Summer Reading: The School of Life

First I shared books for independent learning and the novels of Max Barry and today we delve into the books from The School of Life.  

Co-founded by one of my favorite authors, philosopher Alain de Botton:

The School of Life is a cultural enterprise offering good ideas for everyday life. We are based in Central London where we offer a variety of programmes and services concerned with how to live wisely and well. We address such questions as why work is often unfulfilling, why relationships can be so challenging, why it’s ever harder to stay calm and what one could do to try to change the world for the better.

The School of Life is a place to step back and think intelligently about these and other concerns. You will not be cornered by any dogma, but directed towards a variety of ideas - from philosophy to literature, psychology to the visual arts – that tickle, exercise and expand your mind. You’ll meet other curious, sociable and open-minded people in an atmosphere of exploration and enjoyment.

We all want to live in a better world, but sometimes it feels that we lack the ability or influence to make a difference. John-Paul Flintoff offers a powerful reminder that through the generations, society has been transformed by the actions of individuals who understood that if they didn't like something, they could change it. Combining fresh new insights from history, politics and modern culture, this book will give you a sense of what might just be possible, as well as the inspiration and the courage you need to go about improving and changing the world we live in.

An Economist Best Book of the Year

Everyone accepts the importance of physical health; isn’t it just as important to aim for the mental equivalent? Philippa Perry has come to the rescue with How to Stay Sane -- a maintenance manual for the mind.

Years of working as a psychotherapist showed Philippa Perry what approaches produced positive change in her clients and how best to maintain good mental health. In How to Stay Sane, she has taken these principles and applied them to self-help. Using ideas from neuroscience and sound psychological theory, she shows us how to better understand ourselves. Her idea is that if we know how our minds form and develop, we are less at the mercy of unknown unconscious processes. In this way, we can learn to be the master of our feelings and not their slave.

This is a smart, pithy, readable book that everyone with even a passing interest in their psychological health will find useful.

Our world is, increasingly, a digital one. Over half of the planet's adult population now spend more of their waking hours 'plugged in' than not, whether to the internet, mobile telephony, or other digital media. To email, text, tweet and blog our way through our careers, relationships and even our family lives is now the status quo. But what effect is this need for constant connection really having? For the first time, Tom Chatfield examines what our wired life is really doing to our minds and our culture - and offers practical advice on how we can hope to prosper in a digital century.

We don’t think too much about sex; we’re merely thinking about it in the wrong way.

So asserts Alain de Botton in this rigorous and supremely honest book designed to help us navigate the intimate and exciting---yet often confusing and difficult---experience that is sex. Few of us tend to feel we’re entirely normal when it comes to sex, and what we’re supposed to be feeling rarely matches up with the reality. This book argues that twenty-first-century sex is ultimately fated to be a balancing act between love and desire, and adventure and commitment. Covering topics that include lust, fetishism, adultery, and pornography, Alain de Botton frankly articulates the dilemmas of modern sexuality, offering insights and consolation to help us think more deeply and wisely about the sex we are, or aren’t, having.

Our relationship with money is one that lasts a lifetime. It can be as important as family life, as competitive as work, and as exciting and secretive as love. Yet books about money tend to take one of two routes: a) how to get more, or b) how to deal with less. This book turns these questions upside down, and looks not at money itself, but at the way we view it. How does money drive us? How does it frighten us? And how can it help us make sense of who we are? Money is too important a part of life for us not to worry about, but by approaching it differently, we can change the way we perceive its worth. With surprising and enlightening new insights, How to Worry Less About Money will help you realise what material wealth really means.

A practical and inspirational guide to examining your career and deciding whether it truly makes you happy—this book will show you the steps it takes to find a job that truly makes you thrive. 

The desire for fulfilling work is one of the great aspirations of our age. This book reveals explores the competing claims we face for money, status, and meaning in our lives. Drawing on wisdom from a variety of disciplines, cultural thinker Roman Krznaric sets out a practical guide to negotiating the labyrinth of choices, overcoming fear of change, and finding a career in which you thrive. Overturning a century of traditional thought about career change, Krznaric reveals just what it takes to find life-enhancing work.

The School of Life is dedicated to exploring life’s big questions: How can we fulfill our potential? Can work be inspiring? Why does community matter? Can relationships last a lifetime? We don't have all the answers, but we will direct you toward a variety of useful ideas—from philosophy to literature, psychology to the visual arts—that are guaranteed to stimulate, provoke, nourish, and console.

Summer Reading: The Novels of Max Barry

Continuing my suggestions of books to read this summer I share with you the novels of Max Barry. 

I'm always fascinated by people in creative fields that are adamant to the idea of reading fiction. There you are having a casual conversation, you suggest a novel you think they will find interesting and they strongly oppose the idea. They don't read fiction (often they also say they never watch tv or attend any live performances.) 

And while I can see why anyone would think that somehow things like reading fiction are just entertainment and could not possibly lend themselves to teach us anything, what kind of creative work could they be creating when they deprive themselves of the enjoyment (and education) of watching someone manipulate language to convey messages in ways that are often profound and revealing. 

Besides, the more we study the brain, they more we learn how important fiction can be in neurological development. 

This is why I am recommending the novels of Max Barry. He is an astute observer of life and has tackled subjects dear to me (and this blog) in his novels. From marketing, advertising and branding to management, leadership and productivity to, in his latest novel, released today, poetry, language and influence. Each written with clear insights and full of enjoyable surprises. If you are interested in those areas there is much to be learned from his novels, while having a great deal of fun.

At an exclusive school somewhere outside of Arlington, Virginia, students aren’t taught history, geography, or mathematics—at least not in the usual ways. Instead, they are taught to persuade. Here the art of coercion has been raised to a science. Students harness the hidden power of language to manipulate the mind and learn to break down individuals by psychographic markers in order to take control of their thoughts. The very best will graduate as “poets”: adept wielders of language who belong to a nameless organization that is as influential as it is secretive.

Whip-smart orphan Emily Ruff is making a living running a three-card Monte game on the streets of San Francisco when she attracts the attention of the organization’s recruiters. She is flown across the country for the school’s strange and rigorous entrance exams, where, once admitted, she will be taught the fundamentals of persuasion by Brontë, Eliot, and Lowell—who have adopted the names of famous poets to conceal their true identities. For in the organization, nothing is more dangerous than revealing who you are: Poets must never expose their feelings lest they be manipulated. Emily becomes the school’s most talented prodigy until she makes a catastrophic mistake: She falls in love.

Meanwhile, a seemingly innocent man named Wil Jamieson is brutally ambushed by two strange men in an airport bathroom. Although he has no recollection of anything they claim he’s done, it turns out Wil is the key to a secret war between rival factions of poets and is quickly caught in their increasingly deadly crossfire. Pursued relentlessly by people with powers he can barely comprehend and protected by the very man who first attacked him, Wil discovers that everything he thought he knew about his past was fiction. In order to survive, must journey to the toxically decimated town of Broken Hill, Australia, to discover who he is and why an entire town was blown off the map.

As the two narratives converge, the shocking work of the poets is fully revealed, the body count rises, and the world crashes toward a Tower of Babel event which would leave all language meaningless. Max Barry’s most spellbinding and ambitious novel yet, Lexicon is a brilliant thriller that explores language, power, identity, and our capacity to love—whatever the cost.

Scientist Charles Neumann loses a leg in an industrial accident. It's not a tragedy. It's an opportunity. Charlie always thought his body could be better. He begins to explore a few ideas. To build parts. Better parts.

Prosthetist Lola Shanks loves a good artificial limb. In Charlie, she sees a man on his way to becoming artificial everything. But others see a madman. Or a product. Or a weapon.

A story for the age of pervasive technology, Machine Man is a gruesomely funny unraveling of one man's quest for ultimate self-improvement.

Stephen Jones is a shiny new hire at Zephyr Holdings. From the outside, Zephyr is just another bland corporate monolith, but behind its glass doors business is far from usual: the beautiful receptionist is paid twice as much as anybody else to do nothing, the sales reps use self help books as manuals, no one has seen the CEO, no one knows exactly what they are selling, and missing donuts are the cause of office intrigue. While Jones originally wanted to climb the corporate ladder, he now finds himself descending deeper into the irrational rationality of company policy. What he finds is hilarious, shocking, and utterly telling.

Taxation has been abolished, the government has been privatized, and employees take the surname of the company they work for. It's a brave new corporate world, but you don't want to be caught without a platinum credit card--as lowly Merchandising Officer Hack Nike is about to find out. Trapped into building street cred for a new line of $2500 sneakers by shooting customers, Hack attracts the barcode-tattooed eye of the legendary Jennifer Government. A stressed-out single mom, corporate watchdog, and government agent who has to rustle up funding before she's allowed to fight crime, Jennifer Government is holding a closing down sale--and everything must go.

A wickedly satirical and outrageous thriller about globalization and marketing hype, Jennifer Government is the best novel in the world ever.

When Scat comes up with the idea for the hottest new soda ever, he's sure he'll retire the next rich, savvy marketing success story. But in the treacherous waters of corporate America there are no sure things--and suddenly Scat has to save not only his idea but his yet-to-be-realized career. With the help of the scarily beautiful and brainy 6, he sets out on a mission to reclaim the fame and fortune that, time and again, eludes him. This brilliantly scathing debut is a hilarious send-up of celebrity, sexual politics, corporate America, and the fleeting status that comes with getting to the table first--before the other guy has you for lunch.

"then we begin to craft around our intention"→

Apple's WWDC 2013 keynote began with a rare sight, an intro video, a beautiful and brilliant sequence. A direct and clear declaration of Apple's intentions. Simple, in black and white, with prose that elegantly addressed many of the recent criticisms aimed at the company. My fellow artists, artisans and technicians, may our intentions be this specific and clear so we may craft our works around them.  

From the newly launched Designed by Apple page on their site:  

This is it.
This is what matters.
The experience of a product.
How it makes someone feel.
When you start imagining
What that might be like, 
You step back. 
You think. 

Who will this help? 
Will it make life better? 
Does this deserve to exist?
If you are busy making everything, 
How can you perfect anything? 

We don't believe in coincidence.
Or dumb luck. 
There are a thousand "no's"
For every "yes."
We spend a lot of time
On a few great things. 
Until every idea we touch
Enhances each life it touches. 

We're engineers and artists.
Craftsmen and inventors.
We sign our work. 
You may rarely look at it. 
But you'll always feel it. 
This is our signature.
And it means everything. 

Designed by Apple in California

Theater Business Models: The Next Frontier→

Scott Walters, Professor of Drama at the University of North Carolina, encouraging arts organizations to really consider innovation in performing arts' business models: 

I’m a theatre historian, and as such I am prone to making sweeping generalizations without batting an eye, especially when I am trying to cover 2500 years of theatre history in a single semester course. Here’s an example of such a generality: theatre people spent the first 2000+ years innovating about theatre spaces: they invented the arena theatre of ancient campfire storytelling, the thrust stage of the Greeks and Elizabethans, the moveable stages of the medieval mysteries and commedia, the proscenium of the Italian Renaissance. Throughout most of that time, while storytelling techniques waxed and waned, generally speaking we had a fairly consistent form: plays written in verse with a presentational relationship between the actors and the audience (i.e., usually somebody talked directly to the audience), and a mixture of words, music, and dance. We then spent about 300 years getting really good at writing plays — Shakespeare, Moliere, etc. Then in the 20th century (if you extend the 20th century back to the 1870s), we spent most of our time developing “isms“: realism, naturalism, expressionism, symbolism, dadaism, theatricalism, absurdism, and so on. Postmodernism stands as the end point of the “ism” period, an admission that we’ve pretty much discovered all the isms there are and now all that’s left is to create mashups out of them.

So we up until now innovated about space and about form — what’s next? Well, in my opinion, the next area for innovation is (drum roll, please) in theatre’s business model. […] Back in 1947, Albert Einstein said, “I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” Well, without a new business model (or, better yet, many new models), I predict theatre will end up back gathered in a circle on the threshing floor telling stories around the fire, the theatrical equivalent of sticks and stones.

This is a subject that really fascinates me, particularly when I'm at board meetings for arts organizations.  Most artists work very hard to look ahead, to create ahead. Sure the great ones know the history of their craft very well, respect it, and they look ahead. On the other hand the boards and operations, in essence those artists' support systems, seem determined to continue to do their work, their art, only in ways that worked before.  

The fact is, as Walters mentions on his blog, most regional theaters, and I would venture most performing arts organizations, are working on the business model first made popular by Danny Newman's Subscribe Now!, first available in 1977. 

Marketing and advertising struggle with this as well, with a changing world that may not be interested in what they have to offer unless is presented in a better, more relatable way.

Technology on the other hand is all about innovative models, sometimes very risky but often revolutionary. Arts organizations need to start thinking a bit more like startups, reconsider how they get funding and how they make, market and sell their "product." We don't like to think about art as a product but the truth is the audience we need for the arts to survive thinks of it that way. 

We need to learn to trust the artists we align ourselves with that they will create worthwhile art, while they in turn have to learn to trust us, the behind the scenes, that we will create worthwhile ways of telling the world and make money. The status quo is no longer a successful business model. 

How Pixar Used Moore's Law to Predict the Future→

Pixar co-founder Alvy Ray Smith in Wired: 

We know what Moore’s Law is and how it works, but not many people reflect on why it exists. Yes, there are often physical barriers to innovation. But there’s no imminent physical barrier to the realization of a bit: A bit is merely presence or absence of something, say a voltage, which means it can get exponentially smaller. So with no physical limitation, Moore’s Law reflects the top rate at which humans can innovate. If we could proceed faster, we would.

There are no shortcuts at the edge of discovery and invention. ​