Holistic Perspective

by on September 8, 2012
in book, design, life

An Excerpt taken from, The Value of The Infinite

Great so let’s say you have a vision. Consider yourself one of the lucky ones. Or even better, perhaps you’ve recognized you have a vision gap, and are considering manifesting a vision for your project. How is a vision leveraged?

Holistic perspective, is big picture thinking. It’s a right brained activity. It’s the act of taking a step back from the painting to evaluate the gestalt of the work. A good vision consists of the following ingredients:

   ▪ A single specific, quantifiable, difficult to achieve goal
   ▪ No more than two secondary goals that are also specific, quantifiable, and challenging
   ▪ Clear milestones with dates, including:
      ▫ Clear exit criteria for the current milestone
      ▫ Clear entrance criteria for the next milestone
   ▪ A concept to help the team visualize the vision
   ▪ A regular process to check-in, view progress holistically relative to the vision, and ratify (only if absolutely necessary)
   ▪ A communication / messaging plan for the vision
   ▪ Agreement and commitment from the team on the vision

While I have had the honor of learning from some of the best and the brightest in the industry, in working with vision, the item that has been lacking, has been “A regular process to check-in, view progress holistically relative to the vision, and ratify (only if absolutely necessary).” This is important, because in the world of technology today, things change so rapidly that there needs to be a release valve to adjust the plan but only if absolutely necessary. There also need to be a regular review, where teams “take-a-step-back” from their day to day deliverables and check-ins to measure progress relative to the concept. This will reinvigorate, empower, and motivate the group. By instrumenting this holistic perspective into the team, and making the review of progress, relative to a clearly articulated concept builds the muscle of holistic thinking into teams. It makes agreements on priorities, dates, commitments, easier. It helps everyone communicate consistently internally and externally, and has amazing impact on morale, and camaraderie.

So the action you can take is to kick-start the discussion to get a vision articulated. And assuming you’re a creative, start building your concept car.

The Power and Importance of Vision

by on September 7, 2012
in book, design, life

An Excerpt taken from, The Value of The Infinite

“All art is the imagination of love” – W.J. Turner

To get to your destination you need three things:
1. A map – to guide you through your journey end-to-end
2. Headlights – to see/predict far enough in advance that you don’t run into something when it gets dark
3. Most importantly, a destination.

Your vision of where you are going is your ultimate destination. it’s not where you are now, but where you see yourself arriving. It’s your ultimate goal, your north star. It’s the thing that keeps you going, when the going gets tough, and with any project worth a damn – it will get tough. It’s also a tool that can be leveraged to elucidate goals/milestones/checkpoints, help manage internal team and external team/partnership agreements, as well as influence project priorities. Without a vision it’s quite simple, you don’t know where you or your project is going. More importantly without knowing where you are headed, how do you know what to do next? Do you turn right, or left?

Carrying the above metaphor through it is very clear how important a vision is. The more specific, tangible, and detailed you can be about where you are headed the better your chances of arriving. In my experiences working within large corporations, and even smaller companies, and startups, this has been one of the most common leadership errors in execution. A lack of a clear vision (or disagreement about a ‘common vision’ but more on this later) for the project and team to rally behind. This is simply a plan without a destination. Without an agreed upon destination your project will just become a series of day-to-day myopic events and deliverables, without an understanding of how the pieces fit together.

Also most importantly, without a vision there is no definition for success and/or failure, which is why I think they are so hard to come by. Folks with high seats in large companies have a vested interest in keeping them, a vision from leadership means accountability to metrics, and results.

Take a minute within your own project or task at hand and ask yourself the following questions:
▪ Why are you doing what you are doing?
▪ What is the most important thing with regard to your project?
▪ Is it clear how the piece you are working on fits into the larger system?
▪ Is the system clearly articulated end-to-end?
▪ What is the priority of what you are doing, relative to the contributions of others?
▪ What is the priority of what you are doing relative to what you could be doing?
▪ Based upon when you started, and how long it’s taken you to get where you are, when will you really arrive?
▪ Do you know if the actual arrival is acceptable?
▪ What do you tell other people, stakeholders, teams is most important about what you are doing?
▪ Do other members of your team, tell other people, stakeholders, and teams the same thing?
▪ Do you and members of your team agree on what’s most important?
▪ When you disagree with members on your team, how do you find common ground?
▪ Once you arrive with what you are currently working on, is it clear what is next?

These questions (among others) serve to clarify whether or not you have a clear agreed upon vision for your project.

So what can you do? Well gather the troops, identify all the important stakeholders, and go through the questions above. Once you’ve got answers to each of them you should be well on your way.

Specifically I like the idea of the concept car. A concept car is typically a radical (typically non-functional) prototype of an automobile to showcase a vision or a direction for the future. They are often used to spark debate, conversation about the future, and monitor public response relative to future investments. They are a vision! General Motors designer Harley Earl is generally credited with inventing the idea as far back as the 1950’s. If GM could do this sixty years ago with analog technology, we’re certainly far more capable of radicalizing vision today. I like concept cars because they are generally non-functional.

They’re simply a very specific, detailed, concrete idea. They force what I call the rubber-band effect, where they stretch organizations and teams to think differently about technological investments, and stretch themselves to innovate to meet or exceed the concept. In my experience within the world of technology, a good vision is about three years beyond what a team is capable of today. While this can be uncomfortable (more on coping with change later…) to introduce to an organization or team, good leadership will recognize the inherent value in such investments, and support such efforts. Without stretching themselves, teams tend to stagnate, falling into predictable patterns exercising the same muscles they already have, rather than training to strengthen and challenge themselves. A concept is an ultimate vision, because it challenges teams to grow.

The Infinite – Introduction

by on September 7, 2012
in book, design, life

Introduction

There are generally two categories of design problems that need solving. Those that do not have an existing solution, and those that have an existing solution, but are in need of a better solution. This segment of the book focus on solving problems that may already have solutions, but are in need of improvement. This is the wheelhouse of innovation, and occasionally of invention. If you’re looking for the raw nuts and bolts, or the “how-to” guide to design, start with the other half. Do please come back and read this half as well.

I will preface by stating that the intention of this segment, “The Infinite” is to focus on the pure infinite joy of creativity. The true inner spirit where creative ideas manifest, the physiological responses of gut-feeling and instinct, acceptance of deterministic decision making, and the absolution of problem solving. As for any finite problem there are next to Infinite solutions. The trick is identifying the right solution.

Henceforth, quite organically this segment of the book will move forward organically, may feel unorganized, will run on at times, may get temperamental even emotional, will most certainly wax philosophical, and even touch upon spiritual themes. After all it is the inner creative joyful spirit within us that put me on the path to writing this book, and you on the creative path which ultimately lead to reading this book. It is a privilege to have you. I promise I won’t waste your time.

I remember being a kid alive with an infinite imagination. All of the wondrous unknown possibilities spread out before me like the raw wake of the ocean. It’s vast energy unfathomable, intimidating, incredibly powerful, unknowable in volume, capacity, depth, and darkness. If you’ve ever stood on the shore, staring out at the ocean crashing down before you, then trickling up the shore, wetting your toes sinking into the sand, then you know this intimacy. I also recall camping as a kid, pretending to be asleep, and then getting up in the middle of the night, simply to marvel for hours at the millions of stars overhead. Sometimes my parents would wake up, and stare with me, and remember.

It has been my lifetime experiences that have led me to the belief that this raw infinite nature surrounds us always. This river of energy flowing through us is unending. We are it. It is us. It is within us. We are of it. To truly harness the full capabilities and capacity of the infinite nature of creation and destruction, we must get in touch with this way of experiencing and perceiving. For those who have long forgotten the incredible miracle of a fallen leaf, or snowflake, remember that these things were created, albeit abstracted just enough that we don’t perceive their creation. Fortunately we have the power to witness and manifest our own creations, all from the same infinite source.

For many, creativity is a process of remembering, reawakening, and reconnecting with these sorts of experiences, the pure joy we felt as a child wondering at the marvels of the universe.

For some this may be scary. We’re all conditioned (especially in western cultures) to not ask “the big questions”, and instead to focus, perform in school, perform in sports, to please authority figures (parents, teachers, older siblings, the boss…), and ultimately to specialize in a skill, following-the-pack, to earn a living, to survive. From this root perspective, reconnecting with “creativity” may even trigger an ego response of, flight, fight, or freeze. Check-in with yourself, if reading about gazing at the ocean, or staring at the stars, made you feel scared, angry, or trepidatious, this may be an uncomfortable read for you. Nonetheless, I will ask you to persevere, at the risk that you may gain insight into perspectives that are within you, just long forgotten. For others this may be more an exercise in simply turning down the volume of our noisy neighbor; the linear, logical, evaluative, judging, critic of the left half of our brain, or most likely it’s some fuzzy combination of all of the above.

Nevertheless, the first goal is to open up, to reestablish a connection with the infinite creative nature within us. The more we are able to tap this river within ourselves, adapt this perspective, harness is, and direct it with intention, the greater the magnitude and potential for our creations.

It is from here that we begin, welcome to the Infinite.

-Kynan Antos

The Finite & The Infinite – Outline

by on September 7, 2012
in book, design, life

THE FINITE & THE INFINITE – The Cycle of Manifestation
To navigate the unruly waters of the world –we must connect our finite horizon with the infinite stars.

THE FINITE – “People love chopping wood. In this activity one immediately sees results.” – Albert Einstein
1. Introduction

2. The value of the FINITE
▪ Managing the big constraints, time, scope, and quality
▪ Reductive reasoning, and focus
▪ Depth of thinking vs. breadth of understanding
▪ Designing to design
▪ Importance of feasibility

3. The FINITE within the cycle of manifestation

4. Applying the FINITE principles
▪ Agree on problems first, then solutions
▪ Define clear principles
▪ Codify concise goals
▪ Time box
▪ Disciplined action
   ▫ Maintain focus
   ▫ No new ideas
   ▫ Execute
   ▫ Measure progress

5. Translating to the INFINITE
▪ Communicating FINITE principles
▪ Predictability and managing expectations
▪ What may be getting lost in the signal

6. FINITE methods and tools
▪ Stakeholder evaluation, roles, and responsibilities
▪ Estimating work, and communicating costs
▪ Time boxing
▪ Rapid interface prototyping (RIP)
▪ Status communication

THE CYCLE OF MANIFESTATION – “Life is like riding a bicycle. To keep your balance you must keep moving” – Albert Einstein
1. Overview
▪ Energy exchange and design
▪ Everyone is a designer
▪ Momentum

2. The manifestation principles of destruction
▪ The core reductive methods of destruction, the underlying phycology, and perspectives for deliberation

3. The manifestation principles of creation
▪ The core additive methods of creation, the underlying phycology, and perspectives for deliberation

4. Wielding the principles with intention, mindfulness, and compassion
▪ Transference
▪ Synergy
▪ Communication
   ▫ Self awareness of ego, mind, and nature energies
   ▫ Establishing credibility
   ▫ Building trust
   ▫ Agreement without consensus
   ▫ Knowing when to yield, and when to press
   ▫ Translating and understanding others

THE INFINITE – “We can’t solve problems by using the same kind of thinking we used when we created them.” – Albert Einstein
1. Introduction

2. The value of the INFINITE
▪ The power and importance of vision
▪ Holistic perspective, architectural application, and systems thinking
▪ Being supportive and disruptive with intention
▪ Innovation vs. invention
▪ The value of failure
▪ Don’t get lost

3. The INFINITE within the cycle of manifestation
▪ Identify, understand, and capitalize on existing solutions
▪ Challenge and extend convention
▪ Explore, pioneer, and educate

4. Applying the INFINITE principles
▪ Courage and conviction
▪ Expansive ideation
▪ Let go of attachment to an outcome
▪ You’re only as great as the last great thing you did
▪ Decision making

5. Translating to the FINITE
▪ Meeting resistance with patience, and perseverance
▪ Mitigating fear of ambiguity
▪ Expect to be misunderstood
▪ The power of precedent
▪ Judgment and criticism are prerequisite

6. INFINITE methods and tools
▪ John Kotter’s Change Model
▪ Brainstorming
▪ Affinity mapping
▪ Pattern recognition
▪ Opposite thinking
▪ Iteration and feedback spiral

META
1. About the author
2. Dedication

The Finite & The Infinite – Preface

by on September 6, 2012
in book, design, life

WHY SHOULD YOU READ THIS BOOK
I’ve been creating things ever since I was old enough to hold crayon to wall. From building a Batman Utility belt and Dick Tracy prototype radio watch out of film canisters, Legos, Pez dispensers, electricians tape, enamel paint, and Sharpie markers, to playing role-playing games, painting and modifying miniatures, to illustrating my own comics, many late nights at Kinkos’ with X-Acto knives and glue sticks making Zines, to self publishing a book of poetry and performing spoken word, to desktop publishing, always, always drawing, painting, filmmaking, playing music, and eventually designing websites, interactive web applications, Win32 software, and mobile user interface, I have been “creating things” as long as I can remember. And now that I’m done trying to build credibility with you the reader… I’ll be straight with you right from the beginning.

This is a book of advice. It’s a summary of all of the things I’ve learned over the past fifteen years designing things professionally. It’s a manifesto of what has worked for me. A treatise of what hasn’t. It’s everything no one will teach you in school, and it’s even more so a dissertation of all of the difficult, uncomfortable, philosophical, and esoteric topics that actually matter while living the life of a creative person. This is my honest attempt to spill all the details and lessons of the creative life that you won’t learn in the world of academia, and are hard earned in the world of business. This book aims to tell the truth.

WHO IS THIS BOOK FOR
This book is for the generations of creators which precede us and those to come. If you are creative, have an aptitude for tinkering, creating things out of ideas, or posses that internal tick to see opportunity all around you, or if you simply hope to leave the world a better place than the way you found it; then this book is for you.

A BIT ABOUT THE AUTHOR
My name is Kynan. I have to spell it for most people, and It’s hard to pronounce correctly. When I was a kid in school I was lost. There wasn’t a place for people like me. I struggled. I made appearances in the wood and metal shop, hung out in the back of the art studio, hid out in the photo lab darkroom, and did my best to stay out of trouble, but I couldn’t shake the feeling of never feeling like I fit in. From a very early age I knew I wasn’t like other people, and I never felt like I belonged. I know there are more of you out there. I’m writing this book to let you know that you’re not alone, and that maybe by sharing some of my own experiences, I can help you find your muse, and recognize that there are lots of us out there, making a damn fine living.

Fortunately I had a very creative, spiritual, supportive, inspiring mother, a patient guiding, motivating, and inspiring father, and an older bother who helped me find my way.

Hopefully there is something of value in here somewhere for you, and if nothing else, pass it along to someone you know who might benefit.

For now that is all. Onward and upward.
-Kynan Antos

You’re only as great as the last great thing you did…

by on October 30, 2009
in design

Elizabeth Gilbert muses on the impossible things we expect from artists and geniuses, and shares the radical idea that, instead of the rare person “being” a genius, all of us “have” a genius. It’s a funny, personal and surprisingly moving talk. —TED

This is most certainly something i’m sure many creatives can relate to as either artists or designers. It’s amazing how the first question I’m always asked at an art opening is, ‘so what are you working on next.’ It sure would be a different dialogue if more people enguaged in the arts, truly understood the highs and lows of the creative process, and the amazing amount of courage and conviction it takes to put your work ‘out there.’

SPEEDWORK (Process + Scale)

by on August 8, 2009
in art

Some photos illustrating the process employed in putting this show together. There are also some shots from the studio, the gallery, and zeitgeist which clearly elucidate the scale of this work.

SKINDEEP

by on August 8, 2009
in art

’SkinDeep,’ a series of portraits from 2000 – 2001.

A comparison of personal surfaces and internal structures. The completeness of form paired with its physical plot or delineation. This body of work has come to light through internal, development, study, research and vision to finally assemble into its complete form. In the beginning, creating this set of work, it was specifically this completeness that I wanted to convey, the meaning and the form together, but delivered separately.

The first half of the work utilizes flat two-dimensional shapes and vibrant solid colors to emphasize negative and positive space. This technique is employed to maintain interest in the work as an abstraction up-close and as a whole at a distance. It also serves to communicate the idea of these individual elements combining to create a unified whole.

The second half is constructed of partner pieces built upon a ‘Proposed Land Use Action Signage’ using mixed media, and enamel. The departure in media from the first half of the work emphasizes depth, scale, and is looking for meaning beneath the surface. The use of line is utilized to plot the landscape for an internal message communicated by comparing the titles of each counterpart work. Thus tying in the metaphor, “the idea of the face as a map.”

SPEEDWORK

by on August 7, 2009
in art

It is the purpose of SpeedWork to expose the impermanent extreme metabolic rate and desperate existence of the hummingbird, as a powerful symbol in today’s modern world.

Recognizing that we as society are increasingly more reliant on technology, pharmaceuticals, and convenience, to “be more efficient,” or “accomplish more with less.”

The Hummingbird:

  • Beats it wings 80 times per second
  • Flies at speeds up to 60mph
  • Proportionally has the largest heart of any animal
  • Has the second fastest heart rate of any animal 500 bmp (at rest) and 1,260 bmp (when fully active)

In an attempt to embody this delicate balance between fragility and kinetics, I developed these non-archival paintings quickly on oversize acid-free paper with oil paint.

While non-archival as this methodology may be, the paintings will easily last a lifetime or more if cared for properly and in keeping with my artist statement, “the materials with which the work is created must be subservient to it’s overall meaning and purpose.”

KNITWEAR

by on December 22, 2008
in art

Knitwear was a series of exceptionally flat acrylic paintings inspired by early sixties styling found in knitting magazines I picked up while thrifting in Idaho. The show was hosted in 2001 by the Zeitgeist Café.

The intent of the work was to deeply explore color and the language of flat minimalist design within painting.