Our daughter has been attending a new school while we are in Milan. They asked the children to bring their own sets of coloured pencils to be used in art classes.
Here is the state of our daughter’s set after one month of use. I thought that the remaining length of the pencils is a nice visual representations of which colours she favours and by how much.
I wanted to take this picture, because it seems to me straight out of “The Day the Crayons Quit” by Drew Daywalt, and illustrated by the great Oliver Jeffers. Our daughter received this book as a birthday present, but I might have enjoyed it even more than she did.
Not to over-analyze our daughter, but I think the picture shows that she prefer bright colours overall. The exceptions are the white, which is not a very practical colour for drawing on white paper anyway, and the dark yellow, which is a bit redundant, given the that there are two other yellow pencils in this set, both of them well-used. And of course, pink is still the strong favourite.
Incidentally, I once heard in popular science television show in Japan that there was a correlation between the preference for pink colour and health of middle-aged and elderly women. The hypothesis was that liking the pink colour, which is traditionally associated with youth, encourages women to maintain a youthful state of mind, which in turn leads to better health.
Even if there no causation here, I am glad that our daughter sees the world mostly in bright colours. I hope this trend continues as she grows up, and her brightly-coloured pencils and crayons will always be stubby.
I am not going to say that going on sabbatical in Milan for half a year with my family is not a great opportunity. I fully realize that, relatively speaking, it’s a privilege, and I do value it. Without exception, everyone we know, who heard about our travel for the first time, said that something ranging from “I wish I could go with you” to “It sounds like something out of a romantic novel”.
Having said this, my subjective view of the experience has been evolving from the the excitement of the initial planning, through the realization that it would take a substantial logistical effort to move the household to the stress of settling in the new town.
After everything is said and done, I absolutely think that coming here was worth the effort. Just as a note, I am writing this after living in Milan for three weeks. I will keep you updated as my opinion changes or reaffirms.
Here is one reason why academic sabbaticals are perfect mechanisms of promoting creativity and enabling a variety of viewpoints on familiar issues.
I recently read about the seminal work of Joseph Connell, a biologist, who established a framework for the so-called “intermediate disturbance hypothesis”. The idea is that in order to allow biodiversity in a certain geographical region, this area needs to be exposed to a periodic disturbance of a medium strength, like a tall tree that sometimes falls in the middle of a forest or a storm that rips through a coral reef once in a few years. The disturbance temporarily dislodges a dominant species in that area and allows other species to compete for resources (e.g. sunlight).
There are two key factors in this concept:
1. A significant disturbance is necessary for diversity (otherwise, one species would croud out the others).
2. The disturbance should not be too harsh or too frequent (otherwise, only the hardiest species would be able to survive).
Since Connell’s discovery in the 1950’s, people have drawn parallels between the intermediate disturbance hypothesis applied to biology and its apparent validity in other areas. In fact, I learned about it in Charles Duhigg’s book “Smarter Faster Better”, where he argues that it applies to a generalized creative process.
I think that an academic sabbatical, which, in the case of my university, can be taken once in every seven years, is a perfect example of a medium disturbance to the dominant modes of thinking and of dealing with everyday problems that we all have a tendency to develop and follow. Specifically, I think that travelling to a foreign country and collaborating with colleagues by physically joining their research group satisfies the key requirements of a medium disturbance.
First, going on sabbatical is undoubtedly stressful, notwithstanding all the romantic concepts of travelling to Italy or another location with an exotic flair. We are forced to adapt to the foreign customs and to learn the logistics of living in a new city. Also, joining another research group and the closeness of collaboration with other researchers compels us to internalize their viewpoints and and ways of approaching problems.
Second, the stress of sabbatical travel is not so severe that it forces us to completely uproot your way of life. Also, the sabbaticals, don’t happen too often to completely prevent routine and procedures from taking root.
I really hope that this year’s trip will provide just enough disturbance to broaden my, and my family’s view of the world and our own life. Incidentally, I an noticing that our five-year-old daughter is definitely more adaptable to the transition to the new place than I am. For example, I am sure that if the word “stress” was in her vocabulary, she would not have chosen it to describe her initial experience here in Milan. This is the evidence that a child’s outlook to the world is inherently more diverse that that of an adult. Somewhere, along the way of growing up, one way of thinking crowds out the alternatives, just like a dominant species of plants in an Australian forest steals the sunlight from the other plants, and it takes some uprooting to open one’s mind to creative possibilities.
Here are a few notes for travelling half-way across the globe for sabbatical with a five-year-old.
No matter how far in advance we wanted to start packing, we finished the night before our flight. Actually, my wife and I didn’t get much sleep at all that night, because we also had to prepare our house, which was being rented during our leave. Fortunately, our daughter is a good sleeper, so she had a good rest before the trip. She also likes travel – all aspects of it from packing to going to the airport to the flight itself to getting settled in the new place. This is her sixth major overseas trip, so she is a seasoned traveller by now.
Also, we learned from experience that no matter how efficient the airport workers look from a distance, luggage gets delayed far more often than we would like. This time, unfortunately, was not an exception, and one of our bags did not arrive to Milan with us. We know from experience not to pack all my stuff into one bag, all my wife’s stuff into another, etc. Instead, we pack a little bit of each family member’s clothes into each peace of the checked luggage, so if one suitcase gets lost (or hopefully just delayed), none of us is stranded without clothes. When the missing bag did show up three days later, our daughter was delighted to finally have her coloured markers, which she had already started to miss.
In terms of keeping the the child entertained, we were quite lucky and didn’t have to do much, because as I mentioned, our daughter is excited about the trip itself. She is also not a picky eater, but during the trip especially we make a point of letting her choose whatever she wanted, even if it meant pizza three times in a row.
Nothing helps the child’s mood as well as a new stuffy toy! We picked up a toy kitten at the Frankfurt airport, and our daughter didn’t let it go until the following day. We also brought another toy with us, one that was new to our daughter. It was a construction set, where you can build various shapes out of small plastic balls with hooks that attach to each other. I remember playing in a similar way with dried burs. Probably, the designers of the toy used burdock as the inspiration. Anyway, it’s a great toy for travel – lightweight and can be used in many configurations. Our daughter received it as a present for the New Year, but we asked her to keep it specifically for the trip.
I also find that I need to entertain myself during the long trip. Usually, when I travel alone, I find that I can work quite productively on the plane and while waiting for connecting flights at airports. This time, I did not want to work because we were travelling all together, and because I was too tired from the lack of sleep to be productive anyway. Taking pictures and shooting video was a perfect way to stay somewhat focussed and entertained at the same time. I am delighted that our daughter is taking interest in photography too. She always wants to check the photos on the camera screen, asks me to take a picture of something she finds interesting and even sometimes does so herself.
We checked into the rental apartment nearly 24 hours after we left home. The first thing we did is to go out for some pizza (naturally!), and found it to be decidedly better in Milan than in Vancouver. On the way back to the apartment, we picked up some groceries, and I was once again surprised and how upbeat and positive our daughter had been despite literally falling asleep in the taxi just a couple of hours earlier. At that point in the day, it was I who needed to maintain my mood, and she was being an excellent example. So I can say that at least based on our experience, long-distance travelling with kids is not only feasible, but in many ways more enjoyable than travelling alone or as a couple.
I have been thinking about the purpose of blogging. I like the idea that daily writing, or any creative process for that matter, is an integral part of forming the thoughts and opinions. In other words, you don’t actually know what you really think about a particular topic until you capture your thoughts in writing. A similar concept applies to capturing visual impressions in photos, paintings, etc.
Incidentally, sometimes we can formulate opinions and understanding by “talking them out” instead. I heard that Hemingway used to do this with his books. Here lies a bit of danger: unless you are as good as Hemingway, talking about your creative ideas might actually prevent you from writing about them (or painting them or doing the photo shoot). It can happen because talking does serve the purpose of fleshing out the ideas, but it is much easier than creating something persistent and tangible, like a pice of writing or an object of visual art. I believe this is why Seth Godin’s advice to writes is to keep their mouths shut about their book ideas until they actually have the books published and thus ready to be discussed.
Also, blogging is different from journalling, because the latter is private (and has a unique usefulness precisely because of that), while the former offers a way to practice expressing the ideas publicly.
Then, there might be an inherent usefulness of blogs to the audience, beyond mere entertainment. For example, yesterday, I was thrilled to discover that one of the first web publications I have read when I was a graduate student (which, given my age relative to the age of the Internet, makes it one of the first web publications, period), Philip Greenspun’s “Travels with Samantha” is still online and, as far as I remember, is in it’s original format. This is a travel blog/photo blog that was written before either of these terms existed. In retrospect, reading it, as well as photo.net, which was Greenspun’s personal website at the time (and the format and the content of which has changed significantly over the years), was a significant experience for me..
The mere fact that I still remember “Travels of Samantha” after all these years means that it must have had some effect on me. The rudimentary early ideas of mobile computing, my interest in hardware and gadgets, the interest in photography and my approach to it – they were shaped by Greenspun’s travel notes and photos. All these connections were completely hidden from me at the time.
Perhaps this blog might also turn out to be useful for someone in some mysterious way.
In Japan, rituals are important. For example, the proper way of eating food, the order in which it should be eaten, etc. can be very intricate. But the neat thing is that these rules often originate from practical considerations.
With ramen, for example, it’s good to take a few sips of the broth first, before eating the noodles. There are at least two reasons for this:
First, the broth is what makes a ramen bowl distinct. It usually takes hours to make and there are various kinds of it. My favourite, at Kuma Noodles in Victoria, BC, is the miso flavour. Besides the broth, what makes ramen unique to a particular region and to a particular chef is the level of saltiness, the type of noodles and the toppings.
Second, the noodles are still cooking while you are tasting the broth. By the way, it is considered polite to slurp the noodles, and there is a practical reason for this too: slurping actually cools the noodles, which are very hot. Also, because ramen is best eaten while it is hot, it is polite not to talk while eating it and to eat it quickly.
Having said all this about table manners, I was told once by a Japanese friend that the best way to show respect to the chef is to relax, enjoy the food and not be concerned about the rules. …Of course, it might have been just a polite way of making us, the gaijin, not over-think reigi too much. As with many Japanese things, I will never know…
When my wife and I came back from a 3-week-long trip from Italy in 2009, we brought back about 15,000 photos, which now seems like not a big deal, but at that time it was a huge amount and a logistical challenge in terms of storage, processing, etc.
Now, as I was re-visiting them 7 years later, to prepare an exhibit at a local coffee shop, the challenge was to select just a few images from that set and to decide how to display them them next to each other: what sizes to print, for example. So I chose my favourite photo from the entire trip – the Florentine sunset, and printed it as the larges gallery wrap I knew we would be able to display – a 24 x 36 in canvas. We brought in to the cafe, held it against the wall, and at that point in became apparent what other images would work, at what size, how to position them relative to the main print.
The rest was, as you can see in the video, a matter of sticking the hooks to the wall, after double- or triple-checking the measurements, and voilà – we have a personal exhibit!
“Why do you go away? So that you can come back. So that you can see the place you came from with new eyes and extra colors. And the people there see you differently, too. Coming back to where you started is not the same as never leaving.”
― Terry Pratchett, “A Hat Full of Sky”
Settling down, becoming attached to a place where you leave is definitely efficient. When you know your town, for example you free up significant decision-making bandwidth by not having to decide on the bets route for getting from point A to point B, where to buy the best bread, and many other elements of the everyday logistics. In other words, you can put yourself on an autopilot and delegate processing of many daily situations to already-developed habits.
It can also be argued that the feeling of being settled, content with our environment is healthy from the psychological standpoint. However, there are drawbacks to becoming too comfortable. Relying exclusively on pre-existing habits day in and day out diminishes our present state awareness. If our environment never changes, there is little incentive to continually sharpen our skill of creating mental models. Changing our physical environment is an effective way to force ourselves to be more aware, more open-minded, more flexible and agile in forming our view of the world. When we travel, we train ourselves to become less dependent on having the life unfold exactly on our terms.
The concept of going away and coming back to the same place is much broader than just travelling in the literal sense. In photography, for example, it is useful to periodically shake things up by shooting different subjects, using different gear or post-processing techniques. If after trying the new workflow, style, business model, etc., you decide that it is not for you and you find yourself exactly at the starting point, this is an illusion. The point only appears the same. By coming back to it after taking a detour, you gain experience, skills and a broader view of the field of your work. And this makes you a different person, compared to those, who never left the comfort of their niche.
At my daughter’s art studio, “4Cats”, there is a poster that half-jokingly lists the benefits of art education. Among these benefits are improved study skills and a possibility to make a fortune of selling your paintings.
There is another skill that did not make the list, but which is taught through the practice of art (or any other creative process) – it is what psychologists call “creating mental models”.
Charles Duhigg wrote an entire chapter on this in his book “Smarter Faster Better.” According to him, some people are better than others at creating mental representations of current and future events. In other words, they continually narrate a story to themselves as they go about their day. By doing so, they work out a model of how the world works. The more detailed the story, the deeper the focus that these people are able to maintain. Also, when the life events actually unfold, people who are good at creating mental models are capable of making better decisions, because they already fave a forecast of the event, which can be compared to the real situation. Duhigg quoted Andy Billings of Electronic Arts, who said that modern companies are looking for people, who habitually tell stories, because this trait is an indication of the person ability to apply analytical observation to their experiences.
As it is the case with many useful traits, creating mental models is a true skill, rather than an innate ability. In other words, it can be developed through practice. In fact, this is what children do when they play make-believe games, play with toys and, particularly, when they practice art. In regular, structured art lessons, the teacher outlines a plan for the process and then provides feedback on the progress at various stages. This way, the children are taught to imagine the final painting/drawing/sculpture, at least in some detail, and then compare what actually emerges as a result of their work to the mental images.
So art really is good for everyone – both to those, who create it, and those, who consume it – because it involves storytelling at every stage. And telling stories, it can be argued, is the most effective way of communication.
Recently, there has been some discussion in North America on whether it is feasible (indeed, appropriate) to eliminate tipping at restaurants and other service-type businesses. This custom is much less common in the rest of the world. In Japan, for example, it borders on offensive to offer a tip or to negotiate the price of a service or a product. It is assumed that the providers of services are already doing their best, so offering additional pay for better quality is inappropriate.
This brings up an important fundamental question about quality in professional photography, which in many cases constitutes a service-type business. If you are doing a high-volume project where financial compensation per image is not high, is it appropriate to lower the quality of your work?
Perhaps, the answer depends on the definition of quality. Incidentally, I found one of the best explorations into the subject of quality in Robert Pirsig’s “Zen and the Art of Motorcycle Maintenance“. It is tempting to say: “Of course, compromising quality is never Ok. It is a staple of professionalism.” Realistically though, something has to be sacrificed in high-volume/low-cost shoots, like run-of-the-mill school portraits. I think that it is creativity that suffers, which allows technical quality of the photos to be maintained. After all, it is impossible to establish effective communication with the subjects, to experiment with various poses, lighting arrangements and camera settings, when many images need to be taken in a limited time.
On the other hand, it can be argued that creative content is an integral, if not the fundamental, part of quality. If this is the case, and if we agree that quality cannot be compromised, then the logical conclusion is that high-volume/low-cost projects should never be undertaken. If the volume of work is high, the price has to be high too.
Consciously limiting the set of tools used in a given creative project is an effective way of focussing on the most important message. Artists often choose to limit their palette of colours for a particular painting, or even de-emphasize the role of either form or colour, as the Impressionists or the Cubists did, for example. Likewise in photography, it might be beneficial to work around the limitations of your gear instead of lugging around an enormous set of lenses and camera bodies.
I have been often referring to Cal Newport’s “Deep Work” lately, and he has an important point on using only a limited set of tools. There is a cost associated with adopting and using a new tool in your typical workflow. There are tangible resources, that are required to learn the new tool or technique, to keep it sharp (figuratively speaking), and to make decisions regarding whether using this tool would add to or detract from the process and the product. In other words, adopting and using a particular piece of gear or a technique has both advantages and disadvantages. A conventional craftsman would not adopt a new tool, unless it offers a net improvement of the process.
There is another benefit of limiting our toolset. If we don’t have many tools that have an overlapping set of capabilities, we learn to use the tools that we do have more effectively, i.e. we utilize them fully. This increases the efficiency, or return on investment, of these tools.
I find this happening with my use of iPhone camera apps. I have three of them – the built-in Camera, the Camera+ and the ProCamera. They are slightly different in terms of functions, and each is slightly better than the others at a particular aspect of the workflow. For example, I find the native Camera to be the best in terms of the synchronizing with the Photos app, instant sharing and shooting panoramas. The Camera+ is the most convenient for shooting in general – using pick focus and pick exposure, etc. (although lately it has been giving annoying delays and lag on my iPhone 6 Plus… Hm-m-m, this might be a good excuse reason to buy a faster phone…) The ProCamera is most convenient for shooting video. Having said this, the native Camera app is reasonably good overall, and not having to make decision on which app to use might make a difference between capturing a moment in time or missing it.