Tag: Art

Vincent van Gogh on How To Live

Van Gogh didn’t become popular until shortly after his death. To this day it’s unclear whether his letters drove the initial interest in his art.

The anthology Ever Yours: The Essential Letters, contains 265 of Vincent van Gogh’s letters, which is nearly a third of all the surviving letters he penned.

On the third of April, 1878, in a noteworthy letter to his brother Theo, van Gogh sheds light on his intentions about how to live.

I’ve been thinking about what we discussed, and I couldn’t help thinking of the words ‘we are today what we were yesterday’. This isn’t to say that one must stand still and ought not try to develop oneself, on the contrary, there are compelling reasons to do and think so.

But in order to remain faithful to those words one may not retreat and, once one has started to see things with a clear and trusting eye, one ought not to abandon or deviate from that.


As far as being an homme intérieur et spirituel is concerned, couldn’t one develop that in oneself through knowledge of history in general and of certain people of all eras in particular, from biblical times to the Revolution and from The Odyssey to the books of Dickens and Michelet? And couldn’t one learn something from the work of the likes of Rembrandt or from Weeds by Breton, or The four times of the day by Millet, or Saying grace by Degroux, or Brion, or The conscript by Degroux (or else by Conscience), or his Apothecary, or The large oaks by Dupré, or even the mills and sand flats by Michel?

It’s by persevering in those ideas and things that one at last becomes thoroughly leavened with a good leaven, that of sorrowful yet always rejoicing, and which will become apparent when the time of fruitfulness is come in our lives, the fruitfulness of good works.

The ray from on high doesn’t always shine on us, and is sometimes behind the clouds, and without that light a person cannot live and is worth nothing and can do nothing good, and anyone who maintains that one can live without faith in that higher light and doesn’t worry about attaining it will end up being disappointed.

Vincent believed that one must pay the price to achieve the kind of success that was deserved — “that a victory achieved after lifelong work and effort is better than one achieved more quickly.”

He who lives uprightly and experiences true difficulty and disappointment and is nonetheless undefeated by it is worth more than someone who prospers and knows nothing but relative good fortune.


Do let us go on quietly, examining all things and holding fast to that which is good, and trying always to learn more that is useful, and gaining more experience.

Woe-spiritedness is quite a good thing to have, if only one writes it as two words, woe is in all people, everyone has reason enough for it, but one must also have spirit, the more the better, and it is good to be someone who never despairs.

Living means we will inevitably experience sorrow and disappointment.

If we but try to live uprightly, then we shall be all right, even though we shall inevitably experience true sorrow and genuine disappointments, and also probably make real mistakes and do wrong things, but it’s certainly true that it is better to be fervent in spirit, even if one accordingly makes more mistakes, than narrow-minded and overly cautious. It is good to love as much as one can, for therein lies true strength, and he who loves much does much and is capable of much, and that which is done with love is well done.


If one were to say but few words, though ones with meaning, one would do better than to say many that were only empty sounds, and just as easy to utter as they were of little use.

Love is the best and most noble thing in the human heart, especially when it has been tried and tested in life like gold in the fire, happy is he and strong in himself who has loved much and, even if he has wavered and doubted, has kept that divine fire and has returned to that which was in the beginning and shall never die. If only one continues to love faithfully that which is verily worthy of love, and does not squander his love on truly trivial and insignificant and faint-hearted things, then one will gradually become more enlightened and stronger.

The sooner one seeks to become competent in a certain position and in a certain profession, and adopts a fairly independent way of thinking and acting, and the more one observes fixed rules, the stronger one’s character becomes, and yet that doesn’t mean that one has to become narrow-minded.

It is wise to do that, for life is but short and time passes quickly. If one is competent in one thing and understands one thing well, one gains at the same time insight into and knowledge of many other things into the bargain.

It’s sometimes good to go about much in the world and to be among people, and at times one is actually obliged and called upon to do so, or it can be one way of ‘throwing oneself into one’s work unreservedly and with all one’s might’, but he who actually goes quietly about his work, alone, preferring to have but very few friends, goes the most safely among people and in the world. One should never trust it when one is without difficulties or some worry or obstacle, and one shouldn’t make things too easy for oneself. Even in the most cultured circles and the best surroundings and circumstances, one should retain something of the original nature of a Robinson Crusoe or a savage, for otherwise one hath not root in himself, and never let the fire in his soul go out but keep it going, there will always be a time when it will come in useful.

We must launch out into the great sea of life.

Launching out into the deep is what we too must do if we want to catch anything, and if it sometimes happens that we have to work the whole night and catch nothing, then it is good not to give up after all but to let down the nets again at dawn.

So let us simply go on quietly, each his own way, always following the light ‘sursum corda’, and as such who know that we are what others are and that others are what we are, and that it is good to have love one to another namely of the best kind, that believeth all things and hopeth all things, endureth all things and never faileth.

And not troubling ourselves too much if we have shortcomings, for he who has none has a shortcoming nonetheless, namely that he has none, and he who thinks he is perfectly wise would do well to start over from the beginning and become a fool.

We are today what we were yesterday, namely ‘honnêtes hommes’, but ones who must be tried with the fire of life to be innerly strengthened and confirmed in that which they are by nature through the grace of God.

Ever Yours: The Essential Letters is a collection of some of Vincent van Gogh’s best letters which shed light on a remarkable talent and his artistic notions.

Building a Business and Making Your Mark

Building the perfect business is about finding the balance between what you have to offer and what the world wants. In this post, we hear from Sebastian Thrun, co-founder of Udacity, about some of the lessons he’s learned about making your mark on the world through business.


While ‘managing by bestseller’ is a misguided approach to fixing organizational problems, there is a lot to be learned from the leading experts and entrepreneurs on what’s different about building a business today.

Make Your Mark: The Creative’s Guide to Building a Business with Impact, edited by Jocelyn Glei, features insights from twenty-one leading experts and entrepreneurs to explore the principles that propel some of today’s most successful companies.

It’s about “applying the forces of business to creativity.”
In the foreword to the book, Scott Belsky, the Founder of Behance and author of Making Ideas Happen, points to one of the fundamental problems with creativity: it’s often undiscoverable. And if it’s undiscoverable, it has no impact.

Creativity has many definitions.

For me, creativity is solving problems in new ways and conceiving new ways of looking at the world.

Creativity can be expressed in many forms, like art, science, and thought.

But creativity is all too often undiscoverable and incomprehensible.

Art, without distribution and discovery, moves nobody. Did it ever exist? Science, without clear explanation and advocacy, won’t be understood by the masses. Will it make an impact?

Creation, he argues, “must be made accessible for consumption.” Creativity alone is not enough. We need to make it consumable by channeling and packaging it.

The best businesses are purpose-driven. But you can’t go far without an incredible product experience. What guides all great product development are the twin ideals of “an unstoppable enthusiasm for bringing something great into the world and a relentless focus on usability.” Making good products takes time.

Enter Sebastian Thrun, the leader behind the team that created Google Glass and the Google Self-Driving Car. He’s also the co-founder of Udacity, which is trying to disrupt education by improving the learning experience. Thrun does a Q&A in the book, and it’s one of the best things I’ve read recently.

How do you focus your energies at the beginning of a project?

When thinking about products, I like to use a mountain-climbing analogy. The first step is to pick a peak. Don’t pick a peak because it’s easy. Pick a peak because you really want to go there; that way you’ll enjoy the process.

The second thing is to pick a team you trust and that’s willing to learn with you. Because the way mountain climbing really works is that you can’t climb the entire route perfectly. You have to know that you are going to make mistakes, that you’ll have to turn around, and that you’ll have to recover.

You also have to maintain your sense of purpose. For a long time, it may feel like you’re on the wrong path, but you must have the resilience to forge ahead. You just have to keep moving uphill.

It’s about the process, not the outcome.

For me, the journey is much more delightful if you can derive pleasure from the process every day, rather than at the end of the year. If your goal is to IPO and get rich, then you’re going to be in for a very long, very sad ride. Because most people don’t IPO and don’t get rich.

Our most important asset is our time, so I think it’s best to manage your time well right now and be happy about it, rather than focus on some deferred goal, like buying a fancy car in the future. The data shows that people who are rich aren’t any happier, so you might as well derive your happiness from what you are doing today.

How does iteration figure into your process? Do you think it’s best to create a functional prototype as soon as possible?

To return to the mountain idea, if you think about it, there’s no other way to get up the mountain than taking a hundred thousand steps. You could have all the meetings and all the documentation and work for weeks on end to make the perfect plan. But in my opinion, all you’ve done at that point is lost time. You’ve done nothing. You’ve learned nothing.

Sure, if this mountain has been climbed ten thousand times before, then you just get the book, and the maps, and you follow the same steps. But that’s not innovation. Innovation is about climbing a mountain that no one has climbed before. So there ought to be some unknowns along the way because no one has solved the problem yet.

And when you’re innovating, sheer thinking just won’t work. What gets you there is fast iteration, and fast failing. And when you fail, you’ve done something great: you’ve learned something. In hindsight, it might look a little embarrassing, and people will say, “You should’ve known that.” But the truth is you couldn’t have known because it’s unchartered territory. Almost every entrepreneur I know has failed massively many, many times along the way.

What’s the most common mistake that people make when they’re developing a product?

One mistake I see a lot is the eternal thinker, the perfectionist. This is the person that builds all the components without putting them together, because there’s perfection in component development. And they have this idea that if you only put things together right before launch, everything will go fine. Of course, that never happens.

The second mistake I see is more of a character issue, which is being discouraged by failure. Where you do something three or four times, spend half a year in development, and think, “Oh my god, I’m not there yet, let me change my career . . .” So that’s a lack of perseverance.

The last one I see is being driven by fear. When your competitor does something new, you become fearful and decide that you’re going to change course. But every single time you do this, you’re already behind your competitor and that’s just a bad idea. You have to have faith in yourself, and believe in your vision.

At some time, everybody is driven by fear. But we need to—as much as we can—take fear out of the game. One way to do this is to imagine that you are already successful. You’ve looked into the future, and you’ve succeeded. What would you enjoy doing today given that knowledge?

Clearly, certain personality types are more comfortable with iteration and failure than others. Do you think you can learn to be if it doesn’t come naturally?

It’s obvious to me that there’s a certain personality type that can deal with failure more than others. But I think this awareness can also be acquired, especially when you realize that the failures that come out of experimentation really don’t relate to you as a person. It’s just the course of innovation; failure is a systemic part of that process.

For instance, if you’re driving a car, and after three hundred miles the car runs out of gas, no one takes offense because the “failure” is inherent to the car, not to you. It’s not your failure to operate the car correctly. We all know that you have to refill the gas tank; that’s just the way it is. So if we think of failure in innovation in the same way—as having to refill the gas tank regularly—we can take it much less personally.

That’s a great metaphor. So you think the idea of constant—and playful—experimentation is the best mind-set for innovation?

It’s very uncommon for people to have the attitude of “Wow, I don’t know.” In childhood, researchers call this a “growth mind-set”—this idea that you’re comfortable with the fact that you just don’t know something yet, or that you just can’t do something yet. But most people are raised with this feeling that they know everything.

But if you know everything, you can’t possibly innovate, right? It’s impossible, because there is nothing new to learn or discover.

There’s this funny saying that I like: “After high school, kids know everything, after their bachelor’s degree, they know something, and after a PhD, they now know that they know nothing.”

I think that the ability to see how much more there is to know and be humble about it is actually a good thing. Returning to the mountain metaphor, every mountain climber I know of feels small in the mountains and enjoys the feeling of being small. No matter what you do, the mountain is always bigger than you are.

Make Your Mark is the third book in 99u’s “missing curriculum” for creative leaders. The two prior ones are Manage Your Day-to-Day: Build Your Routine, Find Your Focus, and Sharpen Your Creative Mind and Maximize Your Potential: Grow Your Expertise, Take Bold Risks & Build an Incredible Career.

The Book of Trees: Visualizing Branches of Knowledge

“There certainly have been many new things
in the world of visualization; but unless
you know its history, everything might seem novel.”

— Michael Friendly


It’s tempting to consider information visualization a relatively new field that rose in response to the demands of the Internet generation. “But,” argues Manual Lima in The Book of Trees: Visualizing Branches of Knowledge, “as with any domain of knowledge, visualizing is built on a prolonged succession of efforts and events.”

This book is absolutely gorgeous. I stared at it for hours.

While it’s tempting to look at the recent work, it’s critical we understand the long history. Lima’s stunning book helps, covering the fascinating 800-year history of the seemingly simple tree diagram.

Trees are some of the oldest living things in the world. The sequoias in Northern California, for example, can reach a height of nearly 400 feet, with a trunk diameter of 26 feet and live to more than 3,500 years. “These grandiose, mesmerizing lifeforms are a remarkable example of longevity and stability and, ultimately, are the crowning embodiment of the powerful qualities humans have always associated with trees.”

Such an important part of natural life on earth, tree metaphors have become deeply embedded in the English language, as in the “root” of the problem or “branches” of knowledge. In the Renaissance, the philosophers Francis Bacon and Rene Descartes, for example, used tree diagrams to describe dense classification arrangements. As we shall see, trees really became popular as a method of communicating and changing minds with Charles Darwin.

The Kept
Source: The Book of Trees: Visualizing Branches of Knowledge
Source: The Book of Trees: Visualizing Branches of Knowledge

In the introduction Lima writes:

In a time when more than half of the world’s population live in cities, surrounded on a daily basis by asphalt, cement, iron, and glass, it’s hard to conceive of a time when trees were of immense and tangible significance to our existence. But for thousands and thousands of years, trees have provided us with not only shelter, protection, and food, but also seemingly limitless resources for medicine, fire, energy, weaponry, tool building, and construction. It’s only normal that human beings, observing their intricate branching schemas and the seasonal withering and revival of their foliage, would see trees as powerful images of growth, decay, and resurrection. In fact, trees have had such an immense significance to humans that there’s hardly any culture that hasn’t invested them with lofty symbolism and, in many cases, with celestial and religious power. The veneration of trees, known as dendrolatry, is tied to ideas of fertility, immortality, and rebirth and often is expressed by the axis mundi (world axis), world tree, or arbor vitae (tree of life). These motifs, common in mythology and folklore from around the globe, have held cultural and religious significance for social groups throughout history — and indeed still do.


The omnipresence of these symbols reveals an inherently human connection and fascination with trees that traverse time and space and go well beyond religious devotion. This fascination has seized philosophers, scientists, and artists, who were drawn equally by the tree’s inscrutabilities and its raw, forthright, and resilient beauty. Trees have a remarkably evocative and expressive quality that makes them conducive to all types of depiction. They are easily drawn by children and beginning painters, but they also have been the main subjects of renowned artists throughout the ages.

Source: The Book of Trees: Visualizing Branches of Knowledge

Our relationship with trees is symbiotic and this helps explain why it permeates our language and thought.

As our knowledge of trees has grown through this and many other scientific breakthroughs, we have realized that they have a much greater responsibility than merely providing direct subsistence for the sheltered ecosystems they support. Trees perform a critical role in moderating ground temperature and preventing soil erosion. Most important, they are known as the lungs of our planet, taking in carbon dioxide from the atmosphere and releasing oxygen. As a consequence, trees and humans are inexorably intertwined on our shared blue planet.

Our primordial, symbiotic relationship with the tree can elucidate why its branched schema has provided not only an important iconographic motif for art and religion, but also an important metaphor for knowledge-classification systems. Throughout human history the tree structure has been used to explain almost every facet of life: from consanguinity ties to cardinal virtues, systems of laws to domains of science, biological associations to database systems. It has been such a successful model for graphically displaying relationships because it pragmatically expresses the materialization of multiplicity (represented by its succession of boughs, branches, twigs, and leaves) out of unity (its central foundational trunk, which is in turn connected to a common root, source, or origin.)

While we can’t go back in time it certainly appears like Charles Darwin changed the trajectory of the tree diagram forever when he used it to change minds about one of our most fundamental beliefs.

Darwin’s contribution to biology—and humanity—is of incalculable value. His ideas on evolution and natural selection still bear great significance in genetics, molecular biology, and many other disparate fields. However, his legacy of information mapping has not been highlighted frequently. During the twenty years that led to the 1859 publication of On the Origin of Species by Means of Natural Selection, Darwin considered various notions of how the tree could represent evolutionary relationships among specifics that share a common ancestor. He produced a series of drawings expanding on arboreal themes; the most famous was a rough sketch drawn in the midst of a few jotted notes in 1837. Years later, his idea would eventually materialize in the crucial diagram that he called the “tree of life” (below) and featured in the Origin of Species.

Darwin was cognizant of the significance of the tree figure as a central element in representing his theory. He took eight pages of the chapter “Natural Selection,” where the diagram is featured, to expand in considerable detail on the workings of the tree and its value in understanding the concept of common descent.

Source: The Book of Trees: Visualizing Branches of Knowledge

A few months before the publication of his book, Darwin wrote his publisher, John Murray: “Enclosed is the Diagram which I wish engraved on Copper on folding out Plate to face latter part of the volume. — It is an odd-looking affair, but is indispensable to show the nature of the very complex affinities of past & present animals. …”

The illustration was clearly a “crucial manifestation of his thinking,” and of central importance to Darwin’s argument.

As it turned out it was the tree diagram, accompanied by Darwin’s detailed explanations, that truly persuaded a rather reluctant and skeptical audience to accept his groundbreaking ideas.

Coming back to the metaphor, before we go on to explain and show some of the different types of tree diagrams, Lima argues that given the long-lasting nature of the tree and its penetration into our lives as a way to organize, describe, and understand we can use the tree as a prism to better understand our world.

As one of the most ubiquitous and long-lasting visual metaphors, the tree is an extraordinary prism through which we can observe the evolution of human consciousness, ideology, culture, and society. From its entrenched roots in religious exegesis to its contemporary secular digital expressions, the multiplicity of mapped subjects cover almost every significant aspect of life throughout the centuries. But this dominant symbol is not just a remarkable example of human ingenuity in mapping information; it is also the result of a strong human desire for order, balance, hierarchy, structure, and unity. When we look at an early twenty-first-century sunburst diagram, it appears to be a species entirely distinct from a fifteenth-century figurative tree illustration. However, if we trace its lineage back through numerous tweaks, shifts, experiments, failures, and successes, we will soon realize there’s a defined line of descent constantly punctuated by examples of human skill and inventiveness.

Types of Tree Diagrams

Figurative Trees
Source: The Book of Trees: Visualizing Branches of Knowledge

Figurative Trees

Trees have been not only important religious symbols for numerous cultures through the ages, but also significant metaphors for describing and organizing human knowledge. As one of the most ubiquitous visual classification systems, the tree diagram has through time embraced the most realistic and organic traits of its real, biological counterpart, using trunks, branches, and offshoots to represent connections among different entities, normally represented by leaves, fruits, or small shrubberies.

Even though tree diagrams have lost some of their lifelike features over the years, becoming ever more stylized and nonfigurative, many of their associated labels, such as roots, branches, and leaves, are still widely used. From family ties to systems of law, biological species to online discussions, their range of subjects is as expansive as their time span.


Tree-Eagle Joachim of Fiore
Source: The Book of Trees: Visualizing Branches of Knowledge
tree of consanguinity-compressed
Source: The Book of Trees: Visualizing Branches of Knowledge
the common law-compressed
Source: The Book of Trees: Visualizing Branches of Knowledge

Vertical Trees

vertical trees
Source: The Book of Trees: Visualizing Branches of Knowledge

The transition from realistic trees to more stylized, abstract constructs was a natural progression in the development of hierarchical representations, and a vertical scheme splitting from top or bottom was an obvious structural choice. … Of all visualization models, vertical trees are the ones that retain the strongest resemblance to figurative trees, due to their vertical layout and forking arrangement from a central trunk. In most cases they are inverted trees, with the root at the top, emphasizing the notion of descent and representing a more natural writing pattern from top to bottom. Although today they are largely constrained to small digital screens and displays, vertical trees in the past were often designed in larger formats such as long parchment scrolls and folding charts that could provide a great level of detail.

La Chronique Universelle-compressed
Source: The Book of Trees: Visualizing Branches of Knowledge
horizonatal tree
Source: The Book of Trees: Visualizing Branches of Knowledge

Horizontal Trees

With the adoption of a more schematic and abstract construct, deprived of realistic arboreal features, a tree diagram could sometimes be rotated along its axis and depicted horizontally, with its ranks arranged most frequently from left to right.

Horizontal trees probably emerged as an alternative to vertical trees to address spatial constraints and layout requirements, but they also provide unique advantages. The nesting arrangement of horizontal trees resembles the grammatical construct of a sentence, echoing a natural reading pattern that anyone can relate to. This alternative scheme was often deployed on facing pages of a manuscript, with the root of the tree at the very center, creating a type of mirroring effect that is still found in many digital and interactive executions. Horizontal trees have proved highly efficient for archetypal models such as classification trees, flow charts, mind maps, dendrograms, and, notably, in the display of files on several software applications and operating systems.

Source: The Book of Trees: Visualizing Branches of Knowledge
Web trigrams-compressed
Source: The Book of Trees: Visualizing Branches of Knowledge

The Book of Trees: Visualizing Branches of Knowledge goes on to explore multi-directional, radial, hyperbolic, rectangular, Voronoi, and circular treemaps as well as sunbursts and icicle trees.

The Notebooks of Paul Klee

“Ingres is said to have created an artistic order out of rest; I should like to create an order from feeling and, going still further, from motion.”


Paul Klee was a painter who wrote extensively about color theory. His lectures, Writings on Form and Design Theory, taught at the German Bauhaus school of art in the 1920s, were published in English as the Paul Klee Notebooks. They are considered as important to modern art as Leonardo da Vinci’s A Treatise on Painting was for the Renaissance.

Giulio Carlo Argan, in the Preface to the first volume of Klee’s notebooks, writes:

The writings which compose Paul Klee’s theory of form production and pictorial form have the same importance and the same meaning for modern art as had Leonardo’s writings which composed his theory of painting for Renaissance art. Like the latter, they do not constitute a true and proper treatise, that is to say a collection of stylistic and technical rules, but are the result of an introspective analysis which the artist engages in during his work and in the light of the experience of reality which comes to him in the course of his work. This analysis which accompanies and controls the formation of a work of art is a necessary component of the artistic process, the aim and the finality of which are brought to light by it …

Herbert Read called the collection “the most complete presentation of the principles of design ever made by a modern artist – it constitutes the Principia Aesthetica of a new era of art, in which Klee occupies a position comparable to Newton’s in the realm of physics.”

And now, these astonishingly beautiful works of art are available online (Volume 1: The Thinking Eye (PDF, 23 Megabytes), Volume 2: The Nature of Nature (PDF, 43 MBS))

If you’re like me, prepare to spend the rest of your day in this treasure trove of amazingness.

Paul Klee 1
Source: Paul Klee Notebooks
Paul Klee 2
Source: Paul Klee Notebooks
Paul Klee 3
Source: Paul Klee Notebooks
Paul Klee 4
Source: Paul Klee Notebooks
Paul Klee 5
Source: Paul Klee Notebooks
Paul Klee 6
Source: Paul Klee Notebooks
Paul Klee 7
Source: Paul Klee Notebooks


Still curious? The notebooks make an excellent addition to your budding art library.

Hans Ulrich Obrist On The Pace of The World And the Value of Slowness

Hans Ulrich Obrist is a legendary curator and interviewer.

In the book Everything You Always Wanted to Know About Curating, the tables are turned and he is the one being interviewed.

Here is a noteworthy exchange between him and Jefferson Hack on the pace of the world and the value of slowness for revealing life.

(Hack) Speed is something that I wanted to talk to you about. Do you feel that you are too fast for the world you live in? Like the world is naturally too slow for you? Do you feel comfortable with the speed at which things are changing or do you feel alienated and confused by it?

(Obrist) In a way, I think it is just a condition we live in.

You accept it?

I think the question is how we can differentiate. It’s very important to inject experiences of slowness, so I think curating exhibitions is also about having slow lanes — not only fast lanes. I think it’s very interesting what you said about things being prescribed because in museums and exhibitions now, the enemies are those audio guides. I went to see an exhibition where I wasn’t able to return to a painting because there were thousands and thousands of people there with those audio guides. They’re already a nightmare, advancing, advancing from painting to painting. And the beauty of an exhibition is that it’s a nonlinear experience, so you can return to a painting. Pictures don’t reveal themselves instantly: it’s important to be able to return. I love, you know, T. J. Clark’s new book, The Sight of Death: An Experiment in Art Writing. In it he describes a residency at Getty; he would always return every morning to the same two paintings by Poussin, not really knowing where he would end up. And that’s the whole idea: having nothing special on his mind, he was just looking.

Something to keep in mind as you visit various museums this summer.

Still curious?

Obrist is the brains behind The Interview Project and prefers to conduct lengthy interviews, often lasting hours and testing the endurance of both him and the interviewee. The first collection of his interviews, Hans-Ulrich Obrist: Interviews, 75 in total, is available.

Free Radicals: Don’t Follow your Passion, Cultivate it

“Luck is what happens when preparation meets opportunity.”
— Seneca


We’ve entered a new phase of self-invention.

Thanks in large part to technology and the pace of the modern world, finding your way through the labyrinth is more difficult than ever.

Maximize Your Potential: Grow Your Expertise, Take Bold Risks & Build an Incredible Career, edited by Behance’s 99U editor-in-chief Jocelyn Glei, and featuring contributions from over twenty of today’s creative minds, explores the timeless skills—generating opportunities, building relationships, and taking risks—that can help you navigate today’s changing landscape.

In the foreword to the book, Behance founder Scott Belsky, author Making Ideas Happen, explains the concept of free radicals.

Chalk it up to new technology, social media, or the once out-of-reach business tools now at your fingertips. The fact is, we’re empowered to work on our own terms and do more with less. As a result, we expect more from those that employ us and we expect more from ourselves. When we get the resources and opportunities we deserve, we create the future.

Here’s a name for us: Free Radicals.

Free Radicals want to take their careers into their own hands and put the world to work for them. Free Radicals are resilient, self-reliant, and extremely potent. You’ll find them working solo, in small teams, or within large companies. As the world changes, Free Radicals have re-imagined “work” as we know it. No doubt, we have lofty expectations:

We do work that is, first and foremost, intrinsically rewarding. But, we don’t create solely for ourselves, we want to make a real and lasting impact in the world around us.

We thrive on flexibility and are most productive when we feel fully engaged. We demand freedom, whether we work within companies or on our own, to run experiments, participate in multiple projects at once, and move our ideas forward.

We make stuff often, and therefore, we fail often. Ultimately, we strive for little failures that help us course-correct along the way, and we view every failure as a learning opportunity, part of our experiential education.

We have little tolerance for the friction of bureaucracy, old-boy networks, and antiquated business practices. As often as possible, we question “standard operating procedure” and assert ourselves. But even when we can’t, we don’t surrender to the friction of the status quo. Instead, we find clever ways (and hacks) around it.

We expect to be fully utilized and constantly optimized, regardless of whether we’re working in a start-up or a large organization. When our contributions and learning plateau, we leave. But when we’re leveraging a large company’s resources to make an impact in something we care about, we are thrilled! We want to always be doing our best work and making the greatest impact we can.

We believe that “networking” is sharing. People listen to (and follow) us because of our discernment and curatorial instinct. As we share our creations as well as what fascinates us, we authentically build a community of supporters who give us feedback, encouragement, and lead us to new opportunities. For this reason and more, we often (though, not always) opt for transparency over privacy.

We believe in meritocracy and the power of online networks and peer communities to advance our ability to do what we love, and do well by doing it. We view competition as a positive motivator rather than a threat, because we want the best idea—and the best execution—to triumph.

We make a great living doing what we love. We consider ourselves to be both artisans and businesses. In many cases, we are our own accounting department, Madison Avenue marketing agency, business development manager, negotiator, and salesperson. We spend the necessary energy to invest in ourselves as businesses—leveraging the best tools and knowledge (most of which are free and online) to run ourselves as a modern-day enterprise.

One of the best insights in the book revolves around cultivating passion. We’re told from a very young age to follow our passion. Cal Newport, the author of How to Become a Straight-A Student: The Unconventional Strategies Real College Students Use to Score High While Studying Less, points out the flaw in this wisdom.

This pattern is common in the lives of people who end up loving their work. As described in Lesson 1, careers become compelling once they feature the general traits you seek. These traits, however, are rare and valuable—no one will hand you a lot of autonomy or impact just because you really want it, for example. Basic economics tells us that if you want something rare and valuable, you need to offer something rare and valuable in return—and in the working world, what you have to offer are your skills. This is why the systematic development of skill almost always precedes passion.

In other words, Newport argues that what you do for a living matters less than you think.

“[T]he right question is not “What job am I passionate about doing?” but instead, “What way of working and living will nurture my passion.”

Stepping back, he writes:

The goal of feeling passionate about your work is sound. But following your passion—choosing a career path solely because you are already passionate about the nature of the work—is a poor strategy for accomplishing this goal. It assumes that you have a pre-existing passion to follow that matches up to a viable career, and that matching your work to a strong interest is sufficient to build long-term career satisfaction. Both of these assumptions are flawed.

Newport argues a more sophisticated strategy for finding passion means “we should begin by developing rare and valuable skills.” Once we’ve done that, we can use these skills to navigate our career towards the general lifestyle that resonates with us.

In a section on reprogramming your daily habits, Scott Young speaks to how automatic many of our decisions become and how routines drive our lives.

If you think hard about it, you’ll notice just how many “automatic” decisions you make each day. But these habits aren’t always as trivial as what you eat for breakfast. Your health, your productivity, and the growth of your career are all shaped by the things you do each day — most by habit, not by choice.

Even the choices you do make consciously are heavily influenced by automatic patterns. Researchers have found that our conscious mind is better understood as an explainer of our actions, not the cause of them. Instead of triggering the action itself, our consciousness tries to explain why we took the action after the fact, with varying degrees of success. This means that even the choices we do appear to make intentionally are at least somewhat influenced by unconscious patterns.

Given this, what you do every day is best seen as an iceberg, with a small fraction of conscious decision sitting atop a much larger foundation of habits and behaviors.

Maximize Your Potential: Grow Your Expertise, Take Bold Risks & Build an Incredible Career explores how creating opportunities, building expertise, cultivating relationships, and taking risks can propel you forward. With contributions from Tony Schwartz to Ben Casnocha, you’ll be left thinking about the next opportunity and how to get there. (Best served with a side of its prequel: Manage Your Day-to-Day.)