This week, I released a short second collection of piano-based tracks called Deep Down and Not Forgotten.

May I ask a favour? If you enjoy the music, would you please click to save/like on each track or the album to help others find it? Thank you. If you want to follow me as an artist that also helps.

My sketch this week is related: one-buttock playing.

We all experience the power of music to move us either as players or listeners.

In his entertaining and insightful TED talk about The Transformative Power of Classical Music, Benjamin Zander begins with a memorable sequence of imitating a child learning to play the piano. With each new year of practice, the child's playing becomes more gentle, more accomplished, and more emotional.

When playing as if an eleven-year-old, now leaning into the music, only one buttock in contact with the piano stool, Ben Zander says,

"I don't know how we got into this position.

I didn't say, 'I'm going to move my shoulder over, move my body.' No, the music pushed me over, which is why I call it one-buttock playing."

"You know, a gentleman was once watching a presentation I was doing, when I was working with a young pianist. He was the president of a corporation in Ohio. I was working with this young pianist, and said, 'The trouble with you is you're a two-buttock player. You should be a one-buttock player.' I moved his body while he was playing. And suddenly, the music took off. It took flight. The audience gasped when they heard the difference. Then I got a letter from this gentleman. He said, 'I was so moved. I went back and I transformed my entire company into a one-buttock company.'"

For me, one-buttock playing means going with the music, letting it take you, and being fully involved, ignoring everything else. It's like reaching a state of Flow, or, as in Pixar's movie Soul, being in "the Zone." And as a more general metaphor, one-buttock playing is a fun reminder to give your all to an activity and be in the moment. Also, buttock is just a funny word.

There are many ways to get into Flow. You can be in Flow working on a spreadsheet. But no spreadsheet has the same effect that music can or matches how I feel when playing and composing on the piano (have a listen).

Zander doesn't mention it in his talk, but expertise is key to one-buttock playing. The younger pianists he emulates don't experience one-buttock playing—they're too busy trying to play the damn piece properly in the first place.

One-buttock playing emerges only when they are skilful enough and know the piece inside and out. In other words, to lose yourself in the emotion or expression of a piece of music or a challenge, you must first master the craft. Once the execution is the baseline, you create space to focus on the expression.

So it is, I think, with all pursuits. Picasso could sketch with abandon because he'd first mastered painting. Shakespeare could play with language because he'd first mastered it. Federer could make tennis look like an art form because his mastery of the fundamentals gave him freedom on the court. A great CEO can take a company to new heights only when the team executes the basics like clockwork.

You may remember Benjamin Zander from the leadership sketch Leading from Any Chair

Collective Effervescence: the magic of shared experience

Match Challenge with Skills for Flow at Work

One-buttock playing

This post is sketch 900 of Sketchplanations, according to my numbering. To mark that, I've been reflecting and wanted to share what I've learned from over a decade of this project.

It's my longest post, but I created a version you can listen to, or even watch 🙈, if you prefer. And if you don't want to listen, watch or read a long article, I hope you can just enjoy the sketch of Brenda Ueland's lovely wisdom.

Listen/watch reflections on a decade of Sketchplanations on YouTube

After the first year of one-a-day, I've done one sketch a week, 52 a year, for over a decade without missing. I've tried to stick to James Clear's "Never miss twice" rule by first not missing once.

With a few years of experience in creating and sharing under my belt, I wanted to share some thoughts about this project, about sharing your work, and about creative freedom.

I watched a talk by Jack Conte a few weeks ago. Jack is the founder of Patreon but was first—and still is—a passionate, talented musician full of energy and drive. The whole talk is interesting—he called it the Death of the Follower. But what drove me to create this was some of what he said towards the end, kind of his "advice to creatives."

I want to talk about two things: The why and what of creating, and second, what sort of project a creative project should be.

I've been lucky in so many ways with this project:

It was accidental, so I wasn't staking my future or my ego on it.

It was a side project—until this year—so I wasn't staking my paycheck and whether we could pay the mortgage and support our family on it.

And I stumbled on a simple formula that's given me great permission, licence, and scope to explore everything that interests me.

Without getting too grandiose about it, my conjured up tag line of "explaining the world one sketch at a time" is a huge mission, one that never really ends. But it also allows me to cover whatever aspects of our fascinating world that I want, in the way that I want.

Cartoonists also have a tremendous scope to create, but they usually have to make people laugh. Fortunately for me, I don't have to do that each time. I can cover serious things, or sensitive things, or fun things, or complex things in whichever way I want.

I'm also lucky that my drawings don't have to be good. Sometimes, I look back on older ones and cringe, but usually, I don't cringe at what I'm sharing, only my drawing of it.

Just a year or so into this project, when I complained to a good friend about not being the best artist, he simply replied, "Yes, but it's the content." It really stuck with me, and it's grown on me over time. The drawings may not be as slick as other artists. Still, the content and topics I tackle are hopefully valuable, or at least interesting, in themselves. So people, I think, forgive me when I don't get it quite right and it's a bit cheesy, or my people are a bit janky.

Part of the luck in my formula is that it's become a unique collection in style and approach. The more I've created, the more unique it becomes.

I am regularly asked how I choose and find topics to include. I only recently found the answer that really nails it.

On my website, I've joked, "Sooner or later, everything I know will be on Sketchplanations." And in some ways, that's true—at least for the useful stuff I know.

At first, sketches were a combination of serendipity in what happened to me that was interesting this week and a process of trawling through my experience and memory for the things I've found interesting and helpful over the years. And they were also what I found myself using or thinking about regularly.

Over the years, I've trained myself constantly to be on the lookout for topics. Sometimes I see, or read, or remember something that I instantly know I'll sketch at some point. I add it to my list, and those that I'm excited about and have the clearest view on are those I tackle the next week.

But that doesn't really address the question of what makes it into the list and what doesn't. What ties these together? The answer I found most profoundly hit when I read a wonderfully opinionated book, "If you Want to Write," by Brenda Ueland. Brenda says: 

And what is the purpose of existence… but to discover truth and beauty and…share it with others.

And it was suddenly clear to me. What makes it into the list is when I've found something that to me was a truth, an insight, an aha, a new piece of knowledge, something beautiful or fascinating that I realised. I had to feel I'd discovered something. Sketchplanations has given me the wonderful vehicle to act on the impulse to share it with so many others.

I usually consider myself knowledgeable about most sketches but an expert in few. But like the age-old realisation that the teacher learns more than the students, I can tell you that there's nothing like spending a day or more a week diving into a topic, thinking how to visualise it, spending several hours sketching it and then writing about it to cement them in my own brain. I'm no doubt the one who's benefited the most from this project.

It's not too long in a conversation with me before I might struggle not to interrupt with a "There's a sketch for that."

And this diverse collection of 900 sketches therefore, in many ways, reflects everything I find interesting and helpful or beautiful in the world, and so is a reflection of me. In that sense it's really rather personal.

Which brings me to the second aspect of what I want to share here.

I'm very lucky that many people provide suggestions for sketches they'd like to see. I've worked in design and user experience for many years. Having direct feedback of what your audience would like to see is extremely valuable. I've tackled some of them, but too few.

I find that I'm not a very good judge of sketches that will turn out to be popular—at least in the short run.

I send out new sketches each week in my newsletter. It's funny that even though I send out 10s of 1,000s of emails each month there's relatively little feedback of what people think about each new sketch.

I started posting sketches on social channels many years ago to allow more people to discover them and make it easier for people to share them.

And I post sketches on my website, so that people can find them in the future and get the answers they want when they're searching for something or looking for something to use in their own projects.

Posting on social media is interesting as, with likes, comments, shares and follower numbers I seemed to have much more feedback about whether what I did was interesting to people or not. Certainly as compared to the newsletter where there's no lightweight, low commitment way, save writing me a direct email, to let me know if it was helpful. I love receiving them by the way.

Once you start getting feedback on what seems to be popular however, you have a double-edged sword. For example, what if there's some truth or beauty that I want to share that is unlikely to be popular? Or what if there are things that will be popular that I don't find to be a truth or beauty that speaks to me or makes me want to share it.

If I was a business I think the answer is fairly clear—you create the content that your audience wants to see so people come to your site and buy your wares.

But what if a project reflects you personally? And what if it's an amateur project, created for the love of it rather than the $ of it?

I have tackled some sketches of topics that people asked for and that sometimes people have paid me for. What I found is that very quickly it begins to feel like a job. It's fine to do, but they're not always something that excites me.

For me, who fortunately for so long wasn't depending on it for my primary income, I found it very quickly took the joy out of the task. Why would I use my spare time—and often time from my family—to execute something that I wasn't excited about and didn't find joy in and didn't find a little spark or fire in sharing with others?

Don't get me wrong. Reaching more people with my work is great. I came round to marketing when I kept hearing "Wow, I just discovered your site. I love it!" 7 years after I'd been working on it. These people could have been following from the beginning if I'd just reached them earlier.

That was part of the impetus to create a physical book and hopefully reach a new set of people in a different way. This same feeling also drives me to work on making the website better—as the saying goes: "Business without marketing is like winking at a girl in the dark." What's the point of having good content if people can't find it? It seems a shame.

Well, one way I could reach more people, I think of, as "feeding the machine."

What I should do is find topics that have high search volume, topics that are topical or current, topics that draw a lot of engagement, topics that may be easy to grasp or share with others, and I should and do those. I should check search queries, watch what others are doing, and look for the content I post that creates the most interactions and create more content to match.

Simple messages without nuance or complexity are easy to share and take in and hit repost. But I can't bring myself to do it.

The things I keep wanting to share are my version of what Brenda called the "purpose of existence"—discovering truth and beauty and sharing it with others.

So I've resisted too much of feeding the machine. I'm sure it's cost me. I'm sure there are a million ways I could grow my followers faster, get more subscribers, get more content engagement, exploit new channels, write traffic heavy content. But I don't want to do those if it means I can't share the truths and beauty that I find valuable.

So, at sketch 900, I'm sharing these reflections as the struggles of a creator trying to understand the point and value of their project.

And to say that I plan to keep this project idiosyncratic, unexpected, and personal. Or, in some ways, a reflection of me. This will at least keep it unique.

I know that you won't find it all speaks to you—you're not me after all. But for the times when I do get it right, when you can see the truth or beauty that I'm trying to share, even if it's just you and me who appreciate it, I hope that will keep it worth it.

Jack Conte talks passionately and knowledgeably about the importance of building deep connections with small numbers of true fans. He built Patreon, through which I've benefited so much. And a deep personal thank you to everyone who is now supporting and has supported me in the past. And I've decided I'd rather, slowly, create a deeper, more personal connection with the people, perhaps like you, who have enjoyed my project, by sharing the truth or beauty that I want to share than to feed the machine and create what the machine says is needed.

Selfishly, I hope that this will also keep it interesting for me even if it may not do the rounds of the internet as well.

Thanks everyone who's visited, enjoyed, talked about, listened to the podcast or shared my work over the years. So many of you have been generous in sharing and singing the praises of this little project.

There is of course still so much more to explain about this world. Maybe 900 is a lot of topics sketched—or maybe, I'm just getting started.

Thanks for being part of the journey. See you at 1,000.

If you made it this far, it'd be amazing if you considered helping to get to 1,000 by supporting me at any amount on Patreon 🙏

Discovering Truth and Beauty and Sharing it with others

An eponym is a word named after somebody or someplace.

An eponym, almost by definition, comes with a story, making them some of the most intriguing words. Knowing what an eponym is also allows you to use the word eponymous, which is always a good way to sound smart.

Some of my favourite eponyms are now commonplace products that took the inventor's name. Some examples:

The Rubik's cube is an invention by Hungarian architecture professor Ernő Rubik. The cube has the fascinating property of being a solid object that's also fluid.

This year (2024), the Rubik's Cube turned 50, celebrating around half a billion cube sales, scores of speed-cubing championships, and documentaries. When Rubik first invented the cube, he wasn't sure it was solvable and only managed it for the first time several months after creating it.

In 2020, Rubik told the story of the cube in his book, Cubed: The Puzzle of Us All.

The fabulously named jacuzzi, or more generally the hot tub, is named after the Italian Jacuzzi family. The seven brothers of the family—there were also six daughters—trained to become engineers, making plane propellers, irrigation systems and pumps before one of the brothers created a homemade bath to help his two-year-old son who was suffering from rheumatoid arthritis. The rest, as they say, is history.

Saskia Solomon tells some of the brothers' story, which includes the court case Jacuzzi vs Jacuzzi, and the invention of the jacuzzi in the 2023 New York Times article, The Frothy Saga of the Jacuzzi Family.

After so long as what seems the most basic of foods, it was remarkable for me to learn that the humble sandwich was named after a person: John Montague, the 4th Earl of Sandwich. Though he probably spent most of his time in London, the title itself is associated with the small town of Sandwich in Kent, in Southeast England.

The story goes that the Earl liked playing cards and wanted food he could eat without having to leave his game and that wouldn't give him sticky fingers that would damage the cards. Incarnations of open sandwiches appeared much earlier elsewhere. For example, the trencher—something I had to look up when reading Game of Thrones—involved serving food on top of old bread as a sort of plate. But it took the Earl's dedication to card playing, or at least desk work, to take the next step many years later.

László Bíró was a Hungarian-Argentine inventor who created the first truly successful ballpoint pen. In the US, the BiC is more common, an eponym this time from Marcel Bich.

It's said that Lázló experienced his fountain pen leaking from heat—fountain pens being very common before the ballpoint—and was inspired by a printing press that used a cylinder to spread the ink. All it needed was to go in all directions. Enter the ballpoint.

While the invention seems obvious in hindsight, perfecting it for robust, commercial use was challenging. For example, finding suitable ink for the tiny ball bearing to spread, which doesn't leak or clog and isn't overly affected by heat. Lázló teamed up with an aviation company—who use a lot of ball bearings—which also provided a great use case of finding a pen that wouldn't leak from the air pressure changes in planes. Later, BiC licenced the technology from Biro. A Bic Cristal® Ballpoint pen is part of the collection at the MoMA.

I only learned that silhouette was an eponym while preparing this sketch, but it's perhaps the best of all.

Étienne de Silhouette, a French government finance official tasked with curbing a French deficit in the 1700s, unwittingly gave his name to the classic black-on-white simple outline image of a person. His severe frugal policies of taxes, curbing royal spending and even melting down gold and silverware earned him the reputation of doing things cheaply. Hence, a cheap method of creating a portrait, cutting out black paper and laying it on a white background, became known as a silhouette.

Nearly everyone will recognise the fuel that Rudolf Diesel gave his name to and his diesel engine. Diesel created a breakthrough engine that was more efficient than typical steam engines while being smaller and weighing less.

Curiously, I learned that Diesel died in mysterious circumstances, disappearing on a journey across the English Channel in 1913.

An excellent episode of the 99% Invisible podcast featuring Helen Zaltzman of the Allusionist raised several interesting questions about eponyms I hadn't considered. Here are a few to think about:

Eponyms are common in medicine, for example, when we name a disease or condition after those playing a part in the discovery. However, the name, for example, Creutzfeldt-Jakob disease, tells a medical practitioner very little about the disease compared to a name that relates to the symptoms of the sufferer or the cause. Should examples like these be replaced with more practical names?

Eponyms almost always have a way of oversimplifying a story, often wrapping up complex histories with the names of white males. For example, rarely are products invented or diseases identified solely through the actions of one person. Yet an eponym chooses one, or some people, at the expense of others.

Eponyms may be the name of someone later discredited or who develops a tarnished reputation from other actions in their lives. Should someone who did evil deeds be remembered in an eponym or should it be changed?

Who knew eponyms could be so interesting?

Know some good eponyms with fun stories? I'd love to hear them.

Eponyms are distinct from the fun concept of Nominative determinism—an aptronym—where someone's name seemingly influenced their future actions or career choices (for example, Les McBurney — Volunteer firefighter).

I've covered a lot of eponyms over the years, far more than I realised. Using the handy list page on the site, I've collected some other eponym examples, which include a lot of my favourites:

Eponym

Every creation is a mirror, reflecting something of its creator. If you and I were to paint the same subject, your painting would reflect some of you, and mine would reflect some of me. If we both write stories, each one will carry something of ourselves—our personality, our experiences.

The writer is in the writing. The artist is in the art. The musician's in the music.

Take writing as an example. If we're writing authentically, we can't help but share a bit of ourselves in our work. Our past experiences affect what we notice. Our timidity or confidence is reflected in the tone and style. Our education in the choice of words. Our kindness and patience, or cynicism and frustration, is revealed to the reader. And the choice of what you write or paint reflects you.

Not if we're trying too hard. Not if we're writing to sound like a writer or if we're adopting a "literary" style because we think that's how it should be done. And not if we focus more on pleasing a search engine or ticking off marketing goals than connecting with readers. But if we write honestly and directly, the writer shows through.

This phrasing hit me while reading Brenda Ueland's book If You Want to Write. She calls the writer the Third Dimension. I believe she means that when you read a book, there are the characters, the reader, and also, inescapably, the writer's personality. She writes that readers can tell when writing isn't authentic, when it's not really you, but instead, a performance to meet someone else's expectations of how one should write—or perhaps a creation of an AI's sycophantic personality.

The presence of the writer in the writing, or the artist in the art, leads Ueland to say, "…I have come to think the only way to become a better writer is to become a better person."

I believe this principle also holds true across other creative disciplines, though I thought "the cook is in the cooking" didn't quite have the same ring. Still, it holds a ring of truth if I consider a musician and their music, an entrepreneur and their business, a podcaster and their podcast and others.

It's hard to write this without wondering what I'm sharing about myself (and what gets scrubbed out and cleansed by Grammarly proofreading). In Sketchplanations as a project, I've come to think that sooner or later, everything I know of value will be there. So, in some way, the whole thing reflects me. Shall we go for a beer?

More sketches about writing — it always surprises me, for a designer and product developer, how many I have. 35 at last count.

Here are images for each alone in case you're more one than the other:

In addition to prints of this sketch, I added an individual print of the writer's in the writing and an individual print of the artist's in the art.

The Writer's in the Writing. The Artist's in the Art.

Groupthink arises from the desire of a group to maintain harmony and consensus. Groupthink can reduce the diversity of ideas and opinions — people can seek to avoid conflict, or avoid expressing unpopular views, and end up thinking down the same path. When psychological safety is low and people feel they may experience disapproval, particularly from people with higher ranking or status within the group, groupthink can get worse.

It can be uncomfortable to express opinions different from a group. Perhaps you remember that feeling when a teacher asked a question in class and if everyone raised their hand to one answer it wasn't always easy to be the only hand up for a different one.

Fortunately, there are some solid ways to minimise the tendency to groupthink. These include:

Generating ideas separately before coming together — can be effective remotely too

Increasing psychological safety so everyone feels comfortable expressing contrarian views

Establishing the norm of a shared work product rather than individual credit/blame

Groupthink

The magic of a first draft is that the first draft is always perfect. It doesn't matter if it's rubbish, if it's messy, if it doesn't flow, if it lacks personality, or if it won't work. The job of a first draft is to be a draft and get the process started. So however it turns out, the first draft has done its job perfectly.

In the illustrated art collection by Dr Seuss you can see some of the first drafts and iterations of text and images that go to refine the seemingly effortless rhythm, rhyme and combination of text and images from his wacky illustrations.

Donald Schön, in his classic The Reflective Practitioner, goes further by sharing his analysis of design as a reflective conversation – observing each mark sketched on paper informs the next you make. You don't know how it will turn out until you put pen to paper. Seeing what comes out allows you to adapt and modify as you go in a back-and-forth of discovery and evaluation.

Don't worry about your first draft — it'll be perfect.

I read this for the first time in an article by Casey Fowler that's no longer live. Most likely, it originates from the novelist Jane Smiley:

"Every first draft is perfect because all the first draft has to do is exist. It's perfect in its existence. The only way it could be imperfect would be to NOT exist."

The first draft is always perfect

On 17 December 1903 at Kitty Hawk, North Carolina, the Wright brothers took the first short flights in their Wright Flyer. It's the original Kitty Hawk moment: when the impossible becomes possible. The first radio transmission, the first autonomous vehicle journey, the first sub-2 hour marathon could all be Kitty Hawk moments.

A Kitty Hawk moment as a metaphor doesn't have to be big or as clear cut — it could be your first 5k, the first video call with an elderly relative, or the first sale for your business  — it just needs to help to break a barrier and show what's now possible.

In a lovely article on The Kitty Hawk moment, after Burt Rutan's SpaceShipOne flight, Bob Clarebrough highlights that not everyone will see the significance of a Kitty Hawk moment. And it was nearly 24 years before the first plane crossing of the Atlantic. Like Bill Buxton's idea of the long nose of innovation there may be a lot of work left before the new development hits the big time.

Kitty Hawk moment

When it comes to innovating, counterintuitively, I think the surest way to produce something new and noteworthy is to start by replicating the work you admire.

If you're making music, first play the music from your favourite artists, then make music like theirs. Only when you've mastered that do you need to go your own way.

If you admire Hemingway, practice writing like him, and your own voice will likely develop by itself.

Before helping develop cubism Picasso was first an accomplished artist.

It's easy to look at the best and think you have to be different. But standing up first makes it easier to stand on the shoulders of giants.

What's more, copying is much lower pressure.

I learned this idea while working at Jump Associates

Replicate then innovate

One of my favourite books is a rather dog-eared 1970 edition of The Practice of Creativity by George Prince. The book gives wonderful examples and tools for having successful creative discussions in meetings. So much, George lays out, hinges on genuine listening to understand others points of view, and creating a space which protects the egos of people in the meeting, creating an atmosphere of psychological safety. One really simple tool and reframe he offers is the spectrum policy.

The spectrum policy acknowledges that few ideas will come out fully-formed and solve a problem perfectly in one go. Often our first reaction on hearing something is to evaluate it. When we hear an idea we can't help but see the negative aspects of an idea — the things that obviously won't work — and because of these negative aspects we may dismiss the whole idea. The idea is good, or it is bad. As well as the group losing out on what may have been the genesis of a solution, the originator can often feel snubbed and retire from full participation in the rest of the meeting.

With the spectrum policy we recognise that, "because you are never dealing with fools", all ideas put forward, even if we see obvious flaws, will have some good points as well as the bad. Before pointing out the flaws we make a point of finding the good in an idea and acknowledging it. This keeps elements of the idea available to build on for others and the egos of all participants intact and fully engaged in solving the problem.

The spectrum policy

Solvitur ambulando: This phrase from the Greek philosopher Diogenes translates more or less to ‘it is solved by walking’. And, indeed, there is something about walking that helps both clear the mind and think clearly.

Try a walk to get a different perspective on a problem when you’ve been banging your head against one sat at your desk. Or try a walking meeting with the bonus that you get a bit of exercise in too.

Solvitur ambulando

The classic 6 Thinking Hats framework from Edward De Bono. Though I’m yet to be in a meeting where everyone’s familiar enough with it that it wouldn’t sound a bit strange to propose it. Ah well.

Things get more complex before they get simple

Six thinking hats

Edward De Bono talks a lot about provocation as a means, for example, of deliberating provoking something impossible just to provide a new perspective. For example, when trying to design a car that’s better for passengers you might provoke with something like, what would a car look like that didn’t go anywhere. Of course, you probably need the car to go somewhere, but it might lead to an idea that the doors needn’t be at the side, that the roof might change height, or that you could plumb it in. It may lead nowhere. Then again, it may lead to something new and interesting in the next step.

In case you missed the previous posts, Fundamentals of Lateral Thinking:

You don’t have to be right at every step

Lateral thinking: 4. Lateral thinking changes perspective just to be provocative

I love the principle behind this — that you can get to something that works without having things that are possible and would work along the way.

A stickier way of saying a similar thing is:

"There is nothing more dangerous than to leap a chasm in two jumps"

Lateral thinking: 3. You don’t have to be right at every step

During lateral thinking labels don’t have to clearly be one thing or another, they can be flexible. The phablet is a reasonable recent example of how existing terms and definitions can constrain on your thinking.

Lateral thinking: 2. Labels are not collectors but signposts. They are not fixed

There’s a lot of mention of lateral thinking without a whole lot of knowledge about the what and the why of it. Very often it seems that it’s just brainstorming. Here’s a short set of some of the fundamentals of lateral thinking. In this one the point really is that lateral thinking doesn’t solve things by itself, but you need both lateral and vertical thinking at different times. And they are very hard to do together because they are quite different mindsets.

As I understand it, Lateral thinking is from Edward de Bono.

Lateral thinking: 1. Lateral thinking is about increasing the breadth of options

Lessons from Lewis

Having played the piano most of my life I only started composing when I started spontaneously dropping by the music practice rooms at UC Berkeley in the middle of the day. Without any music I was practically forced to start making things up. Every now and then it’s new and nice. You can listen to a few short piano pieces on youtube.

I strongly believe in this as advice, but it does presuppose years of copying and playing others’ music as well as the basics of music theory. Replicate, then innovate

More sketches about starting and getting started

Want to compose? Just sit down without any music

Not so easy to get your head around as we’re used to thinking that most things are they way they are because someone chose it for a reason. But it turns out that increasingly we see products that have found benefits in otherwise stable products by simply taking a flat surface and either adding shape or texture. (two of TRIZ’s trends of technology evolution)

A flat surface has unused potential

Something I try to keep in mind whenever I set to thinking and run out of space. As much as possible, find tools that don’t limit your thinking.

Don’t let your thinking be limited by your tools

Seth Godin did a recent post about the 9-dot problem that explains more about it, albeit not in as interesting a way.

Solve the 9-dot problem

I learned this from On Writing Well by William Zinsser. It has two pages worth the price of the book alone. They show the same pages that made it into the book with editing marks all over them. At a glance, it made me understand the work and craft that goes into writing and that I can do it.

"The easy, conversational tone of good writing comes only on the eighth rewrite."

It also helps me realise that the way to good is by starting with something that isn't good.

Creativity sketches