Tag Archives | Fast Company

If Only It Were This Easy To Add Sugar and Spice To My Acting Ability

There was a story in FastCompany last December about a company called uFlavor which will allow you to custom mix soft drinks both online and through their vending machines. You design everything from the exact percentage of each ingredient to the label on the bottle.

Since relatively small changes in ingredients can determine how you experience food flavors–what immediately pops, what lingers in the mouth–the granular control uFlavor offers with its ingredients can yield myriad results.

I was trying to figure out if there was some way technology could do the same for the arts, but I couldn’t quite imagine a way to do it. You really can’t try out different line readings for a play on a computer to determine which one is best because the subtleties each actor can bring to the performance are quite different. The same with dancers and singers.

Even though there are similarities in that subtle differences in food flavors and performances can vastly impact the perceived quality of the product, good performances are not so easily manipulated for manufacturing. It appears Baumol’s cost disease may maintain its hold on the performing arts a little bit longer short of performers being digitally manufactured a la the movie S1m0ne.

However, apparently programs like Adobe’s Photoshop and Illustrator have provided an opportunity for visual artists to evaluate choices. Even if they don’t use the software to produce an end product, I have been told by visual artists that they use them to vet their choices before they start painting/drawing/etc.

When I first heard this I became concerned that artists using this technique would lose their mastery of materials. I am sure a number of insights have come from things unintentionally mixing. Or when artists, frustrated that their materials won’t behave the way they want, have added a little bit of this and that with some occasionally rewarding results. There are also obviously differences between a computer screen and real life, but an experienced artist will allow for that.

But on further thought I realized that by providing artists a quick sense of the results, these programs gave artists much more time to experiment.

I mean, I am old enough that I started out writing on typewriters. Even though it may not seem that way all the time, the opportunity that word processors provided to edit, re-edit, re-order and incessantly revamp my words has made me a much better writer than I would have been had I had to continue to use a typewriter.

So as video and audio processing continues to improve, it may not be long before we start to see tools for playwrights/choreographers/actors/directors/designers to use to evaluate dialogue, choreography, blocking, line readings and how performers might interact with lighting and set design. It will certainly not be a perfect depiction of the real life results, but it may provide these people much more time to experiment extensively with ideas.

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What Values Matter In Arts Grad Training Programs?

This weekend Scott Walters quoted an extensive comment made on another blog about the value of MFA acting programs. The gist is, students are ill served by the programs which need to focus on training students for 21st century opportunities.

This struck a chord with me because I had recently read a Fast Company article about how UC Berkeley’s Business School started to screen applicants based on whether they embodied the school’s core values. The school had decided to embrace these values in the interests of creating a “reduction of overconfidence and self-focus, which are perceived to be excessively present among the business graduates and leaders of the top business schools.”

At the time I read it, I was idly wondering if arts training programs at the master level might do something similar to address any perceived (and real) problems with those they graduate. It had been a long time since I was in grad school so I didn’t feel I knew enough about the state of things write a post about it. Having read Walter’s recent post, I am no more certain than before since it is the view of a single unidentified commenter. I do feel fairly confident in assuming that, as with most things, there is room for improvement.

I will readily admit that given my ignorance of the state of things, I don’t have any concrete suggestions about they might be done differently. I will say that one thing that stood out in the Fast Company piece was that Berkeley-Haas instituted significant changes in their program based on their stated values and then required their applicants to adhere to them.

Most remarkably, they are not simply communication tools but drive operations from the curriculum, research priorities to staff programs, and faculty hiring. The curriculum, for example, has been extensively revamped in order to introduce elements of creativity, innovation, collaboration, ethics, and social responsibility.

They made sure they embodied the values before they required the students to do the same. It would have been much easier for them to decide to implement the change by altering their admission criteria and assuming that choosing the right students would result in producing the right graduates. But that is less likely if the infrastructure surrounding the students doesn’t emulate and reinforce the values the school wishes to cultivate in its graduates.

Successful realization of any goal is easier for any entity if all members are aligned toward attaining it. Probably the most powerful thing an arts training program can do to convince applicants that it can prepare them to ply their craft in the current environment is to point to a major realignment of priorities to that end.

As the commenter that Walters quotes, SayItLoud, notes, theatre training programs often cite successful graduates and places their students have worked or can intern at. As impressive as that is, the reality is the path those graduates took to success may no longer be viable.

What training programs may really need to do is say to applicants, “We’ve changed ourselves from top to bottom and what success requires now is to push you off the conventional path. This is not the place to pursue training in becoming a triple-threat, actor/singer/dancer. You may have become a video editor/painter/acrobat or a ecologist/architect/percussionist or all six plus four things we aren’t mentioning. Do your interests, values and practices align with ours?”

At the very least, it will get everyone thinking about the whole training process. Given that the current conversation is that arts organizations need to change the way they operate and interact with audiences, you aren’t leading students astray by telling them they need to obtain a wider spectrum of skills. Like as not, they will be the ones helping to drive the change with the types of works they develop.

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Arts And The Four Year Career

An article recently posted on the Fast Company website talks about how transitory people’s jobs, and increasingly, career paths, are.

“According to recent statistics, the median number of years a U.S. worker has been in his or her current job is just 4.4, down sharply since the 1970s…Statistically, the shortening of the job cycle has been driven by two factors. The first is a marked decline in the “long job”–that is, the traditional 20-year capstone to a career. Simultaneously, there’s been an increase in “churning”– workers well into their thirties who have been at their current job for less than a year. “For some reason I don’t understand, employers seem to value having long-term employees less than they used to,” says Henry Farber, an economist at Princeton”

Given the idea that arts organizations need to be more nimble in the current fast changing environment and that corporate CEOs value creativity in leadership, it made me wonder if arts organizations might not be able to take advantage of this trend by creating mutually beneficial employment situations.

Essentially, if there is going to be a lot of employment churn, the arts might be able to benefit in both the short and long term by making sure a jaunt in the arts is included in a person’s itinerant career path.

Arts organizations experience a fair bit of turn over in their employees. (In fact, I will bet that is what you thought the title of the entry referenced.) It may be worthwhile to hire people without backgrounds specifically in the arts into positions. Since you are probably just as likely to have to replace a person with arts background as someone who doesn’t, you aren’t overly wasting time and resources by hiring and training someone without industry experience.

The potential benefit to the arts organization is introducing some new ideas and practices to the organization. The employee gets a broader experience to add to their hodgepodge resume which may make them more marketable. (Needless to say, the work environment must be such that it accepts the former and confers the latter.)

Of course, as the article mentions, the trick is to separate those who are really driven in their pursuits from the dilettantes. Arts organizations in general aren’t particularly well skilled in those type of human resource practices. It would be worthwhile to have someone on the board with the ability to provide those services in some form, even if you have no intention of ever hiring a person without an arts background.

In the long term it could be helpful if businesses started to identify arts organizations as a good training ground for the skills they seek in employees to the point where it was as de rigueur on a resume as extra curricular activities are on a college application. It also wouldn’t hurt if the experience engendered an appreciation in the arts in the transitory employee that they will carry on to positions creating business or government policy.

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Will Buffet Family Foundation Influence Other Funders?

Non-Profit Quarterly linked to an interview in Fast Company in which Warren Buffet’s grandson talks about his approach to philanthropy as he takes up the reins of the family foundation.

As I read the interview, I vacillated between mild dread where I hoped no one else decided to adopt the approach and feeling that his approach was sensible and might provide leadership that would strengthen the general non-profit infrastructure in the United States.

What made me most uneasy was his focus on quantity over quality.

“The first question, for instance, is “Assuming we are successful, how many people would we reach directly with the funding of this gift?” Proposals gets 3 points for affecting +1 million people, 2 for greater than 100,000, and 1 for less than 100,000. Those proposals with a less ambitious scope can secure a coveted spot on the portfolio team by being particularly unique or cost-efficient.”

While he does allow for funding of smaller efficient and effective organizations, I just wonder if that will get lost in the desire to report numbers served and therefore reinforce the idea that you have fudge numbers and always report success or lose funding.

Where this is coming from for him is wanting to get away from non-profits making emotional appeals and move toward discussing the complex factors which contribute to the problems the non-profit is trying to address.

“In the philanthropic world, the problem is the product, in the business world, the product is the solution.” says Buffett, who argues that NGOs are forced to “sell suffering.” The needless focus on sappy narratives often overlooks sophisticated solutions that can’t be easily marketed with a T-shirt-clad celebrity holding a small child.”

This is where I feel he is most sensible because he is determined to fund every step in the chain to addressing a problem, including the unsexy areas. But to do that, he wants the redundant organizations to either get out of the business, partner with other groups or refocus themselves.

“…rather than dolling out cash to independent, uncoordinated actors with the most heart-string-tugging story, they could take on an entire social problems (like food security or breast cancer) by systematically lining up nonprofits to tackle each part of the causal chain, from federal policy to victim resources.

“If you are an NGO, doing the exact same thing as another NGO, and that other NGO is doing better than you’re doing it, then you are in business for the wrong reason,” Buffett says in an exasperated rant against the individualist nature of charities. Overlapping operations, he says, not only waste money through redundant overhead, but keep brilliant minds occupied with logistical distractions that sap their potential impact.

“We will give you money to execute your mission,” Buffett says, “if you work together and identify the most cost-effective and successful ways to achieve that.”

Meanwhile, looking at the entire causal chain of a crisis is key to revealing missing links in the solution, such as political or logistical hurdles that are essential to success, but not appealing enough to raise dollars.”

Granted, the focus of the foundation he is leading is on agriculture, water and feeding school children rather than arts and culture. However, the practices of a Buffet family foundation is bound to have widespread influence with funders in other areas. It is possible that other foundations may use the same criteria.

Given that the question about whether there are too many arts organizations in existence has been a hot topic of late, it is conceivable that funders are already thinking along these lines.

So let me ask-

-how many arts organizations would seriously discuss merging or refocusing if a major funder told them they were redunant and less effective than another organization?

-how many might consider abandoning major activities that were redundant if the funder offered major support to expand in their areas of strength?

-would the arts in your community be more vibrant if there were groups that focused specifically on different niches within the chain? Such as:

-organization that handed advocacy for the arts with local government
-organization that focused on advocacy for the arts in education in conjunction with other advocacy groups
-organizations that purely perform
-organization that coordinates outreaches to schools by designing programs that emphasize the strengths of the performance and presenting groups

There are more functions that different groups might handle, of course, but this serves as a good example. You might look at this and think about how difficult it would be with all these tasks so decentralized, but think about how more schools would benefit if there was an organization that was making an effort to provide uniform coverage of your entire city/county. How much easier would it be for artists to make a living in the community if there was an organization that was hiring them to do outreaches in schools or connecting artists with students seeking instruction.

All this in an environment made conducive for these activities by groups who solely focused on influencing law and policy in government and school boards. Their advocacy is made credible by the existence of organizations who attract and employ strong performers and other organizations who develop exemplary education/outreach programs and train the artists to execute them effectively.

This approach may decentralize efforts and require a lot of cooperation between different groups, but does improve on the current situation where everyone does a little of everything with different degrees of success provided they have the funding and personnel.  As Howard Buffet acknowledges, there is a lot of unsexy infrastructure that no one really wants to fund that is crucial to the success of non-profit efforts. What a boon it would be if someone would fund all those places at a level smart people would be willing to engage in the work.

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