation in the face of the unexpected requires a degree of mindfulness  (and openness to ongoing learning) that cannot be assumed.  At their best, therefore, artists and experts of all types, whether commercially successful or not, seem to combine deep knowledge with a degree of cognitive flexibility that is hard to sustain from deep within “stovepipes” of all types, from academia to industry.  Dealing effectively with this conundrum seems to me to one of the most important things we could do these days.

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Innovation, Risk, Surprise, Uncategorized, urban sketching

18th c. Watercolor Studies as a Source of Inspiration

Hubert Robert painting

Illustration: Painting of Hubert Robert (22 May 1733 – 15 April 1808) Source: Wikipedia

Inspired by the outstanding exhibition now on at the National Gallery of Art in Washington, D.C. featuring the ink sketches, watercolors, and oil paintings of French 18th century painter, Hubert Robert (22 May 1733 – 15 April 1808), I’ve gone back to experimenting with waterproof inks and watercolor more intensively than ever (as per examples included at the very bottom of this post.)

Hubert Robert Watercolor

Illustration: Watercolor by Hubert Robert, 18th century painter (Source: Wikiart)

Hubert Robert’s fantastically detailed watercolors (including use of gouache) are astounding.  Accompanying  placards in this exhibition note that such watercolors tended in those days to be sketches done for more finished oil paintings.  In Robert’s case, however, the watercolors often were at least as detailed as the oil paintings he later produced based upon them.  (Modern urban sketchers will appreciate the fact that Robert filled dozens of sketchbooks (I’ve forgotten the exact number) and one of them is on display in this exhibition; every page, front and back, is filled with wonderful ink sketches done in a deft but loose style.)

In another innovative departure from the times, Robert inserted human figures in many of his paintings–to help give a sense of scale to the structures–and adapted the  fantastical “capriccio” style (or painted architectural fantasy) for his technique of juxtaposing paintings of ruins with other statues or bridges not actually co-located with the ruins in real life. In addition, he included more modern scenes,  including those of contemporary laborers, artists and sketchers, and occasionally probably even himself, at work in the ruins.

Robert grew up in the midst of formal world-class art instruction from an early age, and it certainly shows. During the French Revolution, when he was thrown in prison due to his professional associations with his aristocratic clients, he managed to keep painting (and also managed to survive the ordeal); one of his dinner plates from prison is in this exhibition, with the surface painted with an ornate landscape. In addition, his paintings provide a visual record of life in the prisons during the Reign of Terror; the exhibition includes his paintings of a prison warden, a member of the aristocracy in his cell, and families entering the prison to bring their relatives food.  Seeing paintings from this horrific time cannot help but remind one of the power of art, and wonder how much power still remains untapped in our modern times.

In addition, seeing such sublime art might make one want to throw in the towel, or the paintbrush, as it were.  But it’s just as likely to make you want to learn more…and more…

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Illustrations: Ink and watercolor sketches, “Guanajuato with El Pipila Statue on Hilltop”, and “Washington, D.C.” by Black Elephant Blog author

Woman with Potted Plant 2

Illustration: Watercolor and pen and ink, “Woman Adjusting Potted Plant on Her Deck” by Black Elephant Blog author

 

Even if most of us can never achieve a tiny fraction of such mastery, it is still wonderful to experiment with the elements of such imaginative painting as Robert’s, and envision the possibilities down the road.

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Innovation, Risk, Surprise, Uncategorized, Uncertainty

Bridge Over Colored Water

Spring is finally here. This sketch made just yesterday in a bright and glorious sun is of a bridge with its destination obscured.

Bridge Over Colored Water

Illustration: Watercolor by Black Elephant Blog author

In other developments, experimenting now with Strathmore Aquarius II paper, converted into an accordian sketchbook, per instructions generously provided by urban sketcher Marc Taro Holmes on his blog, Citizen Sketcher; the sketchbook is for an upcoming trip out West later this week and will be featured here in the future.

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Innovation, Risk, Surprise, Uncategorized, Uncertainty

“Creativity, Inc.”, Innovation, and an “Energy Miracle”

At last, we are underway with our classes at the university, with the onset of a “Spring” semester which, delayed by some wintry weather, has so far not felt very spring-like.  With inclement weather, though, it’s been easier to get some work done on projects related to what we are covering in class, and a chance to compose a blog post on some of this. Hence, this post is a bit less about sketching present every-day scenes and more about designing alternative frameworks for the future.  (The eventual goal is to combine both in an accessible format for different audiences.)

Illustration:  Watercolor and pen and ink study for "Waiting for Spring" by Black Elephant Blog author

Illustration: Watercolor and pen and ink study for “Waiting for Spring” by Black Elephant Blog author

We have moved rapidly through diverse science and security-related issues and zoomed across the land masses of the planet to understand different climatic zones, the extent of challenges to arable land, and how incidents or policy changes at a local or national level–even on the other side of the world– can have global impacts. Not yet a month into the semester, therefore, we are confronting the realization that past experience will no longer be a reliable guide to managing many looming challenges, including the necessary transition to no-carbon and low-cost sources of energy.  Innovation thus is inescapably urgent.

None other than Bill Gates, who describes himself as an “impatient optimist,” admits that “time is not on our side” when it comes to globally applicable means of reducing carbon emissions to zero.  He puts his hopes on a “miracle” in energy R& D even as it’s plain to see investment in energy research by developed nations remains far below that in other areas.  (Gates says that the scale of innovation needed requires government investment as it involves risks that the private sector is poorly equipped to assume.) Conventional approaches to problem-solving in this area simply will not work.

energy research OECD

Illustration:  OECD chart

Already in our class there is focus on the social,  institutional, and cross-boundary aspects, as well as cognitive and psychological facets, of the problem. (It seems that, even this early in the semester, we are beginning to hear more readily the overly specialized or “silo’ed” limitations in the thinking on offer at some conference panels around town.) What does it take to harness innovative ingenuity on a global scale?  What can we learn from those who have studied processes of innovation and creativity?  Where do these subjects enter most conversations and efforts about transitioning rapidly to a low-carbon, or no-carbon, energy system?  While proposals on the global “table”, as it were, have merit, how to ensure that the collective “we” is not “betting the farm” on a strategy that will not pay-off?  Whose responsibility is it to even consider these things?  (Such are the issues we are dealing with in the classroom.)

Innovative approaches to solving complex problems, including developing the “energy miracle” Bill Gates has called for, require more than technological investment and novel financial arrangements.  They require organizations to invest in developing and sustaining creativity and strategic thinking in the workplace.  But who knows how to do this?  And have we any idea on how to be creatively collaborative across myriad institutions?  It seems that much of the material published on these topics is aimed at managers or, less often, educators.  But that may be too late for most people.  The concepts  involved must be introduced earlier in people’s careers so they have time to evaluate and internalize them with their peers. Thus such material is worked into our course at the graduate school level where students typically already have a few years of professional work experience. Understanding the obstacles to innovation–and its “fuel,” creativity–is fundamental to making progress on the complex problems, (especially “super-wicked” problems s0-called because they require the engagement of society as a whole), of today.

In many workplaces, however, the efforts of talented people are typically stifled in “myriad unseen ways,” according to Ed Catmull, President of Pixar Animation and Disney Animation in his book, Creativity, Inc., Overcoming the Unseen Forces That Stand in the Way of True Inspiration,  (Random House, 2014).  Despite constant emphasis (belatedly in many cases) these days on the need for innovation (and creativity, and disruptive breakthroughs), rarely is any thought given to how such creative work is nurtured, evaluated and sustained…to say the least.  So it seems timely to take a few notes from the book, Creativity, Inc., to see how these issues are dealt with in an industry (producer of the films, “Toy Story,” “Up,” and “Ratatouille,” among others) that most everyone assumes exemplifies the best of creative workplaces.

Catmull credits his experience as a graduate student at the University of Utah, where he received his Ph.D in 1974,  with introducing him to the importance of leaders who understand how “to create a fertile laboratory.”  Much of the research in the university’s computer science department was funded by the Advanced Research Projects Agency (ARPA) of the Department of Defense (now known as DARPA).  The university laboratory leaders understood “they had to assemble different kinds of thinkers and then encourage their autonomy.” Catmull writes that the most valuable thing he gained from the university “was the model my teachers provided for how to lead and inspire other creative thinkers.”  One of the lessons from ARPA that stayed with Catmull was:  “When faced with a challenge, get smarter.”  He thus knew that, in order to “attract the sharpest minds,” he needed to put his own insecurities away.  When starting out as the lab director at the New York Institute of Technology while still in his 20s, therefore, one of his first hires was someone who seemed to Catmull more qualified to lead the lab than he was.

Catmull’s book is the story of his journey in learning to sustain a creative work environment.  Nearly every page contains a memorable lesson applicable in other fields, such as:  “Always take a chance on better, even if it seems threatening.”  The challenge for him and his colleagues in the mid-1970s was to solve technical problems involved in applying computer animation to the film industry.  There were a few companies working on these problems and most, Catmull writes, “embraced a culture of strictly enforced, even CIA-like, secrecy.”  By contrast, Catmull and his colleagues decided to share their work with the outside world instead; his view was that “we were all so far from achieving our goal that to hoard ideas only impeded our ability to get to the finish line. [emphasis added]”   (Might this view be relevant as well to the energy challenge mentioned at the start of this post?)  Catmull notes that the “benefit of this transparency was not immediately felt” but that the “relations and connections we formed, over time, proved far more valuable than we could have imagined, fueling our technical innovation and our understanding of creativity in general.”

As his project teams grew, Catmull had to move his organization from a flat team-like structure to more of a hierarchical approach.  He realized that his team at the New York Institute of Technology actually functioned more “like a collection of grad students–independent thinkers with individual projects–rather than a team with a common goal.”  Catmull describes the influence of “Starwars” and George Lucas on the field of computer animation, and traces the trajectory of his own career, and long partnership with Steve Jobs, through the lessons he learned along the way.

To give some sense of these lessons and their broad applicability, here are a few from the book:

  1. “There is nothing quite like ignorance combined with a driving need to succeed to force rapid learning.”
  2. Books with advice like “Dare to fail” divert people from addressing “the far harder problem: deciding what they should be focusing on.”
  3. “Being on the lookout for problems…was not the same as seeing problems.”…”The good stuff was hiding the bad stuff.”
  4. “Originality is fragile.”
  5. “We realized that our purpose was not merely to build a studio that made films but to foster a creative culture that would continually ask questions.”
  6. “Figuring out how to build a sustainable creative culture…was a day-in-day-out, full-time job.”
  7. “Ideas come from people.  Therefore, people are more important than ideas.”
  8. “The hallmark of a healthy creative culture is that its people feel free to share ideas, opinions, and criticisms.”
  9. “…without the critical ingredient that is candor, there can be no trust.  And without trust, creative collaboration is not possible.”
  10. “The key is to look at the viewpoints being offered, in any successful feedback group, as additive, not competitive.
  11.  “By resisting the beginner’s mind, you make yourself more prone to repeat yourself than to create something new.  The attempt to avoid failure, in other words, makes failure more likely.”
  12. “The pressure to create–and quickly!–happens at many companies…and its unintended effect is always the same: It lessens quality across the board.”
  13. “When we put setbacks into two buckets–the “business-as-usual” bucket and the “holy cow” bucket–and use a different mindset for each, we are signing up for trouble.”
Unexpected 1

Illustration: Watercolor wash and pen-and-ink sketch by Black Elephant Blog author

Dealing with “The Hidden”  Catmull’s book is exceptional for its sophisticated treatment of many tough management issues that arise in virtually any field, including learning to see “hidden” issues in the corporation and, just as important, realizing that just because you don’t see them doesn’t mean they do not exist.  He says that one of his core management beliefs is “If you don’t try to cover what is unseen and understand its nature, you will be ill-prepared to lead.” He also emphasizes that our ignorance about randomness affects our ability to face the unknown.  Catmull writes, for instance:

“We are quite adept at working with repeatable events and at understanding bell-shaped variance…[But] how can we think clearly about unexpected events that are lurking out there that don’t fit any of our existing models?  Catmull notes that there is a “human tendency to treat big events fundamentally different from smaller ones.”   This sets us up for failure, he explains, because we fail to realize that some of the small problems have long-term consequences and are, therefore, “big problems in the making.”

In another excellent section, “Learning to See,” Catmull describes how he hired an art teacher to come in to the organization to teach everyone “how to heighten our powers of observation.”   People who draw better than the rest of us, he says, “are setting aside their preconceptions” and everyone can learn to do that.  His point is that there are ways of learning to overcome biases while considering a problem.

In Sum:  It is easy to forget that the lessons in this book are derived from managing computer graphics and animation laboratories and not from the daily occurrences in organizations closer to one’s own experience.  It is thus relevant for people trying to move their organizations into a mode that makes the most of the talent within, and without (!)–or outside–, them. Understanding the forces that block our inspiration and effective creative collaboration both inside and beyond our organizations today  is key to moving forward on the many formidable challenges (some of them metaphorical“black elephants” ) facing the globe. (This is why, earlier on this blog–such as here and here and here— there has been a focus on the work of various experts regarding the barriers we face to even thinking effectively about these problems.)  Facing as many unconventional and complex challenges as we do today, it’s safe to say there are not enough books like this one and, for many people, not enough time to read and absorb them.  Some of the needed changes might not be “news-worthy” but still hugely impactful: Learning to draw, counterintuitively, may be part of the solution at the societal level, to inculcate ways, per Catmull, to overcome our ingrained biases and to sidestep cross-cultural barriers.

 

 

 

 

 

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Innovation, Risk, Uncategorized, Uncertainty

Driving Innovation on the Fuel of Creativity

When Bill Gates says, as he did recently, that we must “drive innovation at an unnaturally high pace” to transition to a globally-applicable non-carbon source of energy in time (to save the planet), it raises the question (or ought to) of what’s involved in doing that?  If creativity is the “fuel” of innovation, how does one go about gaining and sustaining that fuel source?  Do we wait, in a comfortable sunny spot, for inspiration to hit us?

Zoo sketch 1

Illustration: Watercolor, gouache, graphite and bistre ink by Black Elephant Blog author

Sometimes we think of creativity as something that occurs to us when we are relaxed, doing something routine like driving through a toll booth or even–or most likely–when we are doing nothing at all…  Is that what we must accelerate?  Or are there more reliable means of spurring and sustaining innovation (and creativity) ?  There have been a number of books on this subject, including on the need for “entrepreneurial states,” but in fact there’s been little noticeable tie-in of this material to the renewable energy challenge Gates and others are highlighting.

With the onset of a new university semester (as soon as suitable paths to class are plowed through the snow) looking at some of these issues, and investigating what it means to be innovative, or creative, in the workplace, this blog soon will turn to the experience of Pixar Studios as related by its co-founder, Ed Catmull, in Creativity, Inc.:  Overcoming the Unseen Forces That Stand in the Way of True Inspiration, (New York, Random House, 2014).  Some of what he has to say may surprise you but all of it is relevant to all of us when tied to prospecting for pathways to a sustainable energy future.  How to sustain a creative work environment is the challenge, and the theme, of this book–to be highlighted here soon.  Given that the author is from Pixar Studios, it comes as no surprise, but still is surprisingly fascinating, to see that he has a lot to say about art, sketching, paying attention, and hand-drawn approaches to animation.  Coming up next…

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