Posts Tagged ‘lifehack’
If you’re anything like me and you ask someone to describe you, “idle” would not show up on their list. I’m the type of person who will walk 20 blocks instead of connecting to another subway; it’s rare that I see a movie in the theater because the thought of sitting still for two hours makes my skin crawl; hang out with me for more than 45 minutes and I’ll suggest we get up from wherever we are and wander the streets; and if I’m not out of bed by 7am on the weekends I’ve wasted my day.
I read Fast Company, Harvard Business Review, and other “lifehack” type publications that promise lessons on super-human productivity. I aspire to “robot brain,” my shorthand for ultimate organizational skills. “Idle” is not in my vocabulary. So, it was an interesting choice in books when I decided, last minute, to buy How to Be Idle: A Loafer’s Manifesto by Tom Hodgkinson, co-founder and editor of The Idler magazine.
While at the bookstore register, attempting to finish off a gift card, the bright orange cover propped up on the counter caught my eye. “Indispensable,” the bookseller said when I picked it up. I was sold. Maybe, I thought, just as I hone my productivity skills, I need to learn to relax. After all, recharging is an important part of the equation as well — or so all those seasoned lifehackers tell me.
In blending social history, humor, and profiles of famous idlers from science, the arts, and politics, Hodgkinson makes a convincing case for slowing down. At times, nearly sounding like a conspiracy theorist, he points out how we became workaholics. He quotes radical philosopher Terence McKenna, “… institutions fear idle populations because an Idler is a thinker and thinkers are not a welcome addition to most social situations.” He continues with his own thoughts:
It is precisely to prevent us from thinking too much that society pressurizes us all to get out of bed. … Introspection could lead to that terrible thing: a vision of the truth, a clear image of the horror of our fractured, dissonant world.
At one point in the book, the extremity of our situation — our collective discouragement towards idling — is made clear. We’ve gotten to the point as a society that many of us take vacation seriously: what should be a time of leisure has become “over-organized.” Not only are we under pressure to fit in all there is to see and do at our destination of choice but we’re expected to be cheerful about it.
From the first chapter, Hodgkinson flips your brain, putting you in a space to trust whatever comes next.
Sleep is a powerful seducer, hence the terrifying machinery we have developed to fight it. I mean, the alarm clock. Heavens! What evil genius brought together those two enemies of the idle–clocks and alarms–into one unit? … Is it not absurd to spend our hard-earned cash on a device to make every day of our lives start as unpleasantly as possible, and which really just serves the employer to whom we sell our time?
The chapters in How to Be Idle are broken down into hours of the day. 8 a.m., entitled “Waking Up is Hard to Do,” offers the advice of laying in bed longer and enjoying the half-awake time. 9 a.m., “Toil and Trouble,” suggests working fewer days a week. “Sleeping In,” which is 10 a.m., explains how idling is actually productive, using Walter Benjamin, Sherlock Holmes, and Rene Descartes as examples.
Defining idler as a “student of the art of living,” Hodgkinson finds valuable lessons in Ferris Bueller’s Day Off, pointing out that in playing hooky there is potential for a journey of self-exploration.
How to Be Idle asks us to be our better selves — noble flaneurs in today’s fast-paced climate — and urges us to step outside the daily pressures:
As with all aspects of idleness, we should resist the pressure to reject the elements of our lives which do not fit into the productive, rational, busy paradigm that society and our own selves impose upon us.
To make time for conversation:
Sharing is at the heart of conversation: sharing ideas, entertainment and stories. … As well as giving rise to ideas, conversation gives a way of expressing them.
And to look up from time to time:
Gazing at the stars opens our minds to another reality, a mysterious eternal world, beyond material struggle.
How to Be Idle — as compelling as it is humorous — is a celebration of idleness, a lesson in the importance of stepping back, slowing down, and taking a deep breath. By the end it becomes clear, Hodgkinson’s book should be kept on everyone’s nightstand and reread at least once a year.
There’s a lot of talk about “brand” lately and, while I can’t claim this to be a new phenomenon, with the rise of social media the notion has extended beyond the walls of advertising and marketing meetings. Now that nearly everyone is on Facebook, Twitter, Pinterest, and a host of other online forums, the term has come into public consciousness. People are asking how they want to present themselves to the world: what do I stand for? What should be public and what should remain private? What will build a reputation and what might destroy it? In essence, what is their “brand”?
There are many skeptics when it comes to branding. Those who view it negatively see it as insincere, disingenuous, and manipulative. But it doesn’t need to be this way. There’s a case for genuine marketing, a way of creating a strong, decided presence in order to connect with an eager audience.
I work in book publishing and constantly have to remind myself that not everyone knows what an imprint is: a subdivision of a larger publishing house. For example, Vintage is an imprint of Random House; Scribner, an imprint of Simon & Schuster; Riverhead, an imprint of Penguin; and St. Martin’s Press, an imprint of Macmillan.
For some who live within this bubble of publishing it can come as a surprise that not everyone looks at the spine of a book (where the name and logo of the imprint is located) when they walk into a bookstore; to us insiders it’s practically second nature. However, knowing what an imprint is and becoming familiar with what they publish can be incredibly useful to the general public.
Oftentimes you can tell the tone and quality of a book based on which imprint publishes it. If you’re looking for a business book, Crown and Portfolio are good bets; if you’re looking for something more literary Farrar, Straus and Giroux or Knopf might be the way you want to go; or if you are looking for something quirky in paperback, Harper Perennial, Three Rivers Press, and Plume will probably do the trick.
For those steeped in book culture these imprints are shorthand or, for those who like an air of exclusivity, secret code. It is this subsection of the book buying community that publishers—through social media and traditional advertising—can use branding to connect with and expand their audience.
What marketing naysayers might not know is that there are a number of professionals who are passionate about their branding projects, think deeply about their craft, and who don’t approach awareness-raising with cynicism.
In Brand Thinking and Other Noble Pursuits, Debbie Millman, partner and president of the design division at Sterling Brands, President Emeritus of AIGA, and chair of the School of Visual Arts’ master’s program in Branding, sits down with leading thinkers and designers in the field to get their thoughts on advertising. Throughout her interviews, Millman asks poignant and tailored questions. These unique conversations allow for a diverse range of definitions, anecdotes, and views of the industry.
In her introduction, Millman explains that “branding is a history in flux, and [her] hope is that this collection of conversations can provide a time capsule of the second decade of the 21st century.” Throughout Brand Thinking, humanity and storytelling are common themes; nearly everyone who creates campaigns has a desire to explore what brands are and what brand awareness means.
One of the participants is Dori Turnstall, an Associate Professor of Design Anthropology, an area of study she explains has two components: the practical dimension, how to design products based on our understanding of people, and the theoretical, understanding how “the process and artifacts of design help define what it means to be human.”
From cultural critics Daniel Pink and Malcolm Gladwell to designer Karim Rashid to entrepreneur Seth Godin to a number of industry executives, Millman asks her subjects to explore the notion of “brand.” Each come to varying conclusions while sharing years of experience and knowledge.
Here are just a few excerpts from a book full of fascinating answers.
As mentioned, marketing expert Seth Godin was interviewed for the book. Here he defines brand:
I believe that ‘brand’ is a stand-in, a euphemism, a shortcut for a whole bunch of expectations, worldview connections, experiences, and promises that a product or service makes, and these allow us to work our way through a world that has thirty thousand brands that we have to make decisions about every day.
Wally Olins, Chairman of Saffron Brand Consultants of London, Madrid, Mumbai and New York, and author of a number of books on branding, has this to say about different mediums throughout the years (something to keep in mind as we’re flooding with information about the Internet and mobile devices):
Television didn’t kill radio; film didn’t kill theater. There will certainly be huge changes. But one medium doesn’t kill another. Each new medium actually makes the previous one better. Radio no longer resembles what it was before television. Television no longer resembles what it was before the Internet. All these things will change, but they give us a multiplicity of choice.
Anthropologist and author Grant McCracken, formerly a senior lecturer at the Harvard Business School and consultant for Coca-Cola, Chrysler, and Kraft, says this about understanding culture:
Designers—or indeed anybody who’s interested in business change or social change—need to make a knowledge of the culture and the social world in which they work the first condition of their provocation.
Regarding storytelling, former Chief Creative Officer of Ogilvy & Mather Brian Collins, who now runs his own communication and branding firm and whose clientele history includes Hershey’s, Coca-Cola, and Microsoft, says:
I think the secret to working with existing brands is to help them find their intrinsic story. And then amplify the stories for new generations to share. Brands have become the best device for perpetuating mythic archetypes. …
We say we want information, but we don’t experience the world through information—we experience the world through story. … Stories are how we give meaning to what happens to us. When we call upon them, they activate archetypes—”archetypes” as defined by Carl Jung. They remind us of eternal truths, and they help us navigate through our lives.
Stanley Hainsworth former VP of Global Creative at Starbucks and Former Creative Director of Nike says:
For me, it’s all about having a story to tell. This is what will enable you to create an experience around the brand. … You go back to the essence of the brand. Why was it made? What need did it fill? Go back to the origins of a brand and identify how it connected to consumers and how it became a relevant, “loved by families” product. What were the origins of this story?
And Cheryl Swanson, founder of brand consultancy Toniq says:
A brand is a product with a compelling story. … The brands are totems. They tell us stories about our place in culture—about where we are and where we’ve been. They also help us figure out where we’re going.
President of Innovation at Sterling Brands, DeeDee Gordon, discusses the need for the audience to feel like they’re a part of brand:
It’s not enough to produce great creative work. Consumers won’t automatically like an idea just because a brand says so. They need to be part of the creative process—a process that is fluid, organic, and on their own terms. A process like this produces the most useful insights and allows designers to think about products in a whole new way—oftentimes, they’re introduced to entirely new ideas. Consumers can be designer’s biggest advocates, but only if designers will let the conversation happen and give consumers the respect they deserve by allowing them to have a say.”
Whether you’re in an industry that sells books, food, clothing, or some other object with numerous competitors, Brand Thinking will start you on a path to exploring a way to differentiate yourself from the pack, one that’s light on cynicism and heavy on passionate belief.
When you’re finished reading, Debbie Millman hosts a podcast on Design Observer called “Design Matters” where she speaks with innovators and creatives in the design field in the same manner featured in Brand Thinking. These thoughtful and stimulating conversations are an excellent compliment to her books and will keep you tide over until the next one.
Working in an office is a learned skill, even for those who are good with people—and even for those who work in a room full of friends. While general etiquette and being pleasant go a long way, it’s always worth seeing what can be fine tuned. However, doing so requires self-awareness and a willingness to change.
One classic in the self-help business genre—and an excellent place to start—is Dale Carnegie’s How to Win Friends and Influence People. The cover of the “special anniversary edition” boasts that it’s the best book of its kind—and I’m not so sure they’re wrong.
How to Win Friends and Influence People is broken down into four parts: Fundamental Techniques in Handling People; Six Ways to Make People Like You; How to Win People to Your Way of Thinking; and Be a Leader: How to Change People Without Giving Offense or Arousing Resentment
Within each of these larger sections are smaller, more targeted chapters, each featuring anecdotes and quotes from important leaders’ lives as well as from Carnegie’s own personal experience—first as a salesman, then as a public speaker.
In the first chapter, “If You Want to Gather Honey, Don’t Kick Over the Beehive,” Carnegie sets the tone for the remaining 230 pages:
Do you know someone who you would like to change and regulate and improve? Good! That is fine. I am all in favor of it. But why not begin on yourself? From a purely selfish standpoint, that is a lot more profitable than trying to improve others—yes, and a lot less dangerous. ‘Don’t complain about the snow on your neighbor’s roof, ‘ said Confucius, ‘when your own doorstep is unclean.’
Carnegie is not stingy; forehead-slapping comments such as these are found on nearly every page. It’s these simple statements, these basic ways of being with others that we all learned in grammar school but forgot, that make How to Win Friends invaluable.
Quoting Henry Ford, Carnegie shares another important principle: “If there is any one secret of success, it lies in the ability to get the other person’s point of view and see things from that person’s angle as well as from your own.” And from Alfred Adler, a Viennese psychologist: “It is the individual who is not interested in his fellow men who has the greatest difficulties in life and provides the greatest injury to others.” And, of course, what advice book would be complete without Benjamin Franklin?: “If you argue and rankle and contradict, you may achieve a victory sometimes; but it will be an empty victory because you will never get your opponent’s good will.”
Each chapter ends with a distilled principle, reinforcing the lessons one should have learned from the previous pages: Give honest and sincere appreciation; Be a good listener; If you are wrong, admit it quickly and emphatically; Let the other person do a great deal of the talking; and, for those in a leadership position, make the fault seem easy to correct.
How to Win Friends and Influence People will make you think about your behavior, both within the office and without. Soon, you’ll find that those rough edges smoothed.
The other day I sat in a room full of colleagues and said something along the lines of “I don’t read self-help books.” Note, I did not say this disparagingly; it was simply just a matter of fact, or so I thought. No more than an hour or two later I realized I was wrong. Leaving aside that one summer between my junior and senior year of college when a bad breakup brought me to If the Buddha Dated, I found I could come up with a number of recent examples: Dale Carnegie, John C. Maxwell, and David Allen, to name a few authors. The thing was, I hadn’t associated them with the self-help genre.
While Carnegie is shelved in self-help, often taking up full rows, I was surprised that he had not been placed in business instead. As with Maxwell and Allen’s wildly popular books, I saw Carnegie’s classic, How to Win Friends and Influence People, as a treatise on work relationships rather than something for one’s personal life—although it helps with that as well. I had thought of all three, along with Seth Godin and Guy Kawasaki, as part of the life hack family.
Life hack is a relatively new phenomenon—at least in name. According to Wikipedia, “life hack refers to any productivity trick, shortcut, skill, or novelty method to increase productivity and efficiency … [it’s] anything that solves an everyday problem in a clever or non-obvious way.” The origin of the term is credited to computer programmers in the 1980s who devised “tricks to cut through information overload and organize their data.” Today, it’s associated with almost anything that increases personal productivity and helps navigate workplace situations, as illustrated by the popular website Lifehacker where you can learn about the best apps to help you through your workday as well as interpersonal skills that will help advance your career—even in the trickiest of situations.
So, as it turns out, I do read self-help, sometimes voraciously.
Recently, I learned of the book The Art of Doing: How Superachievers Do What They Do and How They Do It So Well after coming across an excerpt of Mark Frauenfelder’s tips for creating a successful blog. As the founder and coeditor of Boing Boing, a popular website for techy-types and genre fans, Frauenfelder exudes authority on the subject; it would be wise to listen to what he has to say.
What might come as a surprise to some, given the computer-geek culture associated with the site, Frauenfelder’s last piece of advice is to “keep it real,” that “the best material for the blog is usually found in the real world from real-life experiences.”
The Art of Doing is full of these surprising anecdotes and aphorisms, often from unlikely sources. How the editors came to collect them is seemingly simple, they asked “successful people how they do what they do.” They asked for “work habits, turning points, experiences, insights and goals” and wound up with a handy reference book that can be opened to any page and read in any order to obtain words of wisdom—and inspiration—for life in all its many forms.
While gathering stories and expert practices from contributors, the editors, Camille Sweeney and Josh Gosfield, “began to see patterns” and noticed that “people shared core principles and practices.” Among them were dedication, intelligent persistence, community building, listening, testing, managing emotions, evolving, and cultivating patience and happiness.
For 30 Rock writer Robert Carlock, “It’s important to create the environment where everyone wants to contribute so that moment of inspiration can happen, because sometimes, you’re just one step away.” The band OK Go urges readers to ignore the false line between promotion and art, believing that the elevation of “one type of creativity over another is crazy,” saying that “You can call making videos, posters and other visuals crass commercial promotion, but all of our creative ideas are connected and promote each other.” They “see no line between the music and the work that supports it.”
The advice is as varied as the participants: from neurologist and neuropsychiatrist Richard Restak on optimizing your brain; to Simon Doonan, creative ambassador at large for Barneys New York, on being “the most fabulous you;” to Philippe Petit, high-wire artist, on letting life be your teacher.
Whether you call it life hacking or plain old self-help, the goal is the same: to become the best at what you do. In this day and age—as we move further away from the Industrial Revolution and deeper into the Digital and Social Age—that often means becoming the most creative, innovative person you can be, to think far outside the box and to help those around you do the same. The Art of Doing is an excellent look inside the minds and practices of people who have strived and succeeded, and who continue, every day, to be better. Pick it up, read it, hack life.
Buy The Art of Doing at your local bookstore
Read Mark Frauenfelder’s excerpt at Fast Company
Find useful articles at 99u
Listen to Seth Godin’s interview with Krista Tippett