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Getting Ahead By Being Inefficient
Being perfect at something is dangerous if it’s the only thing you can do.
efficiency  advice  career  generalists  interesting  best-practices 
7 weeks ago by lenards
Trump, Kushner and the businessman fallacy
Simon Kuper MARCH 8, 2018
The “businessman fallacy” — the notion that a rich businessman (never a woman) can run government better than a mere politician — is Donald Trump’s basic promise. That’s why the combustion of his son-in-law, fellow real-estate heir and senior adviser Jared Kushner — whose business dealings in the White House scream conflict of interest — is so telling. Kushner incarnates the businessman fallacy.......The businessman-turned-politician is often blinded by hubris. This usually stems from the “money delusion”: the idea that life is a race to make money, and that rich people (“winners”) therefore possess special wisdom.

Many businessmen imagine they pulled themselves up by the bootstraps in a free market, something that more people could do if only there was “less government in business”. This self-image usually omits context: the fact, say, that the businessman’s father built the company (before being jailed on a ridiculous technicality) or that government enforced his contracts and schooled his employees.....Rich Americans tend to feel contempt for politicians because they have learnt to treat them as lowly service providers who will sit up and beg for donations.
Simon_Kuper  Donald_Trump  Jared_Kushner  nepotism  businessman_fallacy  White_House  conflicts_of_interest  oversimplification  privately_held_companies  family-owned_businesses  hubris  generalists 
march 2018 by jerryking
Tales of a Non-Unicorn: A Story About the Roller Coaster of Job Searching
A lot has happened since I wrote that article in 2015, and this follow-up has been in the works for a good six months. I ended up, not with a solution for the job titles conundrum or a manifesto about the importance of HTML and CSS, rather a simple, honest story about my roller coaster ride.
programming  interviews  fizzbuzz  generalists  jobs  design 
march 2018 by spaceninja
Tales of a Non-Unicorn: A Story About The Trouble with Job Titles and Descriptions
After letting this self-doubt dissipate, a new emotion settled in: anger. FizzBuzz is a way to filter out fake programmers. I am fully aware that I am not a programmer, at least "programmer" in the sense of algorithms, data modeling, etc.
programming  interviews  fizzbuzz  generalists  jobs  design 
january 2018 by spaceninja
Jack of all trades, Master of none? – Dear Design Student
They’re both right and, of course, they’re both wrong. The world absolutely must have people who know a little bit about everything and people who know a lot about particularities..
specialists  generalists  careers  jobs  hiring  culture 
january 2018 by spaceninja
The Heresy of Zone Defense | Thomas Cummins Art & Architectural Photography | San Antonio, Tx
"Consider this for a moment: Julius Erving’s play was at once new and fair! The rules, made by people who couldn’t begin to imagine Erving’s play, made it possible. If this doesn’t intrigue you, it certainly intrigues me, because, to be blunt, I have always had a problem with “the rules,” as much now as when I was younger. Thanks to an unruled and unruly childhood, however, I have never doubted the necessity of having them, even though they all go bad, and despite the fact that I have never been able to internalize them. To this day, I never stop at a stop sign without mentally patting myself on the back for my act of good citizenship, but I do stop (usually) because the alternative to living with rules—as I discovered when I finally learned some—is just hell. It is a life of perpetual terror, self-conscious wariness, and self-deluding ferocity, which is not just barbarity, but the condition of not knowing that you are a barbarian. And this is never to know the lightness of joy—or even the possibility of it—because such joys as are attendant upon Julius Erving’s play require civilizing rules that attenuate violence and defer death. They require rules that translate the pain of violent conflict into the pleasures of disputation—into the excitements of politics, the delights of rhetorical art, and competitive sport. Moreover, the maintenance of such joys requires that we recognize, as Thomas Jefferson did, that the liberating rule that civilized us yesterday will, almost inevitably, seek to govern us tomorrow, by suppressing both the pleasure and the disputation. In so doing, it becomes a form of violence itself.

An instance: I can remember being buoyed up, as a youth, by reading about Jackson Pollock in a magazine and seeing photographs of him painting. I was heartened by the stupid little rule through which Pollock civilized his violence. It’s okay to drip paint, Jackson said. The magazine seemed to acquiesce: Yeah, Jackson’s right, it seemed to say, grudgingly, Dripping paint is now within the rules. Discovering this, I was a little bit more free than I was before, and I know that it was a “boy thing,” about privileging prowess at the edge of control and having the confidence to let things go all strange—and I know, as well, that, in my adolescent Weltanschauung, the fact that Jackson Pollock dripped paint somehow justified my not clearing the debris from the floor of my room (which usually, presciently, resembled a Rauschenberg combine). Even so, I had a right to be shocked a few years later when I enrolled in a university and discovered that Pollock’s joyous permission had been translated into a prohibitive, institutional edict: It’s bad not to drip! the art coaches said. It means you got no soul! Yikes!

Henceforth, it has always seemed to me that the trick of civilization lies in recognizing the moment when a rule ceases to liberate and begins to govern—and this brings us back to the glory of hoops. Because among all the arts of disputation our culture provides, basketball has been supreme in recognizing this moment of portending government and in deflecting it, by changing the rules when they threaten to make the game less beautiful and less visible, when the game stops liberating and begins to educate. And even though basketball is not a fine art—even though it is merely an armature upon which we project the image of our desire, while art purports to embody that image—the fact remains that every style change that basketball has undergone in this century has been motivated by a desire to make the game more joyful, various, and articulate, while nearly every style change in fine art has been, in some way, motivated by the opposite agenda. Thus basketball, which began this century as a pedagogical discipline, concludes it as a much beloved public spectacle, while fine art, which began this century as a much-beloved public spectacle, has ended up where basketball began—in the YMCA or its equivalent—governed rather than liberated by its rules."

"The long-standing reform coalition of players, fans, and professional owners would have doubtless seen to that, since these aesthetes have never aspired to anything else. They have never wanted anything but for their team to win beautifully, to score more points, to play faster, and to equalize the opportunity of taller and shorter players—to privilege improvisation, so that gifted athletes, who must play as a team to win (because the game is so well-designed), might express their unique talents in a visible way. Opposing this coalition of ebullient fops is the patriarchal cult of college-basketball coaches and their university employers, who have always wanted to slow the game down, to govern, to achieve continuity, to ensure security and maintain stability. These academic bureaucrats want a “winning program” and plot to win programmatically, by fitting interchangeable players into pre-assigned “positions” within the “system.” And if this entails compelling gifted athletes to guard little patches of hardwood in static zone defenses and to trot around on offense in repetitive, choreographed patterns until they and their fans slip off into narcoleptic coma, then so be it. That’s the way Coach wants it. Fortunately, almost no one else does; and thus under pressure from the professional game, college basketball today is either an enormously profitable, high-speed moral disgrace or a stolid, cerebral celebration of the coach-as-auteur—which should tell us something about the wedding of art and education.

In professional basketball, however, art wins. Every major rule change in the past sixty years has been instituted to forestall either the Administrator’s Solution (Do nothing and hold on to your advantage) or the Bureaucratic Imperative (Guard your little piece of territory like a mad rat in a hole). The “ten-second rule” that requires a team to advance the ball aggressively, and the “shot-clock rule” that requires a team to shoot the ball within twenty-four seconds of gaining possession of it, have pretty much eliminated the option of holding the ball and doing nothing with it, since, at various points in the history of the game, this simulacrum of college administration has nearly destroyed it.

The “illegal-defense rule” which banned zone defenses, however, did more than save the game. It moved professional basketball into the fluid complexity of post-industrial culture—leaving the college game with its zoned parcels of real estate behind. Since zone defenses were first forbidden in 1946, the rules against them have undergone considerable refinement, but basically they now require that every defensive player on the court defend against another player on the court, anywhere on the court, all the time."

"James Naismith’s Guiding Principles of Basket-Ball, 1891
(Glossed by the author)

1) There must be a ball; it should be large.
(This in prescient expectation of Connie Hawkins and Julius Erving, whose hands would reinvent basketball as profoundly as Jimi Hendrix’s hands reinvented rock-and-roll.)

2) There shall be no running with the ball.
(Thus mitigating the privileges of owning portable property. Extended ownership of the ball is a virtue in football. Possession of the ball in basketball is never ownership; it is always temporary and contingent upon your doing something with it.)

3) No man on either team shall be restricted from getting the ball at any time that it is in play.
(Thus eliminating the job specialization that exists in football, by whose rules only those players in “skill positions” may touch the ball. The rest just help. In basketball there are skills peculiar to each position, but everyone must run, jump, catch, shoot, pass, and defend.)

4) Both teams are to occupy the same area, yet there is to be no personal contact.
(Thus no rigorous territoriality, nor any rewards for violently invading your opponents’ territory unless you score. The model for football is the drama of adjacent nations at war. The model for basketball is the polyglot choreography of urban sidewalks.)

5) The goal shall be horizontal and elevated.
(The most Jeffersonian principle of all: Labor must be matched by aspiration. To score, you must work your way down court, but you must also elevate! Ad astra.)"
davehickey  via:ablerism  1995  basketball  rules  games  nfl  nba  defense  jamesnaismith  play  constrains  aesthetics  americanfootball  football  territoriality  possession  ownership  specialization  generalists  beauty  juliuserving  jimihendrix  bodies  hands  1980  kareemabdul-jabbar  mauricecheeks  fluidity  adaptability  ymca  violence  coaching  barbarism  civility  sports  body 
december 2017 by robertogreco
Biographer Walter Isaacson explains what made Leonardo da Vinci a genius - The Globe and Mail

What we can learn from Leonardo constitutes the peculiar last chapter of this otherwise sober and cautious biography. At its end Isaacson moves from his role as historian into something closer to self-help guru. He lists a set of Leonardish attributes for us to emulate that sound a lot like advice to tech startups: "Retain a childlike sense of wonder… Think visually… Avoid silos… Collaborate…" Add this to repeated comparisons to Steve Jobs, a previous biographee of Isaacson's, and one is reminded that this is a very American biography (Isaacson was managing editor of Time magazine for years), one that sees "creativity" as primarily a corporate asset.
Russell_Smith  books  biographies  genius  Leonardo_da_Vinci  Walter_Isaacson  Steve_Jobs  polymaths  foxes  hedgehogs  renaissance  cross-disciplinary  cross-pollination  generalists  curiosity  creativity  collaboration  silo_mentality 
december 2017 by jerryking
Full transcript: ‘Leonardo da Vinci’ biographer Walter Isaacson on Recode Decode - Recode
“If you can stand at that intersection between the arts and sciences or between beauty and engineering, that’s where you’ll be the most creative.”
Creativity  Innovation  generalists  polymath 
november 2017 by jorgebarba
Neil deGrasse Tyson With Walter Isaacson: What Makes a Genius. - YouTube
Neil deGrasse Tyson talks with author Walter Isaacson about his new book “Leonardo da Vinci”. Topics include what makes a genius, the connection between arts and science, the early adoption of today’s technologies like 3d and aerial visualization, parallels between the genius and the creativity of Leonardo and today’s start-ups and new technologies. At 92Y. November 2017.
Creativity  genius  generalists  Innovation 
november 2017 by jorgebarba
How a polymath transformed our understanding of information | Aeon Essays
It took a polymath to pin down the true nature of ‘information’. His answer was both a revelation and a return
polymath  generalists  history  Science  aeonmagazine 
september 2017 by jorgebarba
RT : This is one reason why I enjoy teaching Design Thinking to IT undergrads.
generalists  from twitter
may 2017 by kcarruthers
Scratching the Surface — 24. Sara Hendren
"Sara Hendren is a designer, artist, writer, and professor whose work centers around adaptive and assistive technologies, prosthetics, inclusive design, accessible architecture, and related ideas. She teaches inclusive design practices at Olin College in Massachusetts and writes and edits Abler, her site to collect and comment on art, adaptive technologies and prosthetics, and the future of human bodies in the built environment. In this episode, Sara and I talk about her own background and using design to manifest ideas in the world, the role of writing in her own design practice, and how teaches these ideas with her students."

[audio: ]
sarahendren  jarrettfuller  design  2017  interviews  johndewey  wendyjacob  nataliejeremijenko  remkoolhaas  timmaly  clairepentecost  alexandralange  alissawalker  michaelrock  alfredojaar  oliversacks  bldgblog  geoffmanaugh  nicolatwilley  amateurs  amateurism  dabbling  art  artists  generalists  creativegeneralists  disability  engineering  criticaltheory  integatededucation  integratedcurriculum  identity  self  teaching  learning  howweteach  howwelearn  assistivetechnology  technology  olincollege  humanities  liberalarts  disabilities  scratchingthesurface 
april 2017 by robertogreco

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