Creative Industries Quotes

Poetry, like jazz, is one of those dazzling diamonds of creative industry that help human beings make sense out of the comedies and tragedies that contextualize our lives.

Take care of your costume and your confidence will take care of itself.

We have to go from what is essentially an industrial model of education, a manufacturing model, which is based on linearity and conformity and batching people. We have to move to a model that is based more on principles of agriculture. We have to recognize that human flourishing is not a mechanical process; it's an organic process. And you cannot predict the outcome of human development. All you can do, like a farmer, is create the conditions under which they will begin to flourish.

Schools train you to be ignorant with style [...] they prepare you to be a usable victim for a military industrial complex that needs manpower. As long as you're just smart enough to do a job and just dumb enough to swallow what they feed you, you're going to be alright [...] So I believe that schools mechanically and very specifically try and breed out any hint of creative thought in the kids that are coming up.

Music shouldn't be just a tune, it should be a touch.

Respectability, regularity, and routine - the whole cast-iron discipline of a modern industrial society - have atrophied the artistic impulse, and imprisoned love so that it can no longer be generous and free and creative, but must be either stuffy or furtive.

I sincerely believe that only those who are financially free can produce great works of art. Poor artists are too bothered about money and fame, which hampers their creativity. An artist shouldn’t have any financial pressure. One can’t create something poetic if commercial success is all one is concerned about.

Human female choosiness is also why we are very different from the common ancestor we shared with our chimpanzee cousins, while the latter are very much the same. Women’s proclivity to say no, more than any other force, has shaped our evolution into the creative, industrious, upright, large-brained (competitive, aggressive, domineering) creatures that we are.42 It is Nature as Woman who says, “Well, bucko, you’re good enough for a friend, but my experience of you so far has not indicated the suitability of your genetic material for continued propagation.

Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something. It seemed obvious to them after a while. That’s because they were able to connect experiences they’ve had and synthesize new things. And the reason they were able to do that was that they’ve had more experiences or they have thought more about their experiences than other people. Unfortunately, that’s too rare a commodity. A lot of people in our industry haven’t had very diverse experiences. So they don’t have enough dots to connect, and they end up with very linear solutions without a broad perspective on the problem. The broader one’s understanding of the human experience, the better design we will have.

Music is the fastest motivator in the world.

With right fashion, every female would be a flame.

It's time to shop high heels if your fiance kisses you on the forehead.

There is the happiness which comes from creative effort. The joy of dreaming, creating, building, whether in painting a picture, writing an epic, singing a song, composing a symphony, devising new invention, creating a vast industry.

Fashion doesn't make you perfect, but it makes you pretty.

The smell of the sweat is not sweet, but the fruit of the sweat is very sweet.

Any girl with a grin never looks grim.

Disruptive innovation is entrepreneurs changing their industry with unique creativity.

Advances in digital banking will not eliminate the branch, they will allow for more creative ways to help clients achieve financial wellbeing.

Paradise is not the place in which you arrive but the journey toward it. Sometimes I think victories must be temporary or incomplete; what kind of humanity would survive paradise? The industrialized world has tried to approximate paradise in its suburbs, with luxe, calme, volupté, cul-de-sacs, cable television and two-car garages, and it has produced a soft ennui that shades over into despair and a decay of the soul suggesting that Paradise is already a gulag. Countless desperate teenagers will tell you so. For paradise does not require of us courage, selflessness, creativity, passion: paradise in all accounts is passive, is sedative, and if you read carefully, soulless.

When you were making excuses someone else was making enterprise.

The more creative people I meet, the more I'm convinced that a roving band of determined psychiatrists could destroy the entire entertainment industry.

You cannot choose your face but you can choose your dress.

As a working professional in the entertainment industry, I have come to truly cherish both my creative freedom and my independence. Because I, for one, know how precious and priceless they are.

He had been taught as a child that Urras was a festering mass of inequity, iniquity, and waste. But all the people he met, and all the people he saw, in the smallest country village, were well dressed, well fed, and contrary to his expectations, industrious. They did not stand about sullenly waiting to be ordered to do things. Just like Anaresti, they were simply busy getting things done. It puzzled him. He had assumed that if you removed a human being's natural incentive to work -- his initiative, his spontaneous creative energy -- and replaced it with external motivation and coercion, he would become a lazy and careless worker. But no careless workers kept those lovely farmlands, or made the superb cars and comfortable trains. The lure and compulsion of profit was evidently a much more effective replacement of the natural initiative than he had been led to believe.

most creative, successful business leaders have tended to be expert questioners. They’re known to question the conventional wisdom of their industry, the fundamental practices of their company, even the validity of their own assumptions.

The great leaders of business, industry, finance, and the great artists, musicians, poets, and writers became great, because they developed the faculty of creative imagination.

Dresses won't worn out in the wardrobe, but that is not what dresses are designed for.

Dresses don't look beautiful on hangers.

Everybody has the attitude of "no one has ever done it, but let's do it." Why not? If there's going to be a first, let's be the first.

The next phase of the Digital Revolution will bring even more new methods of marrying technology with the creative industries, such as media, fashion, music, entertainment, education, literature, and the arts. Much of the first round of innovation involved pouring old wine—books, newspapers, opinion pieces, journals, songs, television shows, movies—into new digital bottles. But new platforms, services, and social networks are increasingly enabling fresh opportunities for individual imagination and collaborative creativity. Role-playing games and interactive plays are merging with collaborative forms of storytelling and augmented realities. This interplay between technology and the arts will eventually result in completely new forms of expression and formats of media. This innovation will come from people who are able to link beauty to engineering, humanity to technology, and poetry to processors. In other words, it will come from the spiritual heirs of Ada Lovelace, creators who can flourish where the arts intersect with the sciences and who have a rebellious sense of wonder that opens them to the beauty of both.

The basis of spiritual renewal is not the guilt feelings that frequently arise in sensitized individuals in rich industrial societies. Instead, it is a crazy mysticism of becoming empty that reduces the real misery of the poor and diminishes one's own slavery. Becoming empty or "letting go" of the ego, possession, and violence is the precondition of the creativity of transforming action.

If “piracy means using the creative property of others without their permission- if “if value, then right” is true- then the history of the content industry is a history of piracy. Every important sector of “big media” today- film, records, radio, and cable TV-was born of a kind of piracy so defined. The consistent story is how last generation’s pirates join this generation’s country club-until now.

As Mozart himself wrote to a friend, “People err who think my art comes easily to me. I assure you, dear friend, nobody has devoted so much time and thought to composition as I. There is not a famous master whose music I have not industriously studied through many times.

Most of today’s educational systems are built upon the same learning hierarchy: math and science at the top, humanities in the middle, art on the bottom. The reason for this is because these systems were developed in the nineteenth century, in the midst of the industrial revolution, when this hierarchy provided the best foundation for success. This is no longer the case. In a rapidly changing technological culture and an ever-growing information-based economy, creative ideas are the ultimate resource. Yet our current educational system does little to nourish this resource.

In its quest for prosperity, the Party of the People declared itself wholeheartedly in favor of a social theory that forthrightly exalted the rich—the all-powerful creative class. For many cities and states, this was the economic strategy; this was what our leaders came up with to revive the urban wastelands and restore the de-industrialized zones. The Democratic idea was no longer to confront privilege but to flatter privilege, to sing the praises of our tasteful new master class. True, this was all done with an eye toward rebuilding the crumbling cities where the rest of us lived and worked, but the consequences of all this “creative class” bootlicking will take a long time to wear off.

Creativity without discipline will struggle, creativity with discipline will succeed.

The fear of creative destruction is the main reason why there was no sustained increase in living standards between the Neolithic and Industrial revolutions.

First and foremost is that creativity is a collaborative process. Innovation comes from teams more often than from the lightbulb moments of lone geniuses. This was true of every era of creative ferment. The Scientific Revolution, the Enlightenment, and the Industrial Revolution all had their institutions for collaborative work and their networks for sharing ideas.

It's not that gays and diversity equal high technology. But if your culture is not such that it can accept difference, and uniqueness and oddity and eccentricity, you will not get high tech industry.

For Marcuse, the distinguishing features of a human being are free and creative subjectivity. If in one’s economic and social life one is administered by a technical labor apparatus and conforms to dominant social norms, one is losing one’s potentialities of self-determination and individuality. Alienated from the powers of being-a-self, one-dimensional man thus becomes an object of administration and conformity.

Whether we consider hip-hop as an evolved manifestation of the Harlem Renaissance or something completely new under the sun, it clearly has moved beyond the stage of just entertaining lives to that of informing and empowering lives.

Chaos, the eternal feminine, is also the crushing force of sexual selection. Women are choosy maters (unlike female chimps, their closest animal counterparts). Most men do not meet female human standards. It is for this reason that women on dating sites rate 85 percent of men as below average in attractiveness. It is for this reason that we all have twice as many female ancestors as male (imagine that all the women who have ever lived have averaged one child. Now imagine that half the men who have ever lived have fathered two children, if they had any, while the other half fathered none).41 It is Woman as Nature who looks at half of all men and says, “No!” For the men, that’s a direct encounter with chaos, and it occurs with devastating force every time they are turned down for a date. Human female choosiness is also why we are very different from the common ancestor we shared with our chimpanzee cousins, while the latter are very much the same. Women’s proclivity to say no, more than any other force, has shaped our evolution into the creative, industrious, upright, large-brained (competitive, aggressive, domineering) creatures that we are.42 It is Nature as Woman who says, “Well, bucko, you’re good enough for a friend, but my experience of you so far has not indicated the suitability of your genetic material for continued propagation.

Living is a creative and active process of diligent learning that entails industrious human action, attentive awareness, and thoughtful reflection. Learning is one facet of human beings innate capacity that can provide a sense of worthiness to human life.

In today’s market, anything that isn’t differentiated through creativity or a 10x technology will be immediately commodified by the industrial system. The only way to sustainably incite your audience to take action is to inspire them with meaningful purpose.

The incommensurability between the modern economic system and the people who staff it explains why modern workers have so often been depicted as 'cogs' in the larger 'machinery' of industrial civilization; for while the practical rationalization of enterprise does require workers to be consistent, predictable, precise, uniform, and even to a certain extent creative, it does not really require them to be persons, that is, to live examined lives, to grow, to develop character, to search for truth, to know themselves, etc.

Procrastination may be the enemy of productivity, but it can be a resource for creativity. Long before the modern obsession with efficiency precipitated by the Industrial Revolution and the Protestant work ethic, civilizations recognized the benefits of procrastination. In ancient Egypt, there were two different verbs for procrastination: one denoted laziness; the other meant waiting for the right time.

Arbogast had then assembled a dream team of creative consultants and contractors to help make his bold claim a reality, luring some of the videogame industry’s brightest stars away from their own companies and projects, with the sole promise of collaborating on his groundbreaking new MMOs. That was how gaming legends like Chris Roberts, Richard Garriott, Hidetaka Miyazaki, Gabe Newell, and Shigeru Miyamoto had all wound up as consultants on both Terra Firma and Armada—along with several big Hollywood filmmakers, including James Cameron, who had contributed to the EDA’s realistic ship and mech designs, and Peter Jackson, whose Weta Workshop had rendered all of the in-game cinematics.

Blue-collar workers" have jobs requiring just as much brainpower as "white-collar professionals." To run a family farm is to be a business owner in a complicated industry. But, unlike many jobs requiring smarts and creativity, working a farm summons the body's intelligence, too.

Summary of the Science of Getting Rich There is a thinking stuff from which all things are made, and which, in its original state, permeates, penetrates, and fills the interspaces of the universe. A thought in this substance produces the thing that is imaged by the thought. Man can form things in his thought, and by impressing his thought upon formless substance can cause the thing he thinks about to be created. In order to do this, man must pass from the competitive to the creative mind; otherwise he cannot be in harmony with the Formless Intelligence, which is always creative and never competitive in spirit. Man may come into full harmony with the Formless Substance by entertaining a lively and sincere gratitude for the blessings it bestows upon him. Gratitude unifies the mind of man with the intelligence of Substance, so that man’s thoughts are received by the Formless. Man can remain upon the creative plane only by uniting himself with the Formless Intelligence through a deep and continuous feeling of gratitude. Man must form a clear and definite mental image of the things he wishes to have, to do, or to become; and he must hold this mental image in his thoughts, while being deeply grateful to the Supreme that all his desires are granted to him. The man who wishes to get rich must spend his leisure hours in contemplating his Vision, and in earnest thanksgiving that the reality is being given to him. Too much stress cannot be laid on the importance of frequent contemplation of the mental image, coupled with unwavering faith and devout gratitude. This is the process by which the impression is given to the Formless, and the creative forces set in motion. The creative energy works through the established channels of natural growth, and of the industrial and social order. All that is included in his mental image will surely be brought to the man who follows the instructions given above, and whose faith does not waver. What he wants will come to him through the ways of established trade and commerce. In order to receive his own when it shall come to him, man must be active; and this activity can only consist in more than filling his present place. He must keep in mind the Purpose to get rich through the realization of his mental image. And he must do, every day, all that can be done that day, taking care to do each act in a successful manner. He must give to every man a use value in excess of the cash value he receives, so that each transaction makes for more life; and he must so hold the Advancing Thought that the impression of increase will be communicated to all with whom he comes in contact. The men and women who practice the foregoing instructions will certainly get rich; and the riches they receive will be in exact proportion to the definiteness of their vision, the fixity of their purpose, the steadiness of their faith, and the depth of their gratitude.

When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something. It seemed obvious to them after a while. That’s because they were able to connect experiences they’ve had and synthesize new things. And the reason they were able to do that was that they’ve had more experiences or they have thought more about their experiences than other people. . . . Unfortunately, that’s too rare a commodity. A lot of people in our industry haven’t had very diverse experiences. So they don’t have enough dots to connect, and they end up with very linear solutions without a broad perspective on the problem. The broader one’s understanding of the human experience, the better design we will have.

All that remains of the garden city in our own day are traffic-free enclaves, islands in a sea of traffic where the pedestrian leads a legally protected by languishing existence, comparable to that of the North American Indians on their reservations...In reality the modern urbanist regards the city as a gigantic centre of production, geared to the efficient transport of workers and goods, to the accommodation of people and the storage of wares, to industrial and commercial activity. The rest, that is to say creativity, life, is optional and comes under the heading of recreation and leisure activities.

Over recent years, [there's been] a strong tendency to require assessment of children and teachers so that [teachers] have to teach to tests and the test determines what happens to the child, and what happens to the teacher...that's guaranteed to destroy any meaningful educational process: it means the teacher cannot be creative, imaginative, pay attention to individual students' needs, that a student can't pursue things [...] and the teacher's future depends on it as well as the students'...the people who are sitting in the offices, the bureaucrats designing this - they're not evil people, but they're working within a system of ideology and doctrines, which turns what they're doing into something extremely harmful [...] the assessment itself is completely artificial; it's not ranking teachers in accordance with their ability to help develop children who reach their potential, explore their creative interests and so on [...] you're getting some kind of a 'rank,' but it's a 'rank' that's mostly meaningless, and the very ranking itself is harmful. It's turning us into individuals who devote our lives to achieving a rank, not into doing things that are valuable and important. It's highly destructive...in, say, elementary education, you're training kids this way [...] I can see it with my own children: when my own kids were in elementary school (at what's called a good school, a good-quality suburban school), by the time they were in third grade, they were dividing up their friends into 'dumb' and 'smart.' You had 'dumb' if you were lower-tracked, and 'smart' if you were upper-tracked [...] it's just extremely harmful and has nothing to do with education. Education is developing your own potential and creativity. Maybe you're not going to do well in school, and you'll do great in art; that's fine. It's another way to live a fulfilling and wonderful life, and one that's significant for other people as well as yourself. The whole idea is wrong in itself; it's creating something that's called 'economic man': the 'economic man' is somebody who rationally calculates how to improve his/her own status, and status means (basically) wealth. So you rationally calculate what kind of choices you should make to increase your wealth - don't pay attention to anything else - or maybe maximize the amount of goods you have. What kind of a human being is that? All of these mechanisms like testing, assessing, evaluating, measuring...they force people to develop those characteristics. The ones who don't do it are considered, maybe, 'behavioral problems' or some other deviance [...] these ideas and concepts have consequences. And it's not just that they're ideas, there are huge industries devoted to trying to instill them...the public relations industry, advertising, marketing, and so on. It's a huge industry, and it's a propaganda industry. It's a propaganda industry designed to create a certain type of human being: the one who can maximize consumption and can disregard his actions on others.

October 16, 2009 Avengers Paintball, Inc. 1778 Industrial Blvd. Lakeville, MN 55044 Esteemed Avengers, This letter recommends Mr. Allen Trent for a position at your paintball emporium. Mr. Trent received a C– in my expository writing class last spring, which—given my newly streamlined and increasingly generous grading criteria—is quite the accomplishment. His final project consisted of a ten-page autobiographical essay on the topic of his own rageful impulses and his (often futile) attempts to control them. He cited his dentist and his roommate as primary sources. Consider this missive a testament to Mr. Trent’s preparedness for the work your place of business undoubtedly has in store. Hoping to maintain a distance of at least one hundred yards, Jason T. Fitger Professor of Creative Writing and English Payne University (“Teach ’til It Hurts”)

If we cannot provide clients with the one thing they really want from us -- creativity -- there is little future for the ad industry as it is currently configured.

Britain’s fashion industry employs more people and makes more money than do its car or steel industries.

We shouldn't let our envy of distinguished masters of the arts distract us from the wonder of how each of us gets new ideas. Perhaps we hold on to our superstitions about creativity in order to make our own deficiencies seem more excusable. For when we tell ourselves that masterful abilities are simply unexplainable, we're also comforting ourselves by saying that those superheroes come endowed with all the qualities we don't possess. Our failures are therefore no fault of our own, nor are those heroes' virtues to their credit, either. If it isn't learned, it isn't earned. When we actually meet the heroes whom our culture views as great, we don't find any singular propensities––only combinations of ingredients quite common in themselves. Most of these heroes are intensely motivated, but so are many other people. They're usually very proficient in some field--but in itself we simply call this craftmanship or expertise. They often have enough self-confidence to stand up to the scorn of peers--but in itself, we might just call that stubbornness. They surely think of things in some novel ways, but so does everyone from time to time. And as for what we call "intelligence", my view is that each person who can speak coherently already has the better part of what our heroes have. Then what makes genius appear to stand apart, if we each have most of what it takes? I suspect that genius needs one thing more: in order to accumulate outstanding qualities, one needs unusually effective ways to learn. It's not enough to learn a lot; one also has to manage what one learns. Those masters have, beneath the surface of their mastery, some special knacks of "higher-order" expertise, which help them organize and apply the things they learn. It is those hidden tricks of mental management that produce the systems that create those works of genius. Why do certain people learn so many more and better skills? These all-important differences could begin with early accidents. One child works out clever ways to arrange some blocks in rows and stacks; a second child plays at rearranging how it thinks. Everyone can praise the first child's castles and towers, but no one can see what the second child has done, and one may even get the false impression of a lack of industry. But if the second child persists in seeking better ways to learn, this can lead to silent growth in which some better ways to learn may lead to better ways to learn to learn. Then, later, we'll observe an awesome, qualitative change, with no apparent cause--and give to it some empty name like talent, aptitude, or gift.

If “piracy” means using value from someone else’s creative property without permission from that creator–as it is increasingly described today – then every industry affected by copyright today is the product and beneficiary of a certain kind of piracy. Film, records, radio, cable TV… Extremists in this debate love to say “You wouldn’t go into Barnes & Noble and take a book off of the shelf without paying; why should it be any different with online music?” The difference is, of course, that when you take a book from Barnes & Noble, it has one less book to sell. By contrast, when you take an MP3 from a computer network, there is not one less CD that can be sold. The physics of piracy of the intangible are different from the physics of piracy of the tangible.

Something went greatly wrong in our collective history and the starting point of it was the industrial revolution. Our school systems are focussed on a single objective: to produce model citizens for society in order to feed this machine and prevent its breakdown. That’s why our school systems have no interest in developing models that actually require and stimulate useful values in people, such as courage or imagination or inventiveness. None of these are taught in our schools, on the contrary the system focuses on memorizing. Memorizing is a way of overloading the mind with mental baggage it doesn’t really need. Besides being horribly dull and stiffening the effect of 20 years of abundant memorization training is modern man: an unimaginative creature stuffed with useless knowledge and unable to clean his mind of this information dirt: our school systems are purposely constructed to deliver mental automatons that are unable to think creatively.

There is a quality or drive innate in human beings that the Austrian psychiatrist Victor Frankl called our “search for meaning.” Meaning is found in pursuits that go beyond the self. In our own hearts most of us know that we experience the greatest satisfaction not when we receive or acquire something but when we make an authentic contribution to the well-being of others or to the social good, or when we create something original and beautiful or just something that represents a labor of love. It is no coincidence that addictions arise mostly in cultures that subjugate communal goals, time-honored tradition, and individual creativity to mass production and the accumulation of wealth. Addiction is one of the outcomes of the “existential vacuum,” the feeling of emptiness engendered when we place a supreme value on selfish attainments. “The drug scene,” wrote Frankl, “is one aspect of a more general mass phenomenon, namely the feeling of meaninglessness resulting from the frustration of our existential needs which in turn has become a universal phenomenon in our industrial societies.

The Industrial Revolution started and made its biggest strides in England because of her uniquely inclusive economic institutions. These in turn were built on foundations laid by the inclusive political institutions brought about by the Glorious Revolution. It was the Glorious Revolution that strengthened and rationalized property rights, improved financial markets, undermined state-sanctioned monopolies in foreign trade, and removed the barriers to the expansion of industry. It was the Glorious Revolution that made the political system open and responsive to the economic needs and aspirations of society. These inclusive economic institutions gave men of talent and vision such as James Watt the opportunity and incentive to develop their skills and ideas and influence the system in ways that benefited them and the nation. Naturally these men, once they had become successful, had the same urges as any other person. They wanted to block others from entering their businesses and competing against them and feared the process of creative destruction that might put them out of business, as they had previously bankrupted others.

Good riddance, you might imagine. But the worries about operator-less elevators were quite similar to the concerns we hear today about driverless cars. In fact, I learned something surprising when I was invited to speak to the Otis Elevator Company in Connecticut in 2006. The technology for automatic elevators had existed since 1900, but people were too uncomfortable to ride in one without an operator. It took the 1945 strike and a huge industry PR push to change people’s minds,

Over time, big industries tend to get flabby and uncreative and risk-averse—and if the right outsider company has the means and creativity to come at the industry with a fresh perspective and rethink the whole thing, there’s often a huge opportunity there.

Funny how you never hear novelists or painters say they work in the 'creative industries', but only squalid little advertising people. How could this be? (.....) If you listen to advertisers, you'd think they're the fucking Oracle and that for a fee they'll slip you the Answer. They are obsessed with being seen as 'creative', but what they do seems rather to be 'parasitical' : pinching cultural innovations and using them to persuade people that they want stuff. So there's a dilemma for us all to think 'creatively' about.

Stiegler cites the advent of widespread internet use in the mid 1990s as a decisive turning point [...] in the impact of these industrial audiovisual products. Over the last two decades, he believes, they have been responsible for a 'mass synchronization' of consciousness and memory. The standardization of experience on such a large scale, he argues, entails a loss of subjective identity and singularity; it also leads to the disastrous disappearance of individual participation and creativity in the making of the symbols we all exchange and share.

The testing and educational support industry is booming. In 2013 it had combined revenues in the United States alone of $16.5 billion.10 To put that in context, the entire U.S. domestic cinema box office gross in 2013 was a little less than $11 billion11 and the National Football League is currently a $9 billion business.

that play is trivial. Play is a waste of time. Play is unnecessary. Play is childish. Unfortunately, many of these negative messages come from the very place where imaginative play should be most encouraged, not stifled. The word school is derived from the Greek word schole, meaning “leisure.” Yet our modern school system, born in the Industrial Revolution, has removed the leisure—and much of the pleasure—out of learning. Sir Ken Robinson, who has made the study of creativity in schools his life’s work, has observed that instead of fueling creativity through play, schools can actually kill it: “We have sold ourselves into a fast-food model of education, and it’s impoverishing our spirit and our energies as much as fast food is depleting our physical bodies.… Imagination is the source of every form of human achievement. And it’s the one thing that I believe we are systematically jeopardizing in the way we educate our children and ourselves.”2 In this he is correct.

A good rule of thumb is that every single day should include some kind of stimuli that is directed at your personal growth (working through a book, studying a skill or technique, et cetera) and some kind of stimuli that you’ve sought out for purposes of advancing your work (an industry trend report, a research study, a trade magazine).

This preoccupation with the difficulty of getting a thought out of one head and into another is something the industrialists share with a substantial number of intellectuals and creative writers, more and more of whom seem inclined to regard communication, or the lack of it, as one of the greatest problems not just of industry but of humanity.

Some women hate it so much that I would hear them vomiting in the bathroom between scenes. I would find others outside, smoking endless chains of Marlboro Lights… But the multi-billion dollar porn industry wants you to believe the fantasy that we porn actresses love sex. They want you to buy into the lie that we enjoy being degraded by all kinds of repulsive acts. Creatively edited films and prettified packaging are designed to brainwash consumers into believing that the lust we portray on hot and bothered faces are part of the act. But the reality is women are in unspeakable pain from being slapped, bit, spit upon, kicked and called names like “filthy little whore” and “toilet cunt.

The truth is that we're drowning in busywork, nonproductive work, everything from "creative" banking and insurance bureaucracies to the pointless shuffling of data and the manufacturing of products designed to be obsolescent almost immediately- and I would argue that a great deal of what we're doing should just stop. Interestingly, people of all sorts are beginning to reconnect to skills and sensibilities that were bulldozed in the frenzy of 'development' that remade our world during the past two generations. Those orchards and fields that once covered the peninsula, the East Bay, and Silicon Valley are haunting us now, as we seek to relocalize our food sources and our economy more generally. People are relearning how to reuse things, how to fix broken items, and even how to make new things from the scraps of industrial waste. The world shaped by capitalist modernization is not good for human life and is certainly rough on the health of the planet. The hollowing out of communities whose lives were once anchored in the old Produce Market area or who shared life along the vibrant Fillmore blues corridor is precisely what people are trying to overcome.

Copying culture. Another, rather different approach to unsatisfactory culture is to imitate it, replacing the offensive bits with more palatable ones. A subculture within American society might decide that the best solution to the desultory state of the film industry is to start their own movie industry, complete with producers, directors, writers, actors and even theaters, and create a kind of parallel film industry that will fix the apparent problems in mainstream cinema. The new movies created and distributed by this system would certainly be cultural goods, of a sort. But if they were never shown in mainstream movie theaters—if, indeed, they were created and consumed entirely by members of a particular subculture—they would have no influence on the culture of mainstream movies at all.

You could have chosen any number of career paths, but this one is exciting. It’s creative. It requires deep thinking and rewards you with a sense of being able to do something that most of the people you meet each day can’t imagine being able to do. We may worry about progressing to the next level, making an impact, or gaining respect from our co-workers or our peers in the industry, but if you really stop to think about it, we’ve got it really good. Software development is both challenging and rewarding. It’s creative like an art-form, but (unlike art) it provides concrete,measurable value. Software development is fun! Ultimately, the most important thing I’ve learned over the journey that my career in software development has been is that it’s not what you do for a living or what you have that’s important. It’s how you choose to accept these things. It’s internal. Satisfaction, like our career choices, is something that should be sought after and decided upon with intention.

A century ago, historians of technology felt that individual inventors were the main actors that brought about the Industrial Revolution. Such heroic interpretations were discarded in favor of views that emphasized deeper economic and social factors such as institutions, incentives, demand, and factor prices. It seems, however, that the crucial elements were neither brilliant individuals nor the impersonal forces governing the masses, but a small group of at most a few thousand people who formed a creative community based on the exchange of knowledge. Engineers, mechanics, chemists, physicians, and natural philosophers formed circles in which access to knowledge was the primary objective. Paired with the appreciation that such knowledge could be the base of ever-expanding prosperity, these elite networks were indispensable, even if individual members were not. Theories that link education and human capital to technological progress need to stress the importance of these small creative communities jointly with wider phenomena such as literacy rates and universal schooling.

I’ll give you an example. In my many years in the entertainment industry, I’ve been around some amazing artists, in particular some of the greatest rappers of all time. Now, rapping might not be an art form that people associate with calmness and stillness, but I can tell you that from LL Cool J to Chuck D to Biggie Smalls to Jay Z, one trait that all those great artists share is an ability to operate out of stillness. There are a lot of rappers who worked as hard as those guys, but very few were able to dip into that well of creativity like they were.

Language reflects the monopoly of the industrial mode of production over perception and motivation. The tongues of industrial nations identify the fruits of creative work and of human labor with the outputs of industry. The materialization of consciousness is reflected in Western languages. Schools operate by the slogan "education!" while ordinary language asks what children "learn." The functional shift from verb to noun highlights the corresponding impoverishment of the social imagination. People who speak a nominalist language habitually express proprietary relationships to work which they have. All over Latin America only the salaried employees, whether workers or bureaucrats, say that they have work; peasants say that they do it: "Van a trabajar, pero no tienen trabajo." Those who have been modernized and unionized expect industries to produce not only more goods but also more work for more people. Not only what men do but also what men want is designated by a noun. "Housing" designates a commodity rather than an activity. People acquire knowledge, mobility, even sensitivity or health. They have not only work or fun but even sex.

The world has enjoyed a notably long period marked by relative peace and security. Nevertheless, the forecasts of increasing fragile states, mounting conflicts born of natural resource scarcity, and the rising risk in the incidence of terrorism around the world all point to an increasingly politically volatile world, one that is worsened by economic uncertainty. The Horizon 2025: Creative Destruction in the Aid Industry report cautions that within the next decade more than 80 percent of the world’s population will live in fragile states, susceptible to civil wars that could spill into cross-border conflicts.4 The US National Intelligence Council has published a similarly dire forecast of more clashes in decades to come. While this study focuses largely on the prospect of natural resource conflicts, water especially, it underscores the political vulnerability of many economies. A 2016 report by the Institute for Economics and Peace concludes 2014 was the worst year for terrorism in a decade and a half, with attacks in ninety-three countries resulting in 32,765 people killed; 29,376 people died the year before, making 2013 the second worst year.5

Ever since the Industrial Revolution, the norm has been to pay people for the hours they spend on the job rather than for what they produce. But rigid timetables are out of step with the information economy, where the boundary between work and play is much more blurred than it was in the nineteenth century. Many modern jobs depend on the kind of creative thinking that seldom occurs at a desk and cannot be squeezed into fixed schedules. Letting people choose their own hours, or judging them on what they achieve rather than on how long they spend achieving it, can deliver the flexibility that many of us crave.

Choreographer Twyla Tharp, who directed the opera and dance scenes for the film Amadeus, has this to say about the film’s portrait of Mozart: There are no ‘natural’ geniuses… No-one worked harder than Mozart. By the time he was twenty-eight years old, his hands were deformed because of all the hours he had spent practicing, performing, and gripping a quill pen to compose… As Mozart himself wrote to a friend, “People err who think my art comes easily to me. I assure you, dear friend, nobody has devoted so much time and thought to composition as I. There is not a famous master whose music I have not industriously studied through many times.

The reason a bunch of employees who had no direct responsibility for ads, or culpability when they were lousy, spent their weekends transforming someone else’s problem into a profitable solution speaks to the power of culture. Jeff and gang had a clear understanding of their company’s priorities, and knew they had the freedom to try to solve any big problem that stood in the way of success. If they had failed, no one would have chastised them in any way, and when they succeeded, no one—even on the ads team—was jealous of their progress. But it wasn’t Google’s culture that turned those five engineers into problem-solving ninjas who changed the course of the company over the weekend. Rather it was the culture that attracted the ninjas to the company in the first place. Many people, when considering a job, are primarily concerned with their role and responsibilities, the company’s track record, the industry, and compensation. Further down on that list, probably somewhere between “length of commute” and “quality of coffee in the kitchen,” comes culture. Smart creatives, though, place culture at the top of the list. To be effective, they need to care about the place they work. This is why, when starting a new company or initiative, culture is the most important thing to consider.

Above all, there would be an endeavor to rouse and stimulate the love of mental adventure. The world in which we live is various and astonishing: some of the things that seem plainest grow more and more difficult the more they are considered; other things, which might have been thought quite impossible to discover, have nevertheless been laid bare by genius and industry. The powers of thought, the vast regions which it can master, the much more vast regions which it can only dimly suggest to imagination, give to those whose minds have traveled beyond the daily round an amazing richness of material, an escape from the triviality and wearisomeness of familiar routine, by which the whole of life is filled with interest, and the prison walls of the commonplace are broken down. The same love of adventure which takes men to the South Pole, the same passion for a conclusive trial of strength which leads some men to welcome war, can find in creative thought an outlet which is neither wasteful nor cruel, but increases the dignity of man by incarnating in life some of that shining splendor which the human spirit is bringing down out of the unknown. To give this joy, in a greater or less measure, to all who are capable of it, is the supreme end for which the education of the mind is to be valued.

Corporations go to great lengths to employ geniuses: technologists, designers, financial engineers, economists, artists even. I’ve seen it happen,’ he said. ‘But what have they done with them? They channel all that talent and creativity towards humanity’s destruction. Even when it is creative, Eva, capitalism is extractive. In search of shareholder profit, corporations have put these geniuses in charge of extracting the last morsel of value from humans and from the earth, from the minerals in its guts to the life in its oceans. And these brilliant minds have been used to cajole governments into accepting their raids on the planet’s resources by creating markets for them: markets for carbon dioxide and other pollutants – phoney markets controlled by their employers! Unlike the East India Company, the Technostructure does not need its own armies. It owns our states and their armies, because it controls what we think. The dirtier the industry, the richer and more despised, the more its captains have been able to tap into the rivers of debt-derived money to purchase influence and to blunt opposition. Previously they would buy newspapers and set up TV stations; now they employ armies of lobbyists, found think tanks, litter the Internet with their trolls and, of course, direct monumental campaign donations to the chief enablers of our species’ extinction, the politicians.

A 1997 study of the consumer product design firm IDEO found that most of the company’s biggest successes originated as “combinations of existing knowledge from disparate industries.” IDEO’s designers created a top-selling water bottle, for example, by mixing a standard water carafe with the leak-proof nozzle of a shampoo container. The power of combining old ideas in new ways also extends to finance, where the prices of stock derivatives are calculated by mixing formulas originally developed to describe the motion of dust particles with gambling techniques. Modern bike helmets exist because a designer wondered if he could take a boat’s hull, which can withstand nearly any collision, and design it in the shape of a hat. It even reaches to parenting, where one of the most popular baby books—Benjamin Spock’s The Common Sense Book of Baby and Child Care, first published in 1946—combined Freudian psychotherapy with traditional child-rearing techniques. “A lot of the people we think of as exceptionally creative are essentially intellectual middlemen,” said Uzzi. “They’ve learned how to transfer knowledge between different industries or groups. They’ve seen a lot of different people attack the same problems in different settings, and so they know which kinds of ideas are more likely to work.” Within sociology, these middlemen are often referred to as idea or innovation brokers. In one study published in 2004, a sociologist named Ronald Burt studied 673 managers at a large electronics company and found that ideas that were most consistently ranked as “creative” came from people who were particularly talented at taking concepts from one division of the company and explaining them to employees in other departments. “People connected across groups are more familiar with alternative ways of thinking and behaving,” Burt wrote. “The between-group brokers are more likely to express ideas, less likely to have ideas dismissed, and more likely to have ideas evaluated as valuable.” They were more credible when they made suggestions, Burt said, because they could say which ideas had already succeeded somewhere else.

Art with a big “A” is for museums, galleries, critics, and collectors. art with a small “a” is for the rest of us. Art is a business, an industry, a racket. art is about passion, love, life, humanity— everything that is truly valuable. Art is sold, resold, put under the gavel, and insured up the wazoo. art with a small “a” is not a product. It’s a point of view. It’s a way of life. Art is made by trained professionals and experts. art is made by accountants, farmers, and stay-at-home moms at restaurant tables, in parking lots, and laundry rooms. Art takes Art School and Talent and years of Suffering and Sacrifice. art just takes desire and 15 minutes a day. You may not be an Artist. Big whoop. But I know you can make art— with a wonderful, expressive, teeny, tiny a.

So for me the creative world isn’t what you do after your day job, though many professional musicians do this to make ends meet, but it’s something that IS a job. Perhaps that’s why I’m not as disheartened by the more cold blooded aspects of the industry. Over the course of watching my mother navigate the creative world I’ve seen just about every trick pulled that could have been and I’ve seen her deposit the checks received for a job well done. When I recently asked her why she chose the creative world she said: “Early on I decided that if I had to work I was going to work at something that I loved.” I’m glad she did. As difficult, chaotic, dysfunctional and crazy as the world in music and the arts can be I always knew that they mattered deeply to her, as they do to me.

This is a book about the roller-coaster life and searingly intense personality of a creative entrepreneur whose passion for perfection and ferocious drive revolutionized six industries: personal computers, animated movies, music, phones, tablet computing, and digital publishing. You might even add a seventh, retail stores, which Jobs did not quite revolutionize but did reimagine. In addition, he opened the way for a new market for digital content based on apps rather than just websites. Along the way he produced not only transforming products but also, on his second try, a lasting company, endowed with his DNA, that is filled with creative designers and daredevil engineers who could carry forward his vision. In August 2011, right before he stepped down as CEO, the enterprise he started in his parents’ garage became the world’s most valuable company.

This is a book about the roller-coaster life and searingly intense personality of a creative entrepreneur whose passion for perfection and ferocious drive revolutionized six industries: personal computers, animated movies, music, phones, tablet computing, and digital publishing. You might even add a seventh, retail stores, which Jobs did not quite revolutionize but did reimagine. In addition, he opened the way for a new market for digital content based on apps rather than just websites. Along the way he produced not only transforming products but also, on his second try, a lasting company, endowed with his DNA, that is filled with creative designers and daredevil engineers who could carry forward his vision. In August 2011, right before he stepped down as CEO, the enterprise he started in his parents’ garage became the world’s most valuable company. This

The world celebrates money, the universe celebrates generosity. The world celebrates position, the universe celebrates humility. The world celebrates titles, the universe celebrates dignity. The world celebrates fame, the universe celebrates modesty. The world celebrates success, the universe celebrates mastery. The world celebrates wealth, the universe celebrates charity. The world celebrates strength, the universe celebrates industry. The world celebrates might, the universe celebrates adaptability. The world celebrates power, the universe celebrates energy. The world celebrates lust, the universe celebrates chastity. The world celebrates ambition, the universe celebrates agility. The world celebrates passion, the universe celebrates efficiency. The world celebrates education, the universe celebrates ingenuity. The world celebrates scholars, the universe celebrates sagacity. The world celebrates talent, the universe celebrates creativity. The world celebrates culture, the universe celebrates civility. The world celebrates class, the universe celebrates equality. The world celebrates tradition, the universe celebrates individuality. The world celebrates gender, the universe celebrates impartiality. The world celebrates race, the universe celebrates humanity. The world celebrates tradition, the universe celebrates spirituality. The world celebrates religion, the universe celebrates divinity. The world celebrates pleasure, the universe celebrates purity. The world celebrates darkness, the universe celebrates piety. The world celebrates time, the universe celebrates continuity. The world celebrates chance, the universe celebrates destiny. The world celebrates life, the universe celebrates eternity.

We cannot pick and choose whom among the oppressed it is convenient to support. We must stand with all the oppressed or none of the oppressed. This is a global fight for life against corporate tyranny. We will win only when we see the struggle of working people in Greece, Spain, and Egypt as our own struggle. This will mean a huge reordering of our world, one that turns away from the primacy of profit to full employment and unionized workplaces, inexpensive and modernized mass transit, especially in impoverished communities, universal single-payer health care and a banning of for-profit health care corporations. The minimum wage must be at least $15 an hour and a weekly income of $500 provided to the unemployed, the disabled, stay-at-home parents, the elderly, and those unable to work. Anti-union laws, like the Taft-Hartley Act, and trade agreements such as NAFTA, will be abolished. All Americans will be granted a pension in old age. A parent will receive two years of paid maternity leave, as well as shorter work weeks with no loss in pay and benefits. The Patriot Act and Section 1021 of the National Defense Authorization Act, which permits the military to be used to crush domestic unrest, as well as government spying on citizens, will end. Mass incarceration will be dismantled. Global warming will become a national and global emergency. We will divert our energy and resources to saving the planet through public investment in renewable energy and end our reliance on fossil fuels. Public utilities, including the railroads, energy companies, the arms industry, and banks, will be nationalized. Government funding for the arts, education, and public broadcasting will create places where creativity, self-expression, and voices of dissent can be heard and seen. We will terminate our nuclear weapons programs and build a nuclear-free world. We will demilitarize our police, meaning that police will no longer carry weapons when they patrol our streets but instead, as in Great Britain, rely on specialized armed units that have to be authorized case by case to use lethal force. There will be training and rehabilitation programs for the poor and those in our prisons, along with the abolition of the death penalty. We will grant full citizenship to undocumented workers. There will be a moratorium on foreclosures and bank repossessions. Education will be free from day care to university. All student debt will be forgiven. Mental health care, especially for those now caged in our prisons, will be available. Our empire will be dismantled. Our soldiers and marines will come home.

The Proposal The diamond industry has pulled a fast one over on us. It has convinced us that there is no way to make public a lifetime commitment to another person without a very large, sparkly rock on a very slim band. This is, of course, nonsense. Often wedding books have engagement chapters that read like diamond-buying guides. But the truth is, the way to get engaged is for the two of you to decide that you want to get married. So the next time someone tries to imply that you are not engaged because you don’t have a dramatic enough engagement story or a ring, firmly say, “You know, I like to think of my partner as my rock,” and slowly raise your eyebrow. The modern wedding industry—along with a fair share of romantic comedies—has set a pretty high bar for proposals. We think they need to be elaborate and surprising. But they don’t. A proposal should be: • A decision to get married • Romantic (because you decide to spend the rest of your lives together, not necessarily because of its elaborate nature) • Possibly mutual • Possibly discussed in advance • Possibly instigated by you • Not used to judge the state of your relationship • An event that may be followed by the not-at-all-romantic kind of sobbing, because you realize your life is changing forever It’s exciting to decide to get married. And scary. But the moment of proposal is just that: a moment. It moves you to the next step of the process; it’s not the be-all, end-all. So maybe you have a fancy candlelight dinner followed by parachutists delivering you a pear-shaped, seven-carat diamond. Or maybe you decide to get married one Sunday morning over the newspaper and a cup of coffee. Either way is fine. The point is that you decided to spend your life with someone you love.

If the ecological community is ever achieved in practice, social life will yield a sensitive development of human and natural diversity, falling together into a well balanced, harmonious whole. Ranging from community through region to entire continents, we will see a colorful differentiation of human groups and ecosystems, each developing its unique potentialities and exposing members of the community to a wide spectrum of economic, cultural and behavioral stimuli. Falling within our purview will be an exciting, often dramatic, variety of communal forms—here marked by architectural and industrial adaptations to semi-arid ecosystems, there to grasslands, elsewhere by adaptation to forested areas. We will witness a creative interplay between individual and group , community and environment, humanity and nature. The cast of mind that today organizes differences among humans and other lifeforms along hierarchical lines, defining the external in terms of its "superiority" or "inferiority," will give way to an outlook that deals with diversity in an ecological manner. Differences among people will be respected, indeed fostered, as elements that enrich the unity of experience and phenomena. The traditional relationship which pits subject against object will be altered qualitatively; the "external," the "different," the "other" will be conceived of as individual parts of a whole all the richer because of its complexity. This sense of unity will reflect the harmonization of interests between individuals and between society and nature. Freed from an oppressive routine, from paralyzing repressions and insecurities, from the burdens of toil and false needs, from the trammels of authority and irrational compulsion, individuals will finally, for the first time in history, be in a position to realize their potentialities as members of the human community and the natural world.

Rather, productivity is about making certain choices in certain ways. The way we choose to see ourselves and frame daily decisions; the stories we tell ourselves, and the easy goals we ignore; the sense of community we build among teammates; the creative cultures we establish as leaders: These are the things that separate the merely busy from the genuinely productive. We now exist in a world where we can communicate with coworkers at any hour, access vital documents over smartphones, learn any fact within seconds, and have almost any product delivered to our doorstep within twenty-four hours. Companies can design gadgets in California, collect orders from customers in Barcelona, email blueprints to Shenzhen, and track deliveries from anywhere on earth. Parents can auto-sync the family’s schedules, pay bills online while lying in bed, and locate the kids’ phones one minute after curfew. We are living through an economic and social revolution that is as profound, in many ways, as the agrarian and industrial revolutions of previous eras. These advances in communications and technology are supposed to make our lives easier. Instead, they often seem to fill our days with more work and stress. In part, that’s because we’ve been paying attention to the wrong innovations. We’ve been staring at the tools of productivity—the gadgets and apps and complicated filing systems for keeping track of various to-do lists—rather than the lessons those technologies are trying to teach us. There are some people, however, who have figured out how to master this changing world. There are some companies that have discovered how to find advantages amid these rapid shifts. We now know how productivity really functions. We know which choices matter most and bring success within closer reach. We know how to set goals that make the audacious achievable; how to reframe situations so that instead of seeing problems, we notice hidden opportunities; how to open our minds to new, creative connections; and how to learn faster by slowing down the data that is speeding past us.

People, especially those in charge, rarely invite you into their offices and give freely of their time. Instead, you have to do something unique, compelling, even funny or a bit daring, to earn it. Even if you happen to be an exceptionally well-rounded person who possesses all of the scrappy qualities discussed so far, it’s still important to be prepared, dig deep, do the prep work, and think on your feet. Harry Gordon Selfridge, who founded the London-based department store Selfridges, knew the value of doing his homework. Selfridge, an American from Chicago, traveled to London in 1906 with the hope of building his “dream store.” He did just that in 1909, and more than a century later, his stores continue to serve customers in London, Manchester, and Birmingham. Selfridges’ success and staying power is rooted in the scrappy efforts of Harry Selfridge himself, a creative marketer who exhibited “a revolutionary understanding of publicity and the theatre of retail,” as he is described on the Selfridges’ Web site. His department store was known for creating events to attract special clientele, engaging shoppers in a way other retailers had never done before, catering to the holidays, adapting to cultural trends, and changing with the times and political movements such as the suffragists. Selfridge was noted to have said, “People will sit up and take notice of you if you will sit up and take notice of what makes them sit up and take notice.” How do you get people to take notice? How do you stand out in a positive way in order to make things happen? The curiosity and imagination Selfridge employed to successfully build his retail stores can be just as valuable for you to embrace in your circumstances. Perhaps you have landed a meeting, interview, or a quick coffee date with a key decision maker at a company that has sparked your interest. To maximize the impression you’re going to make, you have to know your audience. That means you must respectfully learn what you can about the person, their industry, or the culture of their organization. In fact, it pays to become familiar not only with the person’s current position but also their background, philosophies, triumphs, failures, and major breakthroughs. With that information in hand, you are less likely to waste the precious time you have and more likely to engage in genuine and meaningful conversation.

The most important thing that is happening in the world right now is the emerging of the new man. Since the monkeys, man has remained the same, but a great revolution is on it's way. When monkeys became man, it created the mind. With the new man, a great revolution will bring the soul in. Man will not just be a mind, a psychological being, he will be a spiritual being. This new consciousness, this new being, is the most important thing, which is happening in the world today. But the old man will be against the emerging of the new man, the old man will be against this new consciousness. The new man is a matter of life and death, it is a question of the survival of the whole earth. It is matter of survival of consciousness, of survival of life itself. The old man has become utterly destructive. The old man is preparing for a global suicide right now. Rather than allowing the new man, the old man would rather destroy the whole earth, destroying life itself. The old destructive man is preparing right now for a third world war. The global economical and political elite and the war industrial complex in the U.S, which runs the foreign policy of the U.S, is right now promoting for a third world war. The U.S. has over thrown the democratically elected government in Ukraine in an secret operation by the CIA, the world's largest terrorist organization, and replaced it with a fascistic regime, a marionette for the U.S. The war industrial complex is now desperately trying to promote the third war by demonizing, lying and blaming Russia. We see the same aggression and lies from the U.S. that we have seen before against Iraq, Afghanistan, Libya, Syria, Venezuela and Iran. President Eisenhower warned against the war industrial complex, which he considered the largest threat to democracy. President John F. Kennedy also warned against a "secret conspiracy" against democracy. The war industrial complex consists of the international banks, oil companies, war industry, democratically elected politicians, conservative think tanks, international mainstream media and global companies, who make profits from human suffering and wars. The European governments and the mainstream media also cooperate with the war industrial complex to bring the world into disaster. But this time it will not work as the time for wars is over, and peace loving people and people who represent the new man are working against this kind of aggression.

Know What You Believe What are your values today with regard to your work and your career? Do you believe in the values of integrity, hard work, dependability, creativity, cooperation, initiative, ambition, and getting along well with people? People who live these values in their work are vastly more successful and more highly esteemed than people who do not. What are your values with regard to your family? Do you believe in the importance of unconditional love, continuous encouragement and reinforcement, patience, forgiveness, generosity, warmth, and attentiveness? People who practice these values consistently with the important people in their lives are much happier than people who do not. What are your values with regard to money and financial success? Do you believe in the importance of honesty, industry, thrift, frugality, education, excellent performance, quality, and persistence? People who practice these values are far more successful in their financial lives than those who do not, and they achieve their financial goals far faster as well. What about your health? Do you believe in the importance of self-discipline, self-mastery, and self-control with regard to diet, exercise, and rest? Do you set high standards for health and fitness and then work every day to live up to those standards? People who practice these values live longer, healthier lives than people who do not.

If the symbolic father is often lurking behind the boss--which is why one speaks of 'paternalism' in various kinds of enterprises--there also often is, in a most concrete fashion, a boss or hierarchic superior behind the real father. In the unconscious, paternal functions are inseparable from the socio-professional and cultural involvements which sustain them. Behind the mother, whether real or symbolic, a certain type of feminine condition exists, in a socially defined imaginary context. Must I point out that children do not grow up cut off from the world, even within the family womb? The family is permeable to environmental forces and exterior influences. Collective infrastructures, like the media and advertising, never cease to interfere with the most intimate levels of subjective life. The unconscious is not something that exists by itself to be gotten hold of through intimate discourse. In fact, it is only a rhizome of machinic interactions, a link to power systems and power relations that surround us. As such, unconscious processes cannot be analyzed in terms of specific content or structural syntax, but rather in terms of enunciation, of collective enunciative arrangements, which, by definition, correspond neither to biological individuals nor to structural paradigms... The customary psychoanalytical family-based reductions of the unconscious are not 'errors.' They correspond to a particular kind of collective enunciative arrangement. In relation to unconscious formation, they proceed from the particular micropolitics of capitalistic societal organization. An overly diversified, overly creative machinic unconscious would exceed the limits of 'good behavior' within the relations of production founded upon social exploitation and segregation. This is why our societies grant a special position to those who specialize in recentering the unconscious onto the individuated subject, onto partially reified objects, where methods of containment prevent its expansion beyond dominant realities and significations. The impact of the scientific aspirations of techniques like psychoanalysis and family therapy should be considered as a gigantic industry for the normalization, adaption and organized division of the socius. The workings of the social division of labor, the assignment of individuals to particular productive tasks, no longer depend solely on means of direct coercion, or capitalistic systems of semiotization (the monetary remuneration based on profit, etc.). They depend just as fundamentally on techniques modeling the unconscious through social infrastructures, the mass media, and different psychological and behavioral devices...Even the outcome of the class struggle of the oppressed--the fact that they constantly risk being sucked into relations of domination--appears to be linked to such a perspective.

Richard Lovelace makes a compelling case that the best defense is a good offense. “The ultimate solution to cultural decay is not so much the repression of bad culture as the production of sound and healthy culture,” he writes. “We should direct most of our energy not to the censorship of decadent culture, but to the production and support of healthy expressions of Christian and non-Christian art.”10 Public protests and boycotts have their place. But even negative critiques are effective only when motivated by a genuine love for the arts. The long-term solution is to support Christian artists, musicians, authors, and screenwriters who can create humane and healthy alternatives that speak deeply to the human condition. Exploiting “Talent” The church must also stand against forces that suppress genuine creativity, both inside and outside its walls. In today’s consumer culture, one of the greatest dangers facing the arts is commodification. Art is treated as merchandise to market for the sake of making money. Paintings are bought not to exhibit, nor to grace someone’s home, but merely to resell. They are financial investments. As Seerveld points out, “Elite art of the New York school or by approved gurus such as Andy Warhol are as much a Big Business today as the music business or the sports industry.”11 Artists and writers have been reduced to “talent” to be plugged into the manufacturing process. That approach may increase sales, but it will suppress the best and highest forms of art. In the eighteenth century, the world nearly lost the best of Mozart’s music because the adults in the young man’s life treated him primarily as “talent” to exploit.

How I Got That Name Marilyn Chin an essay on assimilation I am Marilyn Mei Ling Chin Oh, how I love the resoluteness of that first person singular followed by that stalwart indicative of “be," without the uncertain i-n-g of “becoming.” Of course, the name had been changed somewhere between Angel Island and the sea, when my father the paperson in the late 1950s obsessed with a bombshell blond transliterated “Mei Ling” to “Marilyn.” And nobody dared question his initial impulse—for we all know lust drove men to greatness, not goodness, not decency. And there I was, a wayward pink baby, named after some tragic white woman swollen with gin and Nembutal. My mother couldn’t pronounce the “r.” She dubbed me “Numba one female offshoot” for brevity: henceforth, she will live and die in sublime ignorance, flanked by loving children and the “kitchen deity.” While my father dithers, a tomcat in Hong Kong trash— a gambler, a petty thug, who bought a chain of chopsuey joints in Piss River, Oregon, with bootlegged Gucci cash. Nobody dared question his integrity given his nice, devout daughters and his bright, industrious sons as if filial piety were the standard by which all earthly men are measured. * Oh, how trustworthy our daughters, how thrifty our sons! How we’ve managed to fool the experts in education, statistic and demography— We’re not very creative but not adverse to rote-learning. Indeed, they can use us. But the “Model Minority” is a tease. We know you are watching now, so we refuse to give you any! Oh, bamboo shoots, bamboo shoots! The further west we go, we’ll hit east; the deeper down we dig, we’ll find China. History has turned its stomach on a black polluted beach— where life doesn’t hinge on that red, red wheelbarrow, but whether or not our new lover in the final episode of “Santa Barbara” will lean over a scented candle and call us a “bitch.” Oh God, where have we gone wrong? We have no inner resources! * Then, one redolent spring morning the Great Patriarch Chin peered down from his kiosk in heaven and saw that his descendants were ugly. One had a squarish head and a nose without a bridge Another’s profile—long and knobbed as a gourd. A third, the sad, brutish one may never, never marry. And I, his least favorite— “not quite boiled, not quite cooked," a plump pomfret simmering in my juices— too listless to fight for my people’s destiny. “To kill without resistance is not slaughter” says the proverb. So, I wait for imminent death. The fact that this death is also metaphorical is testament to my lethargy. * So here lies Marilyn Mei Ling Chin, married once, twice to so-and-so, a Lee and a Wong, granddaughter of Jack “the patriarch” and the brooding Suilin Fong, daughter of the virtuous Yuet Kuen Wong and G.G. Chin the infamous, sister of a dozen, cousin of a million, survived by everbody and forgotten by all. She was neither black nor white, neither cherished nor vanquished, just another squatter in her own bamboo grove minding her poetry— when one day heaven was unmerciful, and a chasm opened where she stood. Like the jowls of a mighty white whale, or the jaws of a metaphysical Godzilla, it swallowed her whole. She did not flinch nor writhe, nor fret about the afterlife, but stayed! Solid as wood, happily a little gnawed, tattered, mesmerized by all that was lavished upon her and all that was taken away!

It's not that we're dumb. On the contrary, many millions of people have exerted great intelligence and creativity in building the modern world. It's more that we're being swept into unknown and dangerous waters by accelerating economic growth. On just one single day of the days I have spent writing this book, as much world trade was carried out as in the whole of 1949; as much scientific research was published as in the whole of 1960; as many telephone calls were made as in all of 1983; as many e-mails were sent as in 1990.11 Our natural, human, and industrial systems, which evolve slowly, are struggling to adapt. Laws and institutions that we might expect to regulate these flows have not been able to keep up. A good example is what is inaccurately described as mindless sprawl in our physical environment. We deplore the relentless spread of low-density suburbs over millions of acres of formerly virgin land. We worry about its environmental impact, about the obesity in people that it fosters, and about the other social problems that come in its wake. But nobody seems to have designed urban sprawl, it just happens-or so it appears. On closer inspection, however, urban sprawl is not mindless at all. There is nothing inevitable about its development. Sprawl is the result of zoning laws designed by legislators, low-density buildings designed by developers, marketing strategies designed by ad agencies, tax breaks designed by economists, credit lines designed by banks, geomatics designed by retailers, data-mining software designed by hamburger chains, and automobiles designed by car designers. The interactions between all these systems and human behavior are complicated and hard to understand-but the policies themselves are not the result of chance. "Out of control" is an ideology, not a fact.

me to be honest about his failings as well as his strengths. She is one of the smartest and most grounded people I have ever met. “There are parts of his life and personality that are extremely messy, and that’s the truth,” she told me early on. “You shouldn’t whitewash it. He’s good at spin, but he also has a remarkable story, and I’d like to see that it’s all told truthfully.” I leave it to the reader to assess whether I have succeeded in this mission. I’m sure there are players in this drama who will remember some of the events differently or think that I sometimes got trapped in Jobs’s distortion field. As happened when I wrote a book about Henry Kissinger, which in some ways was good preparation for this project, I found that people had such strong positive and negative emotions about Jobs that the Rashomon effect was often evident. But I’ve done the best I can to balance conflicting accounts fairly and be transparent about the sources I used. This is a book about the roller-coaster life and searingly intense personality of a creative entrepreneur whose passion for perfection and ferocious drive revolutionized six industries: personal computers, animated movies, music, phones, tablet computing, and digital publishing. You might even add a seventh, retail stores, which Jobs did not quite revolutionize but did reimagine. In addition, he opened the way for a new market for digital content based on apps rather than just websites. Along the way he produced not only transforming products but also, on his second try, a lasting company, endowed with his DNA, that is filled with creative designers and daredevil engineers who could carry forward his vision. In August 2011, right before he stepped down as CEO, the enterprise he started in his parents’ garage became the world’s most valuable company. This is also, I hope, a book about innovation. At a time when the United States is seeking ways to sustain its innovative edge, and when societies around the world are trying to build creative digital-age economies, Jobs stands as the ultimate icon of inventiveness, imagination, and sustained innovation. He knew that the best way to create value in the twenty-first century was to connect creativity with technology, so he built a company where leaps of the imagination were combined with remarkable feats of engineering. He and his colleagues at Apple were able to think differently: They developed not merely modest product advances based on focus groups, but whole new devices and services that consumers did not yet know they needed. He was not a model boss or human being, tidily packaged for emulation. Driven by demons, he could drive those around him to fury and despair. But his personality and passions and products were all interrelated, just as Apple’s hardware and software tended to be, as if part of an integrated system. His tale is thus both instructive and cautionary, filled with lessons about innovation, character, leadership, and values.

The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore all progress depends on the unreasonable man.” George Bernard Shaw On a cool fall evening in 2008, four students set out to revolutionize an industry. Buried in loans, they had lost and broken eyeglasses and were outraged at how much it cost to replace them. One of them had been wearing the same damaged pair for five years: He was using a paper clip to bind the frames together. Even after his prescription changed twice, he refused to pay for pricey new lenses. Luxottica, the 800-pound gorilla of the industry, controlled more than 80 percent of the eyewear market. To make glasses more affordable, the students would need to topple a giant. Having recently watched Zappos transform footwear by selling shoes online, they wondered if they could do the same with eyewear. When they casually mentioned their idea to friends, time and again they were blasted with scorching criticism. No one would ever buy glasses over the internet, their friends insisted. People had to try them on first. Sure, Zappos had pulled the concept off with shoes, but there was a reason it hadn’t happened with eyewear. “If this were a good idea,” they heard repeatedly, “someone would have done it already.” None of the students had a background in e-commerce and technology, let alone in retail, fashion, or apparel. Despite being told their idea was crazy, they walked away from lucrative job offers to start a company. They would sell eyeglasses that normally cost $500 in a store for $95 online, donating a pair to someone in the developing world with every purchase. The business depended on a functioning website. Without one, it would be impossible for customers to view or buy their products. After scrambling to pull a website together, they finally managed to get it online at 4 A.M. on the day before the launch in February 2010. They called the company Warby Parker, combining the names of two characters created by the novelist Jack Kerouac, who inspired them to break free from the shackles of social pressure and embark on their adventure. They admired his rebellious spirit, infusing it into their culture. And it paid off. The students expected to sell a pair or two of glasses per day. But when GQ called them “the Netflix of eyewear,” they hit their target for the entire first year in less than a month, selling out so fast that they had to put twenty thousand customers on a waiting list. It took them nine months to stock enough inventory to meet the demand. Fast forward to 2015, when Fast Company released a list of the world’s most innovative companies. Warby Parker didn’t just make the list—they came in first. The three previous winners were creative giants Google, Nike, and Apple, all with over fifty thousand employees. Warby Parker’s scrappy startup, a new kid on the block, had a staff of just five hundred. In the span of five years, the four friends built one of the most fashionable brands on the planet and donated over a million pairs of glasses to people in need. The company cleared $100 million in annual revenues and was valued at over $1 billion. Back in 2009, one of the founders pitched the company to me, offering me the chance to invest in Warby Parker. I declined. It was the worst financial decision I’ve ever made, and I needed to understand where I went wrong.