Musings

Brain Dump

What’s on my mind?

There’s a misconception that the practice of meditation involves clearing your mind of thoughts. There are amazing resources to learn all about it, but in short: the aim is to remain aware of thoughts as they come and go like clouds and not grab on to one and get lost in a train of thought.

Perhaps that’s not the best definition, but I think it explains how I’ve been this week. I used to meditate once a week at this place in Manhattan for about a year straight, and for whatever reason I lost the habit. Last Tuesday I returned and I’m already excited for next Tuesday’s sitting.

I’m definitely feeling more aware of so many thoughts passing by, but I’m very out of practice in letting them go. I feel some mental arms flailing around as I want to keep each one and nurture it into some nice, grand thought.

I heard something interested on a podcast recently about letting go of identifying with your thoughts. If you’re a Game of Thrones fan, think of the House of Black & White where Arya is training to become “a girl” and lose her identity.
Jaqen-Hghar
A girl may think a thing, but Arya does not. If you have a blog, podcast, or just love to talk a lot, you might notice how the further you elaborate a thought, the more you’re trying to inject your identity into the idea as though it is your own. At least that’s the case for me.

Of course, a specific thought at a specific time can only happen inside your head, so in that regard you are the owner of the thought. The idea however is likely to be shared by thousands. There’s a point where I disagree with the above however: I think sharing ideas is the most important thing humans can do. We developed the ability to communicate and that’s probably our best attribute.

So, on a personal note, I hope to put things here in a spirit of sharing, not identifying or owning, or to be an expert or visionary, but for the sake of the same ideas that reside in so many others to light up and become connected; which is how great philosophies can be born. Also, fully knowing that all of this can happen without me entirely, but for my entertainment at least, I’d like to learn and to listen.

Now that the meta is taken care of…

Minimalism and Wabi-Sabi

I’ve been reading Kenya Hara, and John Maeda lately. I also started getting into Wabi-Sabi: Further Thoughts, which hasn’t expanded much of what I learned from his first book, but has definitely rekindled my interested in thinking of this aesthetic applied to digital interfaces.

Just yesterday I saw this beautiful phone interface designed by Kenya Hara, for an elderly population, but something that I would love to use!

2

Now I have this crazy desire to make such an operating system in English, and include the sensibilities of Wabi-Sabi that I’m always talking about. I have no idea where to start in such an ambitious project and would probably need a whole design studio to be honest, but I think it’s going to be a fun concept to explore for myself.

Podcasting

For a guy that starts out a blog post about not identifying with thoughts, and letting them pass by, I’m really anxious to create more things. What can I say, humans are complicated.

I’ve had this idea for quite a while now, but I’ve set a deadline to complete a first episode by the end of January. The recording and editing will be done by then, and depending on the technicalities of publishing it, you may not see it until February.

In short, I’m trying this new style where I record a Voice Mail for a person, send it to that other person and wait for a response. With a few responses, or a few people, I hope to have something interesting that can be stitched together into a short episode.

This is inspired by old-timey hand written correspondence, but we’ll see how it really plays out. Recorded conversation is most interesting because it can have unexpected turns, and people can quickly adjust their stance on something and arrive at a natural conclusion. I’m afraid this won’t be as interesting to listen to, but I have a hunch that I could be different enough to still be interesting.

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Musings

Rilke

A friend sent me this book with the note that it’s one of his favorites and still picks it up again once in a while. That last part is most impressive to me, since I never read anything twice – there’s too many books in the world! I could immediately see why this one might be so re-readable.

I won’t give much background – descriptions and summaries you can find online – but I think I first heard of Rilke from the podcast Entitled Opinions. He was some German poet that left a lasting mark on his era, but I didn’t know much more than that. I know it’s sad, but I never pick up books of poetry. I guess I don’t know how to read it. Maybe it’s because poetry is work, and unless you sit and think and feel for a few days with the words in your mind, it never goes deeper than the surface. A story however will do the work for me, and I have a character to follow down deeper into some other experience. I would completely recommend this book to anyone that feels the same about poetry. This is Rilke’s only novel, and it holds my hand (somewhat) to where I need to go – as novels do – but along the way I can get an idea of some of the beautiful poetry out there that I’m missing.

Here’s my favorite paragraph so far. The only context that you need is that there’s a bit of fog in Paris.

“What such a small moon can achieve. There are days when everything about one is luminous, light, scarcely defined in the bright air, and nonetheless distinct. Even the nearest of things have the shades of distance upon them; they are remote, merely sketched in rather than bodied forth; and all things that do indeed partake of the distance—the river, the bridges, the long streets and the prodigal squares—have absorbed the distance within themselves and are painted on to it as upon silk. Who can say what a slight green vehicle on the Pont Neuf might be at such times, or some red bursting forth, or even a mere poster on the fire wall of a pearly-grey group of buildings. Everything is simplified, rendered into a few exact, bright planes like the face in a portrait by Manet. And nothing is of slight importance or irrelevance. The booksellers along the Quai open up their stalls, and the fresh or faded yellow of the books, the violet brown of the bindings, the more commanding green of an album: all of it is just right and has its worth and is a part of the whole and adds up into a fullness where nothing is lacking.”

Rilke

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Musings, writing

Crème of Abstraction Layers

Evolution of content publishing online

When I slow down to look at my interaction with most web sites, I notice an incongruity for accomplishing the same end goal: publishing.

While different sites offer different levels of sophistication, I’ve noticed that creating or editing content on the modern web is bubbling-up closer to the surface. I liken this to term as used in Computer Science: abstraction.

At first, you had to write binary that worked directly with the processor. Then they created a language that allowed you to write logic gates which were converted to binary. The higher you get, the more programming becomes natural to humans.

Nick Nelson, Web Developer

As Nick sums it up, there is a pretty deep (and technical) background to programming that few of us think of today — even the programmers. Even though a well-versed developer that works in an Object Oriented language might know the logic behind the code, we have long since been removed from considering logic gates and binary code.

Translating this to web development, the abstraction layers could go as far as the binary code, but the fundamental difference between software and what we predominantly see on the web seems to start with HTML. Taking human steps back from HTML, by my count, we are just now seeing mainstream implementation of a fourth layer of abstraction.

facebook

facebook

Layer One

HTML and other languages

It used to be that you had to write everything in the language our browsers speak. Yes, we still build websites like this, but you don’t have to know this language to write a blog or update your status. I consider HTML, CSS, and other browser languages to be the first or bottom layer of abstraction on the web. Kids used to learn HTML if they wanted their MySpace to look a certain way. Later, WordPress says, “no more!” Enter the second layer of abstraction.

Layer Two

Admin panels and WYSIWYG

WYSIWYG editor tool for the Blogger CMS

WYSIWYG editor tool for the Blogger CMS

WYSIWYG (what you see is what you get) has been around before the internet, letting you select a different font style or change your margins, colors, and other preferences. Its implementation in Content Management Systems (CMS) brings about the second layer of abstraction. I’m sure you can count plain text input somewhere in earlier CMS platforms, but this is the more common method of creating content on the Web. Blogger might have been the first prolific example (above), but I haven’t spent enough time Googling to tell you for sure.

Aside:
To be true to the definition of abstraction this comparison should only be made from language-to-language. In that regard, languages like SASS, LESS, and the like are another layer of abstraction on top of CSS. I’m using abstraction liberally to talk about the mode of interaction you have with a computer when creating content online. In that regard, SASS and CSS are in the same bucket of “manually writing out instructions for the browser.”

An important element of this second layer of abstraction is not only the WYSIWYG, but its placement within an administrator’s section of the website. On Blogger, WordPress, or even the relatively modern Tumblr, you must sign in and access a different side of the website to enter new content and publish.

Tumblr’s Content Entry, circa 2013

Tumblr’s Content Entry, circa 2013

What makes Tumblr interesting is that the primary experience of viewing and interacting with other posts within the community takes place in the same logged-in state / administrator view.

Other services fall elsewhere in the spectrum of a definitive edit mode and read mode. WordPress for example has a completely different experience in the edit mode or administrator side of the site, whereas Flickr was one of the first to blur the line and display the same interface for editing as reading — with minor differences when clicking on things.

Wordpress Content Entry

WordPress Content Entry


Flickr Edit in Place Fields. Konigi, 2008

Flickr Edit in Place Fields. Konigi, 2008

It seems that in the development of a new content platform, there’s a defining choice whether to embrace the Content Management System (CMS) or to try and hide it as much as possible, creating the illusion that your draft could just as well be live, published content. This design decision is what carries some products from the Second Layer of abstraction and the Third Layer of Abstraction, where creating and reading content begin to merge.

Layer Three

Always logged-in + squishy CMS

Flickr, circa 2013

Flickr, circa 2013

As you can see above, Flickr has made quite a few changes over the years and I think it’s an excellent example of a third layer of abstraction to creating content online. Yes, there’s a smaller gap between this layer and the second than there was between the first two, but it’s distinct enough to deserve recognition.

In the Flickr example, people are still interacting with a CMS and they are logged in as an “administrator” of their content. What is significant however, is that our identities online have become more solidified and with a more liberal use of browser cookies, we are almost always identified when walking in to a website we commonly use. For example, WordPress, despite its many improvements, will still ask you to sign in to access the administrator part of your blog; whereas Facebook, Flickr, Medium, and many others will remember you, and what’s more: the main mode of interacting with those sites (communities really) is within the logged-in state.

As we lean toward an always logged-in state by default, the CMS necessarily has merged with the published content. Even when interacting with the CMS, it has become standard to do the composing or editing in the same place you’re viewing other content. When making a Facebook status, your browser doesn’t ask you to leave the newsfeed. When publishing a tweet, your browser no longer requires you to refresh the page to view that content. Overall, there a higher sophistication of Front-End web development being employed that makes these CMS interactions quite “squishy” compared to the very distinct moments you will have with a WordPress CMS and reading the blog, for example.

Sitting here in 2015, this doesn’t sound like much of a revelation. My apologies if I didn’t warn you ahead of time, but I don’t see myself as a visionary. I just think its important to document what we see.

Layer Four

Collaborative content

If I am to follow this winding definition of creating content and getting further away from complying with computers to get things done, then the last layer as I see it must be collaborative documents. Hear me out:

  1. Writing code – You’re using HTML, SASS, anything that’s meant for a browser and not a human.
  2. WYSIWYG / Hard CMS – You’re filling in text boxes, clicking formatting buttons, previewing, publishing, and then going somewhere else to see how it looks.
  3. Always logged-in / Squishy CMS – You don’t have to go anywhere else when finished creating or editing content. The line between browsing the web and composing has been blurred, but there is still a very strong line between you and your readers: the save/post/publish button.
  4. Collaborative content – In this state, the CMS is the viewing platform and composing platform at the same time. There’s no line between browsing and composing, nor is there a line between you and your readers:
Google Docs

Google Docs

I think where this notion of the Fourth Layer feels a bit forced is that it’s not a typical use case. Collaborative tools such as Google Docs, Dropbox, Box, and the like are associated with professional use only, and even in a professional setting they are not the norm.

What’s interesting to me however, is a hypothetical type of social media where that line between author and reader is selectively removed. Let’s take Facebook as an easy target. Imagine if you didn’t have to click the Post button on a status.

Oh wow Rob, that would make my life 9,000 times easier!

Yeah, I thought as much. It might even do more harm than good.

Side-note: isn’t there some publication that uses data Facebook has on what people draft as a status update versus what people actually publish?

I think it would be fun in some safe spaces, such as a curated group of your best friends where you could post content live and anyone that happens to be on the page at the same time can be drawn into your activity and then instantly (or simultaneously) begin to respond/react/build on what you’re putting out there.

Facebook

Okay, so let’s back away from the Facebook example a bit. I’m getting very specific just to try to explore what using the web would feel like if we managed to abstract ourselves just a bit more from the already ‘squishy’ CMS. Perhaps there will always be a line, a very minimum confirmation moment when an author does acknowledge something will be born into the Internet or not.

I think this depends on the concept of the web for most people. If you imagine it’s more akin to a book or newsletter than a dinner conversation or phone call, then yes, there will always be an interaction with the machine no matter how minimal. If you’re of the latter opinion however, then maybe at some point all lines will dissolve and we interact with the web as we do in person – maybe that leads to more explaining, and less editing, but that’s a whole other can of worms.


PS

I didn’t want to get too technical while exploring these different ways of creating content online, but I’d like to acknowledge that these layers of abstraction do not imply that we’re detaching from machines, markup languages, or programming of any sort. If anything, a greater layer of abstraction requires more sophisticated code to support such an elegant interface on the outside.

Good design should not aspire to rendering a complicated system into a seamless one; on the contrary, I hope we continue to focus our attention to the seams and learn how to best mold them to fit our needs.*

We used to log in to create blog posts and that was a necessity for security and identifying the author. Now we are logged in everywhere, for social reasons, for our own sense of digital identity.

Some Links:
http://en.wikipedia.org/wiki/Abstraction_(computer_science)
http://en.wikipedia.org/wiki/Abstraction_layer
http://en.wikipedia.org/wiki/WYSIWYG
http://konigi.com/interface/flickr-edit-place-fields
* I’d love to take credit for such an intelligent-sounding stance on design, but I first read about it here: Matthew Chalmers (2003)
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Musings

Matter Duplicators

The following is a Forward, written by Neil Gaiman for the book, “Information Doesn’t Want to Be Free” by Cory Doctorow. GoodreadsAmazon


From “Business as Usual, During Alterations,”
by Ralf Williams (Astounding Science Fiction, 1958)
George shook his head slowly. “You’re wrong, John. Not back to where we were. This morning, we had an economy of scarcity. Tonight, we have an economy of abundance. This morning, we had a money economy—it was a money economy, even if credit was important. Tonight, it’s a credit economy, one hundred percent. This morning, you and the lieutenant were selling standardization. Tonight, it’s diversity. The whole framework of our society is flipped upside down.” He frowned uncertainly.
“And yet, you’re right, too. It doesn’t seem to make much difference. It’s still the same old rat race. I don’t understand it.”

I bought a box of SF pulps when I was in my late teens from one of my father’s friends, who kept them in the garage. English editions of Astounding Science Fiction, for the most part. Stories written by authors whose names I barely recognized, despite being a science-fiction reader from about as soon as I could read.

I paid more than I could afford for them.

I suspect that one story paid for all of them, though.

It’s a thought experiment. Until recently I’d forgotten the opening of the story (aliens decide to Mess With Us) but remembered what happened after that.

We’re in a department store. And someone drops off two matter duplicators. They have pans. You put something in pan one, press a button, and its exact duplicate appears in pan two.

We spend a day in the department store as they sell everything they have as cheaply as possible, duplicating things with the matter duplicator, making what they can on each sale, and using checks and credit cards, not cash (you can now perfectly duplicate cash—which obviously is no longer legal tender). Toward the end they stop and take stock of the new world waiting for them, and realize that all the rules have changed, but craftsmen and engineers are more necessary than ever.

They realize that companies won’t be manufacturing millions of identical things, but will need to make hundreds, perhaps thousands, of slightly different things. That their stores will be showrooms for things, and stockrooms will be history. That there will now be fundamental changes in 1950s-style retailing—including, to use a phrase that turned up well after 1958, a long tail.

Being Astounding Science Fiction, the story contains the moral of 95 percent of Astounding Science Fiction stories, which could perhaps be reduced to: people are smart. We’ll cope.

When my friends who were musicians first started complaining sadly about people stealing their music on Napster, back in the 1990s, I told them about the story of the duplicator machines. (I could not remember the name of the story or the author. It was not until I agreed to write this foreword that I asked a friend, via email, and found myself, a Google later, re-reading it for the first time in decades.)

It seemed to me that copying music was not stealing. It was something else. It was the duplicator machine story: you were pressing a button and an object appeared in the pan. Which meant, I suspected, that music-as-object (CD, vinyl, cassette tape) was going to lose value, and that other things—mostly things that could not be reproduced, things like live shows and personal contact—would increase in value.

I remembered what Charles Dickens did, a hundred and fifty years before, when copyright laws meant that his copyrights were worth nothing in the U.S.: he was widely read, but he was not making any money from it. So he took the piracy as advertising, and toured the U.S. in theaters, reading from his books. He made money, and he saw America.

So I started doing Evenings with Neil Gaiman as fund-raisers for the Comic Book Legal Defense Fund, and learning how to do that—how to make an evening interesting for an audience, with just me and a stage and things I’d written, partly because it seemed to me that one day it might not be as easy to make money from selling stories in the traditional way, but that business might still continue more or less as usual, during the alterations, if there were other things I could do.

And so as the nature of music-selling changed utterly and fundamentally, I just stood and watched and nodded. Now the nature of book publishing is changing, and the only people who claim to know what the landscape of publishing will look like a decade from now are either fools or deluding themselves. Some people think the sky is falling, and I do not entirely blame them.

I never worried that the world was ending, because as a teen I’d read a thought experiment in an SF pulp published two years before I was born. It stretched my head.

I know that the view is going to be very different in the future, that authors are going to get their money from different places. I am certain that not all authors can be Charles Dickens, and that many of us became authors in order to avoid getting up on stages in the first place, and that it’s not a solution for everybody or even for most of us.

Fortunately, Cory Doctorow has written this book. It’s filled with wisdom and with thought experiments and with things that will mess with your mind. Once, while we were arguing, Cory came up with an analogy that explained the world we were heading into in terms of mammals and dandelions, and I’ve never seen anything quite the same way since.

Mammals, he said, and I paraphrase here and do not put it as well as Cory did, invest a great deal of time and energy in their young, in the pregnancy, in raising them. Dandelions just let their seeds go to the wind, and do not mourn the seeds that do not make it. Until now, creating intellectual content for payment has been a mammalian idea. Now it’s time for creators to accept that we are becoming dandelions.

The world is not ending. Not if, as Astounding Science Fiction used to suggest, humans are bright enough to think our way out of the problems we think ourselves into.

I suspect that the next generation to come along will puzzle over our agonies, much as I puzzled over the death of the Victorian music halls as a child, and much as I felt sorry for the performers who had needed only thirteen minutes of material in their whole life, and who did their thirteen minutes in town after town until the day that television came along and killed it all.

In the meanwhile, it’s business as usual, during alterations.


Another excerpt: NPR.org
GoodreadsAmazon

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modern house on hill
Musings, writing

Free Speech isn’t a protest

I believe that political discourse should always exist – if not for myself, at least for the population at large. Personally, I think politics is quite pointless. We are powerless to actually change anything. At best, we can put our email address on an online petition. I’m not sure how far that really goes.

Aside:
I’m also aware that this is a toxic trend of feeling jaded or apathetic, which isn’t doing anything to further politics. I’m actually quite interested to see what politics will look like 20 years from now. I wonder if a lot of the baggage we see in the system now will be gradually carried over, or if there’s such a thing as a clean slate with new generations of leaders.

In common life, we use politics as a basis to argue with each other; and it goes no deeper than that. Politics is a common topic that people within borders can talk about, and it’s very easy to have an opinion. Clearly mine are very liberal, but that’s probably just because of the media I’m exposed to and where/how I was raised. The same goes for you.

Back to the point!

I think “free speech” is too often a political term. It shouldn’t be. We only hear about free speech when it’s referring to the suppression of protest or differing opinions. Sometimes it’s used as an argument to defend hateful speech. In any case, free speech is discussed and fought for only when threatened.

That’s like talking about lights only in the context of darkness. If we did that, lightbulbs would trigger an underlying emotion of danger. Lightbulbs are meant to combat darkness, and the danger that darkness can foster.

If we talked about light in that way, yes we might make some excellent progress toward having well-lit streets and making people feel safer at night. What’s not being discussed? Laser shows! Holograms. Movies. Neon signs. Light shows. Fireworks. Those cool bedside lamps that simulate the sun and wake you up ever-so-scientifically.

What if that’s what we’re doing to the idea of free speech?

Yes, free speech means that people should be allowed to communicate even the most dissident opinions. [Insert my political bias: Honestly, if you’re a body of power and you’re afraid of dissident opinions, then clearly your model of operation isn’t that sturdy.] Free speech should also be encouraged for no particular motive other than to hear people’s thoughts!

Human beings, like all organisms, are born, they mature, reproduce, care for their offspring, and die. Unlike all organisms, humans can externalize the little neural thunderstorms that happen all the time: ideas. We form concepts from observing patterns. We make decisions. We learn. We teach.

My meandering point:

Communication is what makes us human.

Typically we do a very good job of doing this. We have a hard time not doing this. Communication always happens in our homes, our closest circles. As I just wrote in the post prior to this one, I think we need to expand this outward. We’re in a lazy habit (I’m guilty too) of simply consuming things.

We confuse the internet with our TVs and Radio. (Yes, radio is dead, but the model is not.)

I’m glad that the internet can facilitate high-quality entertainment that we’re used to getting on the TV, but we don’t need to fall in line with that type of experience only.

So I guess what I’m saying is that I want to bring back the era of “your shitty blog.” Who cares if no one reads it? The act of writing helps you communicate better in other domains as well! Blogs, chat rooms (hey Slack!), and rambling tweets.

Do it.

Do it more.

Bonus

When you see something that you really feel like hitting the RT/Share/Reblog button on, take a pause. Go ahead and share it if it encapsulates something really well that you want people to know about, but also, follow that up with a tweet or post of your own.

Why did you hit the share button?
What does it make you feel?

That’s where you can inject a bit of yourself into the internet. Don’t just do it in a comment field. 

Your thoughts deserve to live on their own.

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fern leaves
Musings, writing

Observations

An observation and its moment are equally unique. Language is a time capsule for observations.

I’ve felt very awake in my awareness of new observations. Most preciously, I heard feedback about who I am at work. My advisor shared with me a collection of peer observations.

I am always ready to defend my idea of myself. Seeing how rare it is to have considered observations about myself from those I respect, I forced my guard down. I listened.

Later the same week, I happened upon a composer. I heard an inspiration and felt again nostalgia of the unknown. Ryuichi Sakamoto somehow introduces me to the past and carries a limp trail of the future with each phrase.

Each musical sentence is brief. I can imagine each bit standing alone in conclusion. Yet each turn is a natural extension. Most valuable to me: the space between is where my mind wanders.

Putting my observation into language is slowing down the experience. Music and reading and watching are all conversations. The spaces in the moment you craft is where the exchange between the observer and the moment happens. The music, book, video, pastoral view will not respond to me. But the following moment will be different after the space between allows me to wander.

His solo piano feels like Eric Satie, which in a direct way, inspires me to play piano again. The nostalgia is for being in Japan, and the many parts of my life when I watched a touching movie or show from Japan. These descriptions are failing my visceral mash of memory.

Finally picking up a book has added another feature of inspiration to my week. Several Short Sentences About Writing is a self-evident title. I don’t expect to be enthralled with an academic book. I’m absorbed in it, and I no longer believe it’s “academic.” It’s a fascinating treatise on cutting the fat. Say what you say, while respecting the reader.

I’m certain that all of the above reads awkwardly. I’m doing things differently.

I’m trying short sentences. I’m trying to say everything. I think the idea of a short sentence is not to force it to a certain length,
but to remove every bit until you can remove no more.

Like a beginner, I see myself mimicking the author’s style. I’ll soon find room for his advice and my voice in the same sentence.

What you don’t know about writing is also a form of knowledge, though much harder to grasp.
Try to discern the shape of what you don’t know and why you don’t know it,
Whenever you get a glimpse of your ignorance.
Don’t fear it or be embarrassed by it.
Acknowledge it.
What you don’t know and why you don’t know it are information too.
Verlyn Klinkenborg (more excerpts)

I’ll leave you here. It feels good to be inspired again.
It’s amazing to have three inspirations at once!

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Musings, writing

Design Career Inspiration

I recently watched a documentary about Hayao Miyazaki and Studio Ghibli called The Kingdom of Dreams and Madness1. It’s a beautiful movie, and I recommend everyone who has a career of “making things” watch this. No, you don’t have to be familiar with his films, but it may be more interesting if you watch The Wind Rises2 beforehand.

I found myself pausing this movie to write down a few quotes that really struck me. This also happened within the context of a weekend where I happened to be reading a design publication that got me thinking about my own work. The design magazine was, of course, more explicitly focused on my own industry and happened to call out one of my major qualms with working at design agencies in general: they exist to serve big corporations, but the employees within are always dreaming about smaller, more beautiful things they could build.

A photo posted by Rob Brogan (@robrogan) on

As seems to be the theme for me this last year, I find myself in an adolescence of design where I’m of course working (I’m an Interaction Designer) but I feel there’s little control over what I work on (projects come from the company of course), and I don’t exactly know what I’d ideally work on. Some inspiration that came out of this documentary was that (1) doing good work, work that you want to be a part of is of utmost importance, and (2) the people you do this with are very important.

Toshio Suzuki, Producer, Studio Ghibli —

I’ll say this, based on my experience. In your work, obviously, you’ll meet many people. But ultimately, it’s about who you work with. Only those who choose the right people to work with will be able to do the work they want.

I understand they go hand-in-hand, but thus far I haven’t found the two to overlap in one place. I guess that’s what I need to be more aware of, and always seeking out.

Hayao Miyazaki, Establishing Studio Ghibli —

We’re going to build a three-story studio […] Basically, our foremost objective here is making good films. No guarantees of lifetime employment here.
But companies are just conduits for money. Its success isn’t our priority. What’s important is that you’re doing what you want, and that you’re gaining skills.
If Ghibli ceases to appeal to you, then just quit. Because I’ll do the same.


1. The Kingdom of Dreams and Madness IMDB | Trailer
2. The Wind Rises IMDB | Trailer
Bonus: The Wind Rises Soundtrack: Stream

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