Written Response to Karim Rashid's Creative Manifesto

      Personally, Rashid's point that speaks most to me is “normal is not good.” Throughout my life, people have always told me I'm not normal, and have said it in a condescending manner, or a way in which implies that I am inferior to that person. However, my creative influences are anything but normal. They are eccentric people that stand out from the average person in the crowd. For example, Van Gogh cut his ear off as a gift for his girlfriend and he is known as one of the best artists of all-time. Therefore, I think being normal is actually a hindrance to creativity. I embrace my “weirdness,” and use to my advantage.

      If I had to make my own manifesto for creativity, it would be as follows:

1. Look for inspiration in the work of others. This doesn't mean you should copy your favorite artists, but figure out exactly what it is that you find so fascinating about their works.
2. If you are feeling hopeless about a project, take a break. When you get back to your workstation, you will be more level-headed and ready to take on the task.
3. Experiment with drugs (seriously).   Smoking a joint or two might be all you need to finish that project you're drawing blanks on.
4. Do mind exercises. Completing a sodoku or a crossword puzzle keeps your brain healthy and alert.
5. Take your time on each project. Hastiness is the cousin of an unsatisfying piece of work.
6. Keep PEACE OF MIND to finish your PIECE OF WORK. Being at one with yourself allows you to tap-in to your  creative side and delve deep into your creative psyche.
7. Listen to the constructive criticism of others. Most of the people who offer advice about a project are there to help you, not to bash you.
8. Write down your thoughts. A creative idea can come at any time and any place.
9. Listen to soothing music (without lyrics) at a low decibel when you're working. There's nothing like some Beethoven to get the job done.
10. Don't become unhopeful about a project if you don't like the direction it is going. Some of your best projects might be the projects you thought were your worst. Never lose hope!

Written Response to Reading: Freak Factor

      Freak Factor: Discovering Uniqueness by Flaunting Weakness, an article written by David Rendall, essentially states that your weaknesses do not necessarily hinder you as a creative person. Conversely, they can actually be your greatest strengths, like a double edged sword. In the section, "What's My Problem," Rendall talks about finding your weakness and capitalizing on them. Weaknesses, which make you different and unique, should not be given particular close attention when trying to better yourself. Although weaknesses make one feel inferior, they are actually important clues in finding your strengths. For example, a messy desk, something that is usually frowned upon, often means that a person is more creative. I agree with this section because I feel that too many people are trying to “fix” or “find” themselves when the answers to the questions they pose have been within themselves the whole time. The next section I would like to talk about is titled, "Flawless: There's Nothing Wrong With You." People always say that addiction is a bad personality trait because of drugs and and unsafe behaviors. Of course this is a problem, but addiction can also be a very good personality trait to have. You just need to apply to the right things. Rendall also talks about dyslexia in this section. Dyslexia is often labeled as a disability in our society because people with this "disability" get letters and words mixed up, which leads to major confusion in regards to reading and writing. However, a recent study showed that 35% of small business owners actually have some form of dyslexia. Additionally, another study found that people with dyslexia are more likely than those without the disability to become millionaires. This is a perfect example to illustrate how your weaknesses can also be your strengths. The last section of the article I would like to address is titled, "Forget it: Don't Try to Fix Your Weaknesses." Trying to fix your weakness, although it seems like it would make you a “better” person, actually puts you at a disadvantage. Finding your weaknesses is time consuming and disrupts you from working on other areas that you excel in. It can also be painful for people to try to improve their weaknesses, which I agree with completely. For example, if I were to devote all of my time trying to organize things, I would not have as much time to work on the things that I actually love. I think my weaknesses include being disorganized, shy, and indecisive. However, being disorganized can equate to a sign of creativity. Additionally, shyness can equate to a sign of a reflective personality. Lastly, indecisiveness can equate to a sign of patience. In my opinion, people need to capitalize on their strengths and live with their weaknesses, because weaknesses can actually amplify your strengths.     

Response to Collapsus

www.Collapsus.com

      Collapsus is an intriguing game that blends interactivity, animation, fiction and documentary. By blending real documentary footage with with smaller games and fragments of movies, Collapsus pushes the boundaries of gaming by blending multiple media formats into one comprehensive game. One of the things I really liked about Collapsus was the idea that it allows you to make your own decisions, like a role playing game, and even to choose your own perspectives in each scenario. The player has to interact with others to avoid further catastrophes, such as blackouts and energy-related problems, in the future. Also, the player has to listen to advice from experts before making these decisions, something we will have to do in real life as we obtain jobs in the media industry. I also liked how the game's trans-media concepts also apply to situations we might actually face in the near future. For example, the energy crisis is a topic we hear about in the media almost every day, and a solution to the problem is something many people have been searching for vigorously for years. Alternative energy is more popular than ever before, and therefore, the creators of the game did an excellent job of combining entertainment with real-life, relevant current issues. In my opinion, the game is very effective as a tool for trans-media concepts. As stated earlier, the game blends multiple formats of media in an innovative, entertaining way. Additionally, the concepts behind the game are relevant to real life and more specifically, relevant to real life right now, as solutions to the energy crisis and alternative forms of energy fill news headlines more than ever before.

Reflections on Gaming Presentations

      Although I believe our “Wheel Chair Rugby” video game was relatively simple to understand, I also think there are few aspects of the game we could have strengthened or explained more thoroughly. We could have explained exactly how multi-player would work and specific details about the multi-player option. For example, we didn't elaborate about which team each player is part of during multi-player. Would two players involved in multi-player be on the same team, working together, or opposing teams, working against each other? Specific controls about how to move, shoot, and pass also should have been included in our presentation, as they are very important aspects of the game. If we were to do another presentation on our video game, I would certainly include these factors in the new presentation. I think the strongest part of our presentation was the different game modes. They were both humorous and intriguing. I know as a video gamer I would enjoy having such a vast array of scenarios to choose from. That being said, our modes inlcude exhibition mode, career mode, dynasty mode, and also a set of bonus modes which include the moon and some of heroes' and villains' animation backgrounds from our hero/villain assignment.  

      In my opinion the goals of the game were the easiest to convey. Because the real-life wheelchair rugby goals are so easy to convey (cross a line with the volleyball in your hand), we decided to add a few new and innovative goals into the structure of the game. For example, in career mode, you start off as a beginner wheelchair rugby player. As you increase in skill, the player works his way up through the ranks of wheelchair rugby status. For example, players go from beginner player to high school player to college player to ameteur player and eventually, to professional player. Once you have played in professional player for a certain amount of years, the player has the option to retire and begin playing wheelchair rugby for fun, but with a significant amount of experience and skill.     

Reflection on Hero/Villain Assignment

      In Ryan Newell's animation, he uses movement to convey contrast between character motivation. While the skateboarder (the hero) uses parallel movements, riding smoothly through the screen from left to right, the jet pack man (the villain) moves freely and chaotically in the air, with the help of his jet pack. As the villain flies into the distance, he lands in front of a large moving building, creating overlapping movements. As the skateboarder attempts to ollie over the dog and lands on him, the viewer observes the weight of the dog as he moves across the screen. The video ends as the skateboarder performs a backflip over the jet pack man, who dies shortly thereafter. This creates tension and release as the hero prevails and the villain is destroyed.

      For Tony Hermane's animation, he and his partner create contrast between the hero and the villain utilzing color. The villain uses hues of predominantly black and grey, with a little bit of red. The black and grey are symbolic of the villain's evil qualities and his destructive motivation. The red may symbolize blood, because villains usually enjoy inflicting pain on others. This message is conveyed actively, because the viewer must interpret the meaning of the colors for this particular message to be conveyed. Conversely, the hero's hues consist of predominantly blue and yellow. These happier colors actively convey the heros positive, playful qualities and a more lighthearted motivation, which is most likely to deter the villain's motivation. There is also a contrast between the two characters using brightness; while the villain's colors are very dark, the hero's are very bright. Once again, this portrays the conflicting motivations of the characters (good vs. evil). In terms of saturation, the characters colors are about the same. However, this does not take away from the portrayal of contrast between the two characters.

      In Ashton Harrell's animation, he utilizes movement to send messages about the hero and the villain, as well as to introduce ancillary objects in the scene. The use of movement that stood out most to me occurred when a blue ball was shown on the screen. At this instance, Ashton uses obvious weight (specifically squash & stretch) as the ball's weight fluctuates, creating the appearance of squashing and stretching of the ball. At the beginning of the animation, the villain opens a door to a building and walks inside, creating overlapping movement between the hero and door. Much of the animation consists of a shootout scene between the hero and the villain. The bullets fired from their weapons move parallel to each other before they collide, portraying that the two character's motivations are in contrast. After their intense battle, the hero flies away which releases the tension that was created throughout their fight.   

This American Life

Visit http://www.thisamericanlife.org/radio-archives/episode/178/superpowers and read the First Act of This American Life.

     My Select Superpower

      If I had the opportunity to be a superhero and pick a particular superpower, I would be Captain Hindsight, with the ability to go back in time and change things that happened in the past. The creators of South Park, Trey Parker and Matt Stone, created an episode of South Park that alludes to this superhero/superpower. I feel like in the mainstream media, news pundits and experts are always talking about what we "should have done” or “could have done” after a catastrophe takes place. By having the uncanny superpower to go back in time and change aspects of certain events, we would be freed from the monotony and sheer aggravation of listening to old self-righteous douchebags like Bill O' Reilly telling the rest of the world what should have been done to prevent a crisis.

      Think about all the disasters that could be mitigated. As Captain Hindsight, I could travel to the past and ensure that the back up valve on the BP Oil Ship that destroyed the entire ecosystem of the Gulf of Mexico was functioning properly. And if the first back-up value was working, I could have created a back-up, back-up valve to ensure the safety of the Gulf's ecosystem. Think of all the organisms that could still be thriving if I had Captain Hindsight's superhuman abilities. And think of all the pollution that could have been avoided as well. Our world would be a better place with Captain Hindsight.

      I could also go back in time and make sure that the Twin Towers were actually 

made of fire-proof steel and 100% able to withstand an attack from an airplane. Think of all the families that would be spared of grief and suffering, and who would still be spending time with their family members that were lost in that tragic accident.  Think of the tension that could have been avoided between Arab and American communities, and of an entire war that could never taken place, and so on and so forth.

      I could also go back to ancient times and discover which religions have validity and which are bogus. If everyone knew the truth about religions, there would be no religious wars, or bickering over which religion is right or wrong, or whose god is better. There would be no Arab-Israeli conflict, no jihadists flying planes into buildings, no disagreement over whether or not Jesus was the Abrahamic Messiah, no suicide bombers with religious causes, no Jehova's Witnesses bothering us going door-to-door trying to convert us, no Christian evangelists telling homosexuals that “god hates fags,” etc. In the words of John Lennon, “imagine.” Imagine a world with Captain Hindsight.   

Video Jokes

Paige's Video

Hyperlink to...Ryan's Video

Written Reflection on Video Joke Assignment

      For our Video Joke assignment, we were to create two different videos with the same joke, approached in different manners. Therefore, there is both affinity and contrast between the two videos. Both video is shot with primarily medium shots as we explore limited space. The domineering character (the interviewer in the case of our joke) was shot from a low angle to make him appear larger than the interviewees, who are in a less powerful position than the interviewer. We used the rule of the thirds in both videos, making sure that the subject of interest fell into a vertical or horizontal third of the screen. We also utilized shape, as the interviewer has a more square-shaped head than the interviewers, who have more circular-shaped heads. In doing so, the interviewer is again subconsciously given a position of importance in the videos.  Lastly, in both videos the background music created a source of rhythm that acted as a driving force for the jokes.

      Although there are many similarities between the videos, other aspects of the video are in contrast of each other as well. While Ryan's video displays dialogue by showing what each character is saying on the screen, Paige's video uses absolutely no dialogue, showing only the interviewer's math equation and the interviewee's subsequent answers.  Therefore, Paige's video sends messages actively (without explicitly telling the audience what the message is) while Ryan's video sends messages didactically (explicitly showing dialogue on the screen). We enhanced the intended reception of our messages by manipulating shape, using the rule of the thirds, and, of course, acting.  Although I think both videos succeeded in getting the main point across, I believe Ryan's video was easier to understand and contained a punchline that was more humorous and relevant to Ohio University students in particular with the "Ohio University Department of Athletics" sign) 

My Animation

Audio Commentary: Modern Warfare 2

My Audio Commentary

Snapshots

Brandon Marino contrasts a black gun in the foreground with white snow in the background.

Prop colors are the strongest and most saturated to make them stand out. 

Video Response to How to be Creative

Visit http://changethis.com and read Hugh McLeod's article, How to be Creative.

My Response to How to be Creative by Hugh McLeod

Audio Commentary: Fight Club

My Audio Commentary

Snapshots

Fincher gives Tyler Durden (Brad Pitt) to represent his aggressiveness.

Fincher gives the unnamed protagonist (Edward Norton) a circular head to represent his submissiveness.

The camera follows Durden, the point of interest, as he addresses his audience.

Reimagining Visual Framing

Ben Goossens' Original Image

Ben Goossens' Reframed Image

    In Ben Goossens image, he portrays the back side of a clenched fist in a desolate area. In the middle of the fist, there is an ear that protrudes from its surface. To the right side of the fist, there is an eyeball attached to a pole. Further away, off into the distance, there is a pair of lips attached to an identical pole. There is a contrast between the shape of the lips and the shape of the eyeball. However, there is an affinity between the poles that are holding the objects. I was drawn to the original image because it is eccentric and surreal. Goossens uses an extreme wide shot for his shot type, showing a very large area within a single frame. I reframed the image to zoom in on the fist/ear because it struck me as particularly interesting. While my framed image leaves little room for space, Goossens creates space by portraying a large object in the foreground, and smaller objects in the background. By portraying an eyeball, which is also missing from my framed image, Goosens creates a virtual line that vertically and diagonally directs the viewer. Because the eyeball directs the viewers in certain directions, it creates visual movement and rhythm that guide the viewer across the picture plane. Goossens also uses actual lines to portray wrinkles on the hands and ears in his image. Because the lines direct the viewer in multiple directions, the quality he creates is a contrast within the frame; this is how the lines are perceived by the viewer. This is still shown in my framed image. However, I think Goossens framed the image the way he did because by adding the other objects, he illustrates more body parts. One interpretation is that Goosens illustrated four different body parts to represent the four senses – sight (eyes), hearing (ear), taste (lips), and touch (hands).

Song Critiques

1.) Ryan Nord's Song
2.) Paige Kelley's Song
3.) Mark Adelsberger's Song

Brainwashed

Read Seth Godin's “Brainwashed” on http://changethis.com/

Connect: Godin makes a valid point regarding social media; it's what we make it. It can be a place to solely waste time, or it can be the intermediary between us and the rest of the world. Social media offers a chance to make connections with all sorts of people, and allows us to learn from others in a way that otherwise would be impossible. If we once lived in isolation, social media lets us live in harmony, allowing our voices to be heard all across the world. More importantly, however, is having a voice that reaches people through its ability to touch or change them. The people with a voice that's heard, consequently, gain influence, authority, and power.

Acknowledge the lizard: Godin makes another valid point regarding “the lizard brain” or the part of the brain that worries about safety and expresses anger. The lizard brain is sensitize and shuts down our creative capacities when it is laughed at. This shut own is referred to as “the resistance,” because it forces us to be complacent, like, for instance, when a teacher gives a student a set of directions and he or she follows them. Artists, however, have overcome the resistance, realizing that it obstructs their creativity and subsequently, their work. The only way to overcome the resistance is to acknowledge it. Only once we have acknowledged the lizard brain can we learn to ignore it.

Both of these layers of reinventing oneself are connected to the blog I am creating this quarter. Firstly, I am “connecting” with others through my blog, which acts as an intermediary between me and the rest of the world. Secondly, my blog is helping my ignore my “lizard brain,” because even though I may be ridiculed for my blog, posting helps me acknowledge the resistance and the consequent restraints it puts on my creative abilities. These exercises make me a better artist and student for the very reasons described above. For example, making connections—and a lot of them—is indispensable in a media-related environment. My blog facilitates “schzmoozing” and making new connections from all over the world. Additionally, media students must be in touch with their creative sides and not be afraid of trial and error. Acknowledging your “lizard brain,” and overcoming “the resistance” are the first and second steps toward solidifying your creative potential.

Soundscape Critiques

Below are my soundscape critiques.

1.) Chad Petrie's Soundscape
2.) Maddie Wolf's Soundscape
3.) Alex Scott's Soundscape (unavailable)

Cover Songs

Robert Johnson's Original Version, "Crossroads"

Eric Clapton and Cream's Cover Version, "Crossroads"

       For my exploration of cover songs, I chose an old blues song song titled “Crossroads.” It was originally composed by Robert Johnson, a famous blues artist of the 1930s. About three decades later, in the late '60s, Eric Clapton and his band, Cream, covered the song. There are many similarities and differences between the two versions. One of the first major differences that I noticed after listening to both was the difference in intensity. Whereas Johnson's version of the the song is soft in intensity, Clapton increases the decibel of the sound in his, making it rather high in intensity. Subsequently, Clapton's more rock-centered version sounds “harder” than Johnson's folk-centered original. Another obvious distinction between the two versions that I noticed after listening to each is their timbre. Johnson's version of “Crossroads” is very pure and tonal, using only an electric-acoustic guitar and his vocals. Conversely, Clapton's version is much more noisy, using two electric guitars, a bass guitar, full drum set, keyboard, various horned instruments, harmonica, and vocals. Subsequently, the overlapping and intermingling frequencies create a more complex sound and a rich personality lacking in Johnson's original version. Additionally, the tempo, or speed, in Clapton's version is much faster than Johnson's. This again adds to the rock orientation of Clapton's cover version.

      Differences aside, the two versions do share some similarities. For example, the lyrics and melody are the same. The rhythm in both versions is organized, and the shapes are both characterized by an attack (onset, growth), body (steady-state, duration), and decay (fall-off, termination). Most songs contain a message embedded within its lyrics. “Crossroads” is no exception, as it both didactically and actively conveys a message. While Johnson explicitly informs the listener that he “went to the crossroads” and “fell down on [his] knees,” he also implies that by going to the crossroads, he made a deal with the devil. Therefore, Johnson didactically conveys the message to the listener that he went to the crossroads and fell down to his knees, however he actively conveys the message that by doing so, he sold his soul to the devil. Although this isn't explicitly stated in the song's lyrics, the “crossroads” in folklore and mythology represent a juncture where one can sell his/her soul to the devil in return for something. In Johnson's case, he was most likely referring to the exchange of his soul for his uncanny ability to play guitar. Although I highly respect both musicians and their respective versions of the song, I personally like Clapton's version more. I take this stance for a variety of reasons. Firstly, despite his unprecedented musical talents, Johnson's version is lacking a driving force that moves the song forward and keeps the audience engaged. Clapton's version, on the other hand, effectively incorporates quick sixteenth notes on the hi-hat and catchy drum fills that act as a driving force and fill the void for audience engagement missing from Johnson's version. Whereas Johnson's version is limited in instrumentation, using only an electric-acoustic guitar, Clapton's version is unbounded and embellished by instruments of all shapes and sizes. For example, Clapton's cover version makes use of two electric guitars (both lead and rhythm), bass guitar, full drum set, keyboard, harmonica, and various horned instruments – all played in perfect unison. In addition, Clapton adds catchy guitar solos to his version, adding a touch of rock n' roll to Johnson's more folky version. The end result is a rich, diverse, and complex cover that adds dynamic and personality to Johnson's original “Crossroads.”

MDIA 203 Songs

Will and Cam's Soundscape

My Creative Influences

       It seems a little pretentious explaining what kind of creative person I am, but I'll give it a shot. I believe I have a knack for music and the ability to recognize the musical elements in a song. Therefore, I consider drums my outlet for creativity. Nowadays, with enhanced digital audio technology, producing your own music has been easier than ever. For example, drum machines, synthesizers, and digital audio workstations create endless possibilities for anyone with a little bit of musical experience.

      I have a wide array of creative influences. Although I admire the works of talented disc jockeys like Paul Van Dyk, Deadmau5, and Daft Punk, who use electronic instruments, my true influences are musicians who use both organic and electronic instruments. Examples of these artists/bands include Radiohead, Massive Attack, and Sound Tribe Sector 9 (STS9).

      Below are three links to works that have influenced me and a description of the effect they have on me and others:

      For my first example, I chose the trailer for a film called “No Country For Old Men,” directed and written by Ethan and Joel Coen. The trailer begins with simple percussion shakers for background music, accompanied by still, long shots of various landscapes in rural Texas. Consequently, this creates an affinity between the music, as heard through basic shakers played at quarter notes, and the visuals, as seen through still, long shots of a desolate, barren Texas. The Coen brother's method of creating an affinity between the music and visuals undoubtedly influences me as a filmmaker. As we learned in class, music is vital to how well an audience receives a certain message. Therefore, the ability to effectively syncopate appropriate audio with video is an indispensable skill for a filmmaker. After quickly showing the exterior of a Texaco gas station, the trailer moves to a scene inside the gas station. One of the film's main characters, Anton Chiguhr, and the man at the cash register are engaged in a nerve-racking conversation, creating tension. Building tension is also paramount to any film. Without building tension, the filmmaker takes the risk of creating a boring and unexciting film. Therefore, I also embody tension in all of my works. Initially appearing frenzied and maniacal, Anton flips a coin and asks the the man about the most he has ever lost in a coin toss. The trailer quickly jumps to a moving shot of two men, with guns in their hands, dead on the ground next to their car. An ominous synth accompanies the shot in the background. Anton's initial portrayal – a deranged and vicious man proposing an erratic question to a harmless gas station employee – immediately followed by the brutal sight of two men with guns dead on the ground, actively sends the viewer the message that Anton is a psychopathic killer. The Coen brothers method of sending active messages throughout the trailer also influences me as a filmmaker. Forcing your audience to decipher a hidden message without didactically informing them is an effective way to engage viewers. The pleasure of recognition once that person acknowledges a certain message creates a new dynamic for a film. Accordingly, I try incorporate active messages in all of my works.

      For my second example, I chose a live performance of one of my favorite bands, Sound Tribe Sector 9 (STS9).  STS9 utilizes both electronic and organic instruments, creating an unprecedented, boundary-pushing, hybrid genre of music. In this video, they perform “EHM,” a high-energy, dark song filled with deep, bass-infused synths, fast-paced percussion, and heavy crash cymbals. The result is a rather eerie sound, suitable for the name “EHM,” which is the abbreviation for an “economic hit-man.” An economic hit-man is a highly-paid individual who illegally cheats poor countries out of trillions of dollars. Although any listener would agree that the song is dark, the fact that it represents something deeper – a shrewd character known as an economic hit-man – creates subtext. The chilling actions of an economic hit-man serve as the underlying message behind the dark song. As a musician, I understand the importance of embedding a meaning within your music. Creating subtext allows for listeners to identify with your music, strengthening the bond between musicians and fans. Similarly, STS9 also actively sends a message in “EHM.” Because they are an instrumental band, conveying a message didactically through lyrics is not an option. Accordingly, STS9 finds alternative methods to incorporate messages in their songs through their use of dark synths, heavy percussion, mysterious samples, and fast-paced melodies. Similarly to creating subtext, embedding an underlying message in music creates a new dynamic that is enigmatic for listeners. Therefore, I try to embody active messages in all of my work. Lastly, an affinity is created between the dark music and the dark lighting. This is conducive to effectively sending a message about economic hit-men. Although I have never synced my music with lights, STS9 has helped me understand the importance of appropriate lighting with audio.

      My third example is the introduction to one of my favorite skateboarding videos, titled “Fully Flared,” and directed by Spike Jonze. The video begins with a slow, ponderous song by M83, titled “Lower Your Eyelids to Die with the Sun,” synced to skateboarders riding in slow-motion. The slow-motion skateboarding and heavy, ponderous M83 song create an affinity between audio and visual. Since I have produced skateboarding videos in the past, I can easily observe many comparisons between my work and Jonze's. Like all other movies, music plays a paramount role in skateboarding films. Used effectively, music should complement the style of the skateboarder. Spike Jonze does an excellent job of choosing a song that properly matches the style of each skateboarder in his work. Jonze also utilizes tension and release at the beginning of the intro. After the first skateboarder, Eric Koston, lands a trick down a set of stairs, he rides away and apparently is about to hit a concrete wall.  Tension builds as the viewer questions what Koston will do when he reaches the wall. The music picks up with a loud drum fill and synth as Koston breaks through the wall, sending small pieces of the structure everywhere. Dust fills the screen as Koston successfully rides away from the explosion, releasing the tension that was built as he approached the wall. Jonze has influenced me to incorporate tension and release in these types of films by creating a story to go along with the skateboarding. This keeps the audience engaged and interested in your film. Lastly, there is a sharp contrast between the peaceful M83 song and the violent explosions that the skateboarders ride through. Although affinity is important in film, it is also appropriate to create contrast in your works to surprise viewers. For example, the first time I viewed this piece of work, the last thing I expected was a vicious explosion when Koston reached the wall. As a result, I was pleasantly surprised and eager to see what happened next. Therefore, I try to use contrast in the way that Jonze does in his work.

14 Ways to Get Breakthrough Ideas

Visit http://changethis.com/ and read Mitch Ditkoff's “14 Ways to Get Breakthrough Ideas”

      In “14 Ways to Get Breakthrough Ideas,” Mitch Ditkoff discusses the importance of innovation and 14 methods to generate breakthrough ideas. He begins by explaining the importance of innovation in today's day and age. Because of the aggressive nature of the media industry, it is crucial to possess qualities that sets you apart from everyone else, or a “competitive edge,” as Ditkoff would call it. Accordingly, Ditkoff provides the reader with the following guidelines for arriving at breakthrough ideas: Follow your fascination, immerse, tolerate ambiguity, make new connections, fantasize, define the right challenge, listen to your subconscious, define the right challenge, take a break, notice and challenge existing patterns and trends, hang out with diverse groups of people, brainstorm, look for happy accidents, use creative thinking techniques, and suspend logic. I believe all of these techniques are “good suggestions” for generating ideas.
      For example, I believe Ditkoff's first suggestion, “follow your fascination,” might be the most important. Passion sometimes drives people to commit irrational acts – such as planting a pipe bomb in a Planned Parenthood building or shooting a Senator for her political ideologies, but conversely, passion drives people to materialize their greatest ideas. For example, we wouldn't have access to seemingly endless information about our complex universe without the passion of scientists at NASA. We wouldn't have the opportunity to view magnificent structures like the Roman Collessum, the Great Wall of China, and the Statue of Liberty without passionate architects who made blueprints of their ideas and spent years materializing their plans. I chose to enter the School of Media Arts & Studies because I have a passion for, and a fascination with music and film. By following this fascination, I hope to enter a line of work that will provide a career that I love. If you love your job, you never have to work a day in your life.
      Hanging out with diverse groups of people, according to Ditkoff, is also an effective method to conjure up breakthrough ideas – and I couldn't agree more. My professors and teaching assistants in the School of Media Arts & Studies have stressed this guideline with particular importance. Although breakthrough ideas sometimes happen alone, teamwork amongst different groups of people is conducive to innovative and unprecedented ideas. This is because teamwork amongst diverse groups creates a synergistic effect, in which the working together of two or more people or groups produces an effect greater than the sum of their individual effects. For example, diverse countries from all around the world joined together to create the United Nations Organization with the common goal of achieving world peace. Similarly, people of many different ethnicities moved to America, sometimes called “the Melting Pot,” to create multiculturalism and a blending of ideas, values, practices, and traditions that doesn't exist anywhere else on the planet. After entering the School of Media Arts & Studies, I understood how important this guideline was to my creative life. Accordingly, I have been seeking out diverse groups of people in my classes, becoming acquainted with them, and working with them on group projects. So far this method has been very effective in improving my creativity.
      Although on the surface it might not seem as important as the other guidelines, deeper analysis reveals the importance of “taking a break” when generating new ideas. When working on a project, frustration can have devastating effects. For example, you might lose interest in a project and decide to stop working on it altogether. Or you might perform at less than your best when working while agitated. The solution to these problems is simple – take a break. Spend a day or two working a different project, and come back to your initial project ready to take on the world. This guideline has been specifically important in my life because working on digital audio workstations such as Apple's Logic Pro and Ableton Live can be very tedious, confusing, and nerve-racking. Consequently, I have discovered that taking a break from a project, rather than taking my anger out of my laptop or MIDI pad, has myriad benefits. After a break, I come back to my equipment with a positive attitude and a willingness to spend the necessary amount of time on a project.
      In conclusion, I believe all of Ditkoff's guidelines are “good suggestions.” After reading the 14 guidelines, I will keep them in mind at all times and apply them to my creative life whenever possible.
      I chose the activity prompt from Ditkoff's first guideline, “follow your fascination,” for the final part of this blog. The prompt asks, “What new idea is fascinating you? What new possibility has captured your attention? In what ways can you honor this inspiration today?” The new idea that is fascinating me is starting a band with both electronic and organic instruments. The possibility of actually starting this band has captured my attention. I have the necessary equipment and potential band members ready to give it a shot. I can honor this inspiration today by asking all of the potential band members to meet up and brainstorm for ideas.

Finding Your Howl

Visit http://changethis.com/ - read Jonathon Flaum's "Finding Your Howl"

Greetings, Bloggers!

Today I fell into a black hole and entered a new dimension.  I am now at one with the blogging world.  Greetings! My name is Will Crowther, and I come form Planet Earth.