Brain Pickings

Posts Tagged ‘book’

19 DECEMBER, 2013

A Quirky Coloring Book Featuring Keith Haring, Shepard Fairey, Ryan McGuinness, Brian Rea, and Other Contemporary Art Icons

By:

The childhood classic, reimagined to delight art-lovers of all ages and sensibilities.

As a lover of activity books for grownups and artists’ takes on common concepts, I was instantly taken with Outside the Lines: An Artists’ Coloring Book for Giant Imaginations (public library) — a quirky and unusual collection envisioned and edited by Souris Hong-Porretta, which makes an equally fine complement to both the year’s best art books and best children’s books. With illustrations from 100 of today’s most celebrated contemporary artists, including Shepard Fairey, Ryan McGuinness, Keith Haring, Brian Rea, and Todd St. John, this charming compendium, reminiscent of RxArt’s Between the Lines, is as much an invitation to imagine as it is to admire, to savor, to revel in the beauty and inventiveness of the humble line in its infinitely fanciful permutations.

'Dots Connected' by Amy S. Kauffmann

'Sound of Confusion' by Todd St. John

'Mr. Spray' by Shepard Fairey

Ryan McGuinness

'Untitled' by Keith Haring © Keith Haring Foundation

'New Alphabets' by Keita Takahashi

'All of Your Favorite Animals' by Chris Rubino

'Bunny Beast' by Brian Rea

Outside the Lines is absolutely wonderful, doubly so given that it benefits MOCA’s education program. Complement it with Do It: The Compendium, which collects 20 years’ worth of famous contemporary artists’ instructions for art anyone can make.

Donating = Loving

Bringing you (ad-free) Brain Pickings takes hundreds of hours each month. If you find any joy and stimulation here, please consider becoming a Supporting Member with a recurring monthly donation of your choosing, between a cup of tea and a good dinner:





You can also become a one-time patron with a single donation in any amount:





Brain Pickings has a free weekly newsletter. It comes out on Sundays and offers the week’s best articles. Here’s what to expect. Like? Sign up.

28 MAY, 2013

The Power of Process: What Young Mozart Teaches Us About the Secret of Cultivating Genius

By:

On the “powerful blend of instruction, encouragement, and constant practice.”

“The trick to creativity … is to identify your own peculiar talent and then to settle down to work with it for a good long time,” observed Denise Shekerjian in reflecting on her insightful interviews with MacArthur “genius” grantees. “Success is the product of the severest kind of mental and physical application,” attested Thomas Edison. “It is the man who carefully advances step by step, with his mind becoming wider and wider … who is bound to succeed in the greatest degree,” Alexander Graham Bell proclaimed. And yet our culture continues to perpetuate the notion that genius is a “God”-given blessing.

In The Genius in All of Us: New Insights into Genetics, Talent, and IQ (public library), David Shenk presents a rigorously researched blend of historical evidence and scientific data to debunk the myth that genius is a special gift serendipitously bestowed upon the chosen few and shows, instead, that it is the product of consistent, concentrated effort, applied in the direction of one’s natural inclination. But beyond the familiar argument for the power of process, Shenk stresses the importance of early childhood experience in recognizing and cultivating the inklings of talent, and building the right framework for achievement. He gives “the mystifying boy genius” Mozart as a prime example:

Anonymous portrait of the child Mozart, possibly by Pietro Antonio Lorenzoni; painted in 1763 on commission from Leopold Mozart (public domain)

Wolfgang Amadeus Mozart [was] alleged to be an instant master performer at age three and a brilliant composer at age five. His breathtaking musical gifts were said to have sprouted from nowhere, and his own father promoted him as the “miracle which God let be born in Salzburg.”

The reality about Mozart turns out to be far more interesting and far less mysterious. His early achievements — while very impressive, to be sure — actually make good sense considering his extraordinary upbringing. And his later undeniable genius turns out to be a wonderful advertisement for the power of process. Mozart was bathed in music from well before his birth, and his childhood was quite unlike any other. His father, Leopold Mozart, was an intensely ambitious Austrian musician, composer, and teacher who had gained wide acclaim with the publication of the instruction book A Treatise on the Fundamental Principles of Violin Playing. For a while, Leopold had dreamed of being a great composer himself. But on becoming a father, he began to shift his ambitions away from his own unsatisfying career and onto his children — perhaps, in part, because his career had already hit a ceiling: he was [assistant music director]; the top spot would be unavailable for the foreseeable future.

Uniquely situated, and desperate to make some sort of lasting mark on music, Leopold began his family musical enterprise even before Wolfgang’s birth, focusing first on his daughter Nannerl.

[…]

Then came Wolfgang. Four and a half years younger than his sister, the tiny boy got everything Nannerl got — only much earlier and even more intensively. Literally from his infancy, he was the classic younger sibling soaking up his big sister’s singular passion. As soon as he was able, he sat beside her at the harpsichord and mimicked notes that she played. Wolfgang’s first pings and plucks were just that. But with a fast-developing ear, deep curiosity and a tidal wave of family know-how, he was able to click into an accelerated process of development.

The Mozart family on tour: Leopold, Wolfgang, and Nannerl. Watercolor by Carmontelle, 1763 (public domain)

But buried in Shenk’s argument for the power of nurture is also a subtle but menacing dark side that speaks to the power of how social norms and gender expectations shape the investment in nurture:

As Wolfgang became fascinated with playing music, his father became fascinated with his toddler son’s fascination — and was soon instructing him with an intensity that far eclipsed his efforts with Nannerl. Not only did Leopold openly give preferred attention to Wolfgang over his daughter; he also made a career-altering decision to more or less shrug off his official duties in order to build an even more promising career for his son. This was not a quixotic adventure. Leopold’s calculated decision made reasonable financial sense in two ways: First, Wolfgang’s youth made him a potentially lucrative attraction. Second, as a male, Wolfgang had a promising, open-ended future musical career. As a woman in eighteenth-century Europe, Nannerl was severely limited in that regard.

From age three, then, Wolfgang had an entire family driving him to excel with a powerful blend of instruction, encouragement, and constant practice. He was expected to be the pride and financial engine of the family, and he did not disappoint.

How many genius-level female composers never received this “powerful blend” we’ll never know. But the bigger point in The Genius in All of Us resonates loud and clear: To reap the fruits of genius, we must plant the seeds of practice and process.

Donating = Loving

Bringing you (ad-free) Brain Pickings takes hundreds of hours each month. If you find any joy and stimulation here, please consider becoming a Supporting Member with a recurring monthly donation of your choosing, between a cup of tea and a good dinner:





You can also become a one-time patron with a single donation in any amount:





Brain Pickings has a free weekly newsletter. It comes out on Sundays and offers the week’s best articles. Here’s what to expect. Like? Sign up.