Archive for August, 2010

  • The Minimalist’s Guide to Cultivating Passion

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    Today, one of my favorite blogs, Zen Habits, hosted a guest blogger, Cal Newport, who posted a fun and informative “Guide to Cultivating Passion.”

    No airy-fairy passion potion, this is a nitty-gritty, how-to find and nurture passionate pursuits in our own lives.

    Newport’s piece begins with a nod to comedian Steve Martin. He quotes from Martin’s 2007 memoir, Born Standing Up, where Martin says: “I did stand-up comedy for eighteen years. Ten of those years were spent learning, four years were spent refining, and four were spent in wild success.”

    “If you do the math,” notes Newport, “this sums to fourteen years of hard work before Martin saw returns on his investment. That’s a long time to remain focused on a goal without reward, especially when the path is ambiguous (‘The course was more plodding than heroic,’ Martin recalls).  But as he makes clear in his book, Martin found a Zen peace in the simplicity of his pursuit. He describes with relish, for example, the importance of ‘diligence’ in becoming a star — a term he redefines to mean the ability to not work on unrelated projects — and he labels ‘loss of focus’ as an ‘indulgence’ that success cannot afford.”

    But Martin’s example is just the beginning of this great post. Newport goes on to say, “Even if we agree on their value, how do we find these passionate pursuits in our own lives? This is the thorny question I address in this post.”

    Whether you are lost in the wildernesss searching for your passion or, having identified it, are frozen in passion paralysis over the life-changing implications of this discovery, you need to read Newport’s analysis of the “thorny issues.”

    One tip, I particularly love is that, “You need to be exposed to many things…. You should expose yourself even though you might not know if you’ll be interested.”

    “Put another way,” says Newport: “take a step back; relax; then open your eyes to patiently take in all that’s out there.”

    Popularity: 27% [?]

  • Skill: How to Rethink, Redefine and Reimagine It

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    Reading Penelope Trunk’s “Brazen Careerist,” a fascinating blog offering “Advice at the Intersection of Work and Life, I discovered her posting on, “How to Be Lost with Panache.”

    Trunk offers 3 valuable tips to overcome feeling lost – be it in work or one’s life: One is to “Focus on transition points. Do a little each day;” a second is to “Risk standing out and being weird;” but, to me, her greatest and most original tip is to “Find beauty in the process of being lost.”

    Trunk found beauty in an article by Jerry Saltz, art columnist for New York magazine. Grand Tour is Saltz’s roundup about 19 of his favorite paintings in New York. Trunk notes that the captions Saltz creates for these, his favorites, are “phenomenal.” For this Malevich painting, for example, he writes, “Like an explosion in an airplane factory, the Cubo-Futurist masterpiece depicts gleaming robot peasants in curved metallic shards. The composition of snowdrifts, houses, and people spirals energetically toward a distant sled-puller, and recalls the artist’s childhood—a way of life that predated the Industrial Revolution and outlasted the Russian one.”

    Kazimir Malevich, "Morning in the Village After Snowstorm" (1912)

    Trunk exclaims, “Who has been more poetic about Malevich? Ever? When you are lost is when you need art most.”

    Of Caravaggio’s painting, The Denial of Saint Peter (circa 1610), Saltz writes, “Notice the dramatically gesturing figures, stark lighting, compact cropping, and complex moments of internal and external emotions. That is how Caravaggio essentially foreshadowed [in the early 17th Century] modern filmmaking.”

    Perhaps Salz’s most poignant comment on skill (or more accurately lack thereof) is related to Jackson Pollock. Referring to Pollack’s “Room of Eight Paintings” at MoMA, Saltz says, “Looking at these canvases (including One: Number 31, 1950), installed chronologically, reminds me that few artists were less naturally talented than Pollock. That he virtually willed himself to newness, deploying something that had been there since the caves—the drip…”

    Saltz defends his critical perspective: “I don’t look for skill in art… Skill has nothing to do with technical proficiency… I’m interested in people who rethink skill, who redefine or reimagine it: an engineer, say, who builds rockets from rocks.”

    While it takes skill to live with joy and meaning, it takes even more skill to rethink, redefine and reimagine our lives when we veer off path or become totally lost.  Trunk is brave enough to admit when she is lost and perspicacious enough to help us get our bearings by observing the inventiveness of artists such as Jackson Pollack, who “willed himself to newness” by building masterpieces drip by drip.

    Popularity: 13% [?]

  • What Do Long Distance, Red Eye Flights Have in Common with Your Job Search?

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    Courtesy: www.izismile.com

    Check this brilliant, blow-by-blow, visual “Red Eye” diary from Christoph Niemann.

    From the fight for armrest supremacy, stacking peanuts to make the time pass more quickly, the flight progress monitor, seeking alternate positions, coveting your neighbor’s seat, discreet dental hygiene, swollen ankles and visions of grandeur in the clouds – it’s all here.

    Best of all, as painful as the process can be, we do finally land and with any luck it’s not our bag that ruptured during the flight, spreading our “wee personals” over the luggage claim belt.

    Bon Voyage!

    Popularity: 11% [?]

  • Beware When Your Resumé Looks Like Your Passport: the Date Stamps Cover Where You’ve Been But Not Where You Want to Go or Why?

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    Courtesy of Mark Ashley at www.upgradetravelbetter.com

    Resumés do a great job telling people where you worked and what you have accomplished.  Like passports, they play a role as you venture forward. In some jobs where the HR department rules, they are required. But – and this is a big BUT – they are all about your past. One career consultant, Joshua Waldman, even calls them “obituaries!”

    As we’ve discussed before, traditional resumés need to be replaced by “working resumés.” You need to create a document that captures the value you bring to the future. How will you solve the organization’s problems in ways that are unique, innovative, practical and sustainable?

    Employers – just look at BP, for example – are not looking for a temporary fix. Equally important to how is the why you wish to solve the problem.  Perfection without passion is not going to get you very far. Again, using BP as an example, Tony Hayward, CEO at the time of rig explosion and subsequent horrific oil leak had stellar credentials. His past accomplishments looked great on paper but a critical component was missing: compassion.  Without a sense of empathy for the victims or the environment, all his skills came to naught. His replacement, Bob Dudley, is equally talented and has that extra dose of compassion that allows him to express not only how he is going to solve the problem but why and that makes him far more valuable to BP today than the former CEO.

    But passion is also a critical factor in non-Fortune 500 boardrooms. Last month, Alastair Macaulay published a dance review in the NY Times in which he  critiqued Canadian choreographer-dancer Paul-André Fortier ‘s 30-minute solo, “30 x 30,” performed at noon each day for 30 consecutive days in the open air at 1 New York Plaza.

    Macaulay writes,

    “His dancing is site-specific and multidirectional. He faces, by turns, up past the surrounding buildings to the sky, across to New York Harbor on the horizon, down to the ground, and out to the more immediate vicinity, which now and then includes members of the audience, with whom he makes brief eye contact.

    “There’s a constant contrast between the sleek lines of the shapes and lines he demonstrates and the gaunt, severe tension of his face and hands. His energy is always contained; he performs with the distanced air of a mime artist or a teacher; and there’s no particular pleasure to be had from his physical tone.

    “Coolly he shows us one movement idea after another. Most of them are fairly interesting or agreeable. …Frequently he implies some kind of mime content, so that I found myself labeling one section ‘Give me your tired, your poor/Your huddled masses,’ which made the next passage, in which he seemed to hurl a few curses at the financial district, slightly more interesting. But the carefully measured tone of Mr. Fortier’s movements stopped any of this from having any force or from being absorbing. His quality of teacherly reserve places a curious distance between his solo and himself. It’s as if he were presenting something in which he didn’t quite believe but feels ought to impress us anyway.”

    That last line, “presenting something in which he didn’t quite believe but feels ought to impress us anyway,” is devastating!  According to this trusted dance critic, Fortier has the skill required but not the passion necessary to transport audiences to other realms – real and imaginary. Does this sound like your resumé? We hope not.

    Meshing our work and our passions is key to making our lives works of art.

    Courtesy of z_zozole

    Popularity: 56% [?]


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