Getting things done

gtdGetting things done (GTD) is a productivity system that is been around for 10 years or so. It’s a book by David Allen, and it’s a time management methodology often referred to as GTD. I’ve had bad experiences reading self-help books because by the time you finished it you’ve missed most of the important stuff. I’m a little bit of a geek, but not enough to spend several days reading a book about something that I’m trying to become more efficient at. I remember when my girlfriend was totally into transcendental meditation, and it was run by a guru that was charging $600 and $700 to participate. We argued when I tried to ask her to explain it to me. She wasn’t about to. But I found an explanation of it intended to be quite useful without becoming part of the guru’s entourage. So in the same way I think becoming intelligent about time management and productivity is an amazing skill, but I don’t want to read this book. Here are the essentials of getting things done:

Getting Things Done (GTD) productivity system.

1. The first principle in that system is that you should be able to add—or capture, in GTD-speak—new to-do items whenever and wherever they occur to you.

2. Processing (the next step in the GTD system). That means categorizing it by context (the tool you need or the place you need to accomplish it), assigning it to a larger project (or not), and setting other details such as its due date and repeat
status. (I use text expander to put things like 2d for “due in two days”, etc.)

3. With that initial processing done, you move to the third stage of
the GTD process: reviewing your task list to check off what’s been done and
determine what’s next.

4. view your task list two ways.
In Planning mode, you can look at all the tasks that make up your larger projects, move things around, see what’s missing, and fill in the gaps.
(make a separate “single-action list” for tasks that don’t fit into a specific project.)
In Context mode, you can see all your tasks by context, so it’s easy to see at a single glance all the things you need to do while you’re on the phone, browsing the Web, or out running errands.

The more you buy into the whole GTD process,the more useful this will be. But even if you haven’t joined the Cult of David Allen, it’s still a powerful way to help you get things done.

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Steve Wozniak quote on creativity

 

jobs-and-wozniak

“Most inventors and engineers I’ve met are like me — they’re shy and they live in their heads. They’re almost like artists. In fact, the very best of them are artists. And artists work best alone — best outside of corporate environments, best where they can control an invention’s design without a lot of other people designing it for marketing or some other committee. I don’t believe anything really revolutionary has ever been invented by committee… I’m going to give you some advice that might be hard to take. That advice is: Work alone… Not on a committee. Not on a team.”

This, of course, should be ingested with caution — when taken out of context, it could easily become a distorted extreme. As Steven Johnson argues in Where Good Ideas Come From, innovation happens when ideas collide with one another, which can’t happen in isolation — an environment conducive to such collisions is essential for combinatorial creativity. But at the heart of Woz’s insight seems to be a prompt to silence groupthink and bake just enough quiet time into the creative process for the ideas that we’ve acquired through our interactions with the world and other people to collide and fuse together into something new, something “really revolutionary.” At least that’s how I’d like to interpret it.

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Hemingway Speech to accept the Nobel Prize in literature 1954

Hemingway

He speaks about creativity, and loneliness. I’m not sure why, but I don’t suffer from loneliness. But maybe I don’t work as hard, either…….

Having no facility for speech-making and no command of oratory nor any domination of rhetoric, I wish to thank the administrators of the generosity of Alfred Nobel for this Prize.

No writer who knows the great writers who did not receive the Prize can accept it other than with humility. There is no need to list these writers. Everyone here may make his own list according to his knowledge and his conscience.

It would be impossible for me to ask the Ambassador of my country to read a speech in which a writer said all of the things which are in his heart. Things may not be immediately discernible in what a man writes, and in this sometimes he is fortunate; but eventually they are quite clear and by these and the degree of alchemy that he possesses he will endure or be forgotten.

Writing, at its best, is a lonely life. Organizations for writers palliate the writer’s loneliness but I doubt if they improve his writing. He grows in public stature as he sheds his loneliness and often his work deteriorates. For he does his work alone and if he is a good enough writer he must face eternity, or the lack of it, each day.

For a true writer each book should be a new beginning where he tries again for something that is beyond attainment. He should always try for something that has never been done or that others have tried and failed. Then sometimes, with great luck, he will succeed.

How simple the writing of literature would be if it were only necessary to write in another way what has been well written. It is because we have had such great writers in the past that a writer is driven far out past where he can go, out to where no one can help him.

I have spoken too long for a writer. A writer should write what he has to say and not speak it. Again I thank you.

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04.16.13 Premiere Performance: Hehmsoth’s “Three Shades of Blue”

Kandinsky Premiere

04.16.13 Premiere Performance: Hehmsoth’s “Three Shades of Blue” composition was commissioned by the Kandinsky Trio and is written specifically for the Common Experience theme for 2012-2013: “A Global Odyssey: Exploring Our Connections to the Changing World.” The Kandinsky Trio is celebrating one of the longest and most successful ensemble collaborations in the U.S. with over a thousand concerts of chamber music in the U.S., Europe, and Canada.

Program notes: Hank’s newest work “Three Shades of Blue” 2013: Hank writes,

This pieces is all about threes. It’s in ¾ meter, it’s written for the Kandinsky Trio, and there are three improvisational areas, three sections, and generally three main ideas developed. It begins in a contemporary art music style, which serves as an introduction to a theme that includes jazz improvisation among all three players. When the opening idea returns, it morphs into a new conclusion.”

I will upload a couple of performances onto YouTube soon.

 

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Michael Brecker – Developing Your Own Sound

Michael BreckerMichael Brecker – Developing Your Own Sound

(from an interview before his death)

I’ve always said go back and listen to the amazing, listen to the great players. Go back and listen to the great masters. Again, Coltrane, Sonny Rollins, Sonny Stitt, on and on, Joe Henderson, Charlie Parker, Stanley Turrentine, Dexter Gordon, Prez, Wardell Gray, Don Bias, I’m leaving out so many. Go back and listen to them. As well as listen to the younger players today. Learn whatever you can. I’m a believer in transcribing things. Maybe not whole solos. But If you don’t know what something is harmonically, it’s wise to go in and listen carefully and try to sing it or write it out and figure out what it is so you know. I generally think if somebody plays enough, that your own personality is going to come through. If you are really trying to approach music creatively it’s very important to learn from the whole history and heritage of the instrument. And other instruments. But then approach it creatively. And it just takes care of itself. As far as the saxophone, we are all constructed differently. Nobody ever sounds exactly like anybody else. Just tone-wise it’s a remarkable instrument on that level because nobody ever sounds exactly like anyone else. You can hear influences. Obviously in me you can hear tremendous Coltrane, Joe Henderson influence, Sonny Rollins. Those influences are tremendously there. Stanley Turrentine. There’s a Johnny Griffin influence there, there’s a George Coleman influence, just to name a few, there’s so many, Steve Grossman, Bob Berg, Jerry Berconzi, of what used to be the younger players. Now there’s younger guys that I still listen to. But I also sit around and try to come up with my own ideas. The ideas occur to me naturally. When I’m just playing, just relationships of notes. If I’m just playing the saxophone in a room eventually I stumble onto a relationship that appeals to me. And I’ll work on it. If it’s an idea I’ll write it out. And eventually I’ll get to it and try to put it in every key just for my own edification.
Q: Why the every key necessity?
A: Not everything sounds great in every key. But I just like to be able to have that facility. I still play better, still favor certain keys, but I like to have the facility on the horn, I like to be able to get around on the horn and not feel like I can only play this or that in a certain key. I like to know that I can, that it’s under my fingers, in every key. Obviously there’s certain ranges where certain things sound good. Certain notes, certain combinations of notes, certain cadences or melodic ideas will sound better maybe higher than lower. Or midrange. But I still like to be able to play things in every key. It’s just a personal thing I do. I also learn a lot playing live. I’ve learned a tremendous amount this year from playing a lot with McCoy Tyner, and that’s you know it’s back to school again. I’ve learned a lot by listening to him. Aside from the vast harmonic resources, aside from the fact I grew up listening to McCoy and ‘Trane, they are such an important influence for me. I’ve learned a lot from the way he, his sense of dynamics is just fantastic these days. And his presentation, his whole musical sensibility has been a thing to behold.

Michael Brecker – On Practicing
I am always trying to learn new things. I’m trying to learn new bits of language. So I work on to some degree on sound, and on equipment. I try different pieces of equipment. But beyond that, I make up exercises. If I have an idea, I put it in every key. Like for instance, right now, I am working on certain kind of relationships of triads, and then I, it’s hard to explain in a kind of quick moment, but I do things in different inversions. I try to get all over the horn. I have books and books of exercises that I’ve made up, but I don’t write the exercises out completely, I’ll write out just the idea, and then I try and do it in my head. That actually comes from an approach that I was taught by a gentleman by the name of Gary Campbell many years ago, a great saxophonist who lives in Miami. So I’m always working on new ideas. It takes me a long time. I’m very slow to get new things, new harmonic ideas to actually translate into my playing. It’s sometimes a period of months. Sometimes it takes learning something real well, and then forgetting about it. Eventually it comes out. I then also just play. Just play tunes, alone, or I have musicians over occasionally and we play. Or I end up just playing. And I’m always playing live, so..
But the practicing part of it is very important for me. It’s not just lip service. I have to practice, or I feel like I haven’t , I feel like I’ve shirked my responsibility.

Q: Is it a daily thing?
A: It’s pretty much a daily thing. There are periods when I’m doing it better than others. There’s some times where it’s just maintenance practicing. Where I’m doing the least I have to do just to keep everything well oiled. Then there’s periods of true growth. I still listen to other saxophone players tremendously. I listen to everybody I can. I listen to not just saxophone players, and I glean ideas from other people. It doesn’t all come from my brain. I hear things, I’ll put something on and figure it out. I’ll go back and still I’m amazed with McCoy Tyner still. I listen to Coltrane, Joe Henderson, Sonny Rollins. These are all such great inspirations, particularly Joe Henderson, John Coltrane, Sonny Rollins, still tremendous influences.

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A Composer is a Messenger of Vision

These excerpts from Deepak Chopra, MD are as valuable to musicians and artists as they are to everyone. I think as a composer, and a performer, you are a “messenger of vision.”

A leader must be action-oriented, turning his decisions into plans. “Decision” is just as important a “D” word as “doing.”  When you are about to make an important decision, what basis do you rely on?  Modern leaders tend to be more educated than in past generations, so they are familiar with these models.

The main lessons drawn from the past tend to lead to the following conclusions:

1. Assess the ratio of risk to reward.

2. Know the situation. Gather as much external evidence as possible.

3. Judge your rival’s tactics as best you can.

4. Gather a team, which shares the same values and goals.

5. Think outside the box to avoid conventional wisdom and the rigidity it brings.

6. Learn to trust your instincts.

7. Generate enthusiasm, loyalty, and esprit de corps among your followers.

This is good advice, much of it appealing to common sense. But they skew decision-making toward the cool-headed and rational. That’s fine in the classroom; it bears little resemblance to decision-making in real life, which is fraught with stress, time pressure, deadlines, internal squabbles, conflicting aims, anxiety, and the pervasive confusion that afflicts “the fog of war” but hardly stops there.

Psychological studies have shown that emotions cannot be separated from reason, and experiments that attempt to isolate rational thinking have almost entirely failed. For example, buyers will pay too much for retail goods if they are in a bad mood or a good one. Bidders will go over their limit in the heat of auctions, and they will even pay more than an item is worth if there’s a rival they want to beat. Buying a new dress and bidding on an antiques auction are minor, everyday decisions compared with the kind that leaders must make.

The focus necessarily turns to an arena that is hard to document and analyze in leadership courses. In this arena are intangibles of mood, psychology, group behavior, social dynamics, and so on. Skill in these areas is real and invaluable, and the lessons to be learned need to begin early on. They look different from the rational angle taken so often in case studies.

1. Know yourself. Tune in to how you feel. Don’t try to be a rational robot, but don’t make decisions overshadowed by anger, jealousy, and fear.

2. See the mood of the team as a reflection of your own as their leader.

3. Earn your group’s loyalty by emphasizing hope, trust, stability and compassion, the four things that followers most want from a leader.

4. Learn the pitfalls of ego – self-importance, bravado, winning at all costs.

5. Never do what you know to be wrong – moral decisions aren’t guaranteed to work, but the opposite is guaranteed to have high personal costs.

6. Fully recognize and reward the achievements of others. Honest praise and encouragement from the leader is a valued good, just like a salary bonus.

7. Promote diverse opinions, but make sure that they are positive contributions. Naysayers, messengers of gloom and doom, and worst-case scenario experts should be avoided. Realism isn’t the same as bad news.

8. As leader, remember that you are the messenger of vision, and there’s only one of you to do that job.

9. Don’t promote an atmosphere for gambling and gun-slinging. It will lead to dishonest representation of a situation’s risks.

10. Catch yourself if you see that your followers fear you. Fear can create discipline, but the drawback is that others will be reluctant to tell you hard truths when you need to hear them.

All of these steps become natural when your goal is to live consciously – you would apply them in a family situation as much as in a corporate boardroom. They aren’t “softer” than rational analysis but instead draw upon wider aspects of a leader’s function – knowing yourself is as critical as knowing the data. In a world where resources are growing limited and competition extends globally, many more decisions will be made in the future based on consciousness of the whole situation and its human impact on everyone’s life. This is a trend well worth joining as early as possible.

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Thomas Paine quote

“The harder the conflict, the more glorious the triumph. What we obtain too cheap, we esteem too lightly; it is dearness only that gives everything its value.”

I just spent 3 months on a piece, “3 Shades of Blue”, with days of anxiety, fear I would ever complete it, and agony over what would come next. It was a hard conflict with myself, and the triumph of its completion is sweet. The struggle is the best. You learn when you confront yourself, and getting there is half the fun.

You have a limited number of days. You can get caught up in so much, it’s hard to see the big picture, the goal. How much time do you have left? You have the ability to effect more change in one day of self awareness, than you will have in a lifetime without it.

You have all these days….

What do you want to do with them?

 

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Logic Constructs and the Matrix

matrixI am fond of discussing with my graduate composition students the topic of logic constructs. As long as it is systematically prepared, you can absorb a writer’s method and/or style (his way of thinking) enough to emulate and recreate under your own terms. Whether I transcribe music from Michael Brecker, or study a score by Henri Dutilleux, I discover a creative logic construct abstract enough for me to plunge headlong in my own creation.

Below is a reprint from a NY Times article on science/philosophy

August 14, 2007
FINDINGS
Our Lives, Controlled From Some Guy’s Couch

By JOHN TIERNEY
Until I talked to Nick Bostrom, a philosopher at Oxford University, it never occurred to me that our universe might be somebody else’s hobby. I hadn’t imagined that the omniscient, omnipotent creator of the heavens and earth could be an advanced version of a guy who spends his weekends building model railroads or overseeing video-game worlds like the Sims.

But now it seems quite possible. In fact, if you accept a pretty reasonable assumption of Dr. Bostrom’s, it is almost a mathematical certainty that we are living in someone else’s computer simulation.

This simulation would be similar to the one in “The Matrix,” in which most humans don’t realize that their lives and their world are just illusions created in their brains while their bodies are suspended in vats of liquid. But in Dr. Bostrom’s notion of reality, you wouldn’t even have a body made of flesh. Your brain would exist only as a network of computer circuits.

You couldn’t, as in “The Matrix,” unplug your brain and escape from your vat to see the physical world. You couldn’t see through the illusion except by using the sort of logic employed by Dr. Bostrom, the director of the Future of Humanity Institute at Oxford.

Dr. Bostrom assumes that technological advances could produce a computer with more processing power than all the brains in the world, and that advanced humans, or “posthumans,” could run “ancestor simulations” of their evolutionary history by creating virtual worlds inhabited by virtual people with fully developed virtual nervous systems.

Some computer experts have projected, based on trends in processing power, that we will have such a computer by the middle of this century, but it doesn’t matter for Dr. Bostrom’s argument whether it takes 50 years or 5 million years. If civilization survived long enough to reach that stage, and if the posthumans were to run lots of simulations for research purposes or entertainment, then the number of virtual ancestors they created would be vastly greater than the number of real ancestors.

There would be no way for any of these ancestors to know for sure whether they were virtual or real, because the sights and feelings they’d experience would be indistinguishable. But since there would be so many more virtual ancestors, any individual could figure that the odds made it nearly certain that he or she was living in a virtual world.

The math and the logic are inexorable once you assume that lots of simulations are being run. But there are a couple of alternative hypotheses, as Dr. Bostrom points out. One is that civilization never attains the technology to run simulations (perhaps because it self-destructs before reaching that stage). The other hypothesis is that posthumans decide not to run the simulations.

“This kind of posthuman might have other ways of having fun, like stimulating their pleasure centers directly,” Dr. Bostrom says. “Maybe they wouldn’t need to do simulations for scientific reasons because they’d have better methodologies for understanding their past. It’s quite possible they would have moral prohibitions against simulating people, although the fact that something is immoral doesn’t mean it won’t happen.”

Dr. Bostrom doesn’t pretend to know which of these hypotheses is more likely, but he thinks none of them can be ruled out. “My gut feeling, and it’s nothing more than that,” he says, “is that there’s a 20 percent chance we’re living in a computer simulation.”

My gut feeling is that the odds are better than 20 percent, maybe better than even. I think it’s highly likely that civilization could endure to produce those supercomputers. And if owners of the computers were anything like the millions of people immersed in virtual worlds like Second Life, SimCity and World of Warcraft, they’d be running simulations just to get a chance to control history — or maybe give themselves virtual roles as Cleopatra or Napoleon.

It’s unsettling to think of the world being run by a futuristic computer geek, although we might at last dispose of that of classic theological question: How could God allow so much evil in the world? For the same reason there are plagues and earthquakes and battles in games like World of Warcraft. Peace is boring, Dude.

A more practical question is how to behave in a computer simulation. Your first impulse might be to say nothing matters anymore because nothing’s real. But just because your neural circuits are made of silicon (or whatever posthumans would use in their computers) instead of carbon doesn’t mean your feelings are any less real.

David J. Chalmers, a philosopher at the Australian National University, says Dr. Bostrom’s simulation hypothesis isn’t a cause for skepticism, but simply a different metaphysical explanation of our world. Whatever you’re touching now — a sheet of paper, a keyboard, a coffee mug — is real to you even if it’s created on a computer circuit rather than fashioned out of wood, plastic or clay.

You still have the desire to live as long as you can in this virtual world — and in any simulated afterlife that the designer of this world might bestow on you. Maybe that means following traditional moral principles, if you think the posthuman designer shares those morals and would reward you for being a good person.

Or maybe, as suggested by Robin Hanson, an economist at George Mason University, you should try to be as interesting as possible, on the theory that the designer is more likely to keep you around for the next simulation. (For more on survival strategies in a computer simulation, go to www.nytimes.com/tierneylab.)

Of course, it’s tough to guess what the designer would be like. He or she might have a body made of flesh or plastic, but the designer might also be a virtual being living inside the computer of a still more advanced form of intelligence. There could be layer upon layer of simulations until you finally reached the architect of the first simulation — the Prime Designer, let’s call him or her (or it).

Then again, maybe the Prime Designer wouldn’t allow any of his or her creations to start simulating their own worlds. Once they got smart enough to do so, they’d presumably realize, by Dr. Bostrom’s logic, that they themselves were probably simulations. Would that ruin the fun for the Prime Designer?

If simulations stop once the simulated inhabitants understand what’s going on, then I really shouldn’t be spreading Dr. Bostrom’s ideas. But if you’re still around to read this, I guess the Prime Designer is reasonably tolerant, or maybe curious to see how we react once we start figuring out the situation.

It’s also possible that there would be logistical problems in creating layer upon layer of simulations. There might not be enough computing power to continue the simulation if billions of inhabitants of a virtual world started creating their own virtual worlds with billions of inhabitants apiece.

If that’s true, it’s bad news for the futurists who think we’ll have a computer this century with the power to simulate all the inhabitants on earth. We’d start our simulation, expecting to observe a new virtual world, but instead our own world might end — not with a bang, not with a whimper, but with a message on the Prime Designer’s computer.

It might be something clunky like “Insufficient Memory to Continue Simulation.” But I like to think it would be simple and familiar: “Game Over.”

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Group Leaders and Followers

Here are some pointers about looking and listening all the way up the ladder.

1. Keep your feedback loop large. Leaders and followers co-create each other. There is constant input and output. If you get input only from your closest circle, you won’t be in touch with the whole picture.

2. Stay flexible. It’s not hard to detect when a leader wants to hear only praise and support for his own ideas. Be flexible enough to allow your core beliefs to be challenged.

3. Welcome criticism and know our opposition. Leaders who rise high often feel insecure about their position. They are prominent targets for jealousy and attack. So start early on to embrace other points of view, accommodating them when you can and at the very least listening to them and taking them seriously.

4. Be good at giving feedback. No matter what face they put on it, people notice praise and blame. No one is indifferent. Make sure your feedback doesn’t demean anyone, and if you are in doubt about hurt feelings, see the person privately. “Are we okay?” isn’t enough. Look and listen to their personal reactions.

5. Don’t claim a monopoly on the truth. Keep in mind that you do not see the whole picture. This will instill a desire to hear as many perspectives as possible.

6. In any meeting, never lose sight of the central question, “What do these people need?” Never leave the room feeling confused about this. Behind every discussion, somebody needs something.

7. Know the difference between what somebody needs and what they want. We all want more of anything that is available. But most of the time, what we need isn’t clear. Ego and emotions stand in the way.

This is such an important point that it deserves being expanded. In relation to a leader, a group of people has individual and collective needs. They tend to overlap, and yet a successful leader tends to both. Sometimes you have to reach down to one person to provide a specific need (e.g., President Lyndon Johnson hated baseball, but he went to every game with a prominent Southern senator because the senator, who chaired a key committee, was a devoted baseball fan).

Most of the time, however, what counts the most is being able to analyze a group’s need.

1. All groups respond to hope. They need to be told that tomorrow will be better.

2. All groups need to be inspired about what they are doing. This is different from offer external motivations like money and raises. Feeling worthy is far more important.

3. All groups need to know that their leader is loyal and supportive. If a leader is just passing through on his way up the ladder, the group responds accordingly. The best leaders take their cohorts with them as they rise to the top.

4. Insecure groups need to be reassured that they are safe. Any threat such as layoffs, salary cuts, losing market share, being bought out, etc. must be addressed. The solution that comes out of the discussion should benefit everyone in the group if possible (as when companies hard hit by the recession lay off no one but instead provide part-time work to everyone).

5. Groups that are doing well competitively need greater challenges. Their motivation is to keep proving themselves.

6. Creative groups need new, innovative ideas. Here the leader functions as a sounding board for any and all suggestions. Suppressing the creativity of any member sends a signal that creativity isn’t valued for its own sake. Such an attitude quickly kills the spirit of innovation.

7. All groups need morale. You need to be open and honest about any person or behavior – including our own – that is hurting morale.

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An Artist’s Job

You may think that an artist’s job is to speak the truth.

An artist’s job…
is to captivate you for however long I’ve asked for your attention.

If I stumble into truth, I got lucky, and I don’t get to decide what truth is.

you know… I write music, that’s how I enter the world.

But there are so many ways.

 

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