See the Ball, Be the Ball: Thoughts On Storying Our Way Out of this Mess

July 14th, 2010

It was a foggy day at Tilden Park’s beautiful redwood-lined driving range. My brother-in-law had been giving my son Izzy lessons for years and I finally decided to tag along and get some pointers myself.

See the Ball, Be the Ball

After I sent balls flying this way and that for a while, Nate stepped up to the tee to show me how it was done. “You have to see it before you do it,” he said, pointing out to the green. “See where the ball will land. Then aim and swing.”  He whacked the ball, turning it immediately into a white pinhead traveling far out on the horizon.  “Now you,” he said, as he handed me the club.

I shrugged, and tried to conjure up a vision of the ball landing firmly on the green, but I came up blank. The vision system wasn’t working. I swung, and sliced the ball so far to the right it was almost behind me—if it were baseball I would have hit the popcorn guy. The next hour was more of the same.

I just couldn’t SEE the ball going in. My mind was too busy with the wide variety of details. Shoulders, wrist, hand, stance. Foot, shoes, eyes, pants. It was all too new.  My vision channel was jammed; all that came up was white noise and squiggly screen…much like when I was 12 and I used to try to watch the “R” rated movies on ON-TV. My rational mind was so busy thinking, it was short-circuiting what my imagination could actually envision.

Then this past week, one conversation made it all clear, my row-mate on a flight to Chicago downed many Bloody Marys and shared moderately boring stories of being a fiber optics technician. Through a mouth full of chewing tobacco, Tim told me about a recent conversation with his father, a retired Air Force pilot, about oil in the Gulf.

“He said to me, Tim, I know we’re going to have to change our ways. We just don’t know which way to change them.”

Then it occurred to me. As with golf, so with oil in the Gulf.

It’s one thing to be able to see the ball landing on the green. Or to to envision ten million dollars in the bank.  But it’s another thing altogether to have a vision of a world beyond oil.

That’s a ball that is just damn hard to see on the green.

One might say we need a charismatic leader to do the bold visioning for us (evoke moon landing here). Or the world’s smartest people to have a Manhattan Project for energy. Then of course one may also say we need “a crisis” (I quote this because it has no further definition in these conversations) for people to change their ways.

Even so, the crisis is just the catalyst; we still need to be able to see the ball on the green.

Al talks serious business

In the past decade since I’ve been paying attention, I’ve seen a huge shift in environmental awareness, such as ecological products, green energy investments, political will, car fuels, and even in the natural food content in my mother-in-law’s kitchen. An Inconvenient Truth told millions how bad things might get. Wall-E showed still more millions how bad things might get after that.

But there’s been one critical area where we have been lacking, an opportunity I feel is just below the surface, and it’s ready to burst out. In order to hold a vision and work towards it, we need to not only be educated and entertained: we need to be inspired. We need transformative stories that bring us from anger into solutions. Stories that can be repeated again and again by everyday people, stories that tantalize dreams and propagate technologies and propel college students into new careers and new inventions. We need stories that serve our need for overcoming conflict and quest and feed our dreams for a new way of living.

Lonely Robotic Futures

Stories that illuminate that you don’t have to go back to living in a cave in order for society to survive.

These stories will help our society look forward several generations from now and see our ball on the green. A few balls might be thriving rainforests, clean rivers, a prison population dwindled as our economy is strengthened, vastly re-localized food, flourishing farmers, oceans free of plastics and oil rigs, and thriving with salmon and pelicans flying overhead. And no, these aren’t just a liberal stories. They can’t be.

These stories will be written or performed, in many shapes and sizes.  Some may be Avatar sized, others Lorax-sized. Some may be alternate reality games like World Without Oil or like Heroes creator Tim Krieg’s new Conspiracy for Good–and some might be board games. Many will be tied in with creative actions, incentives and social networks. Some may be told by Buckminster Fuller types, others by Steve Martin types.

Some may be stories belted out streetside, by mad nouveau beat poets riffing their rhymes that just happen to have flip cams. Some will be real life stories of adventure, others nearly unfathomable fiction. Some will be sponsored. Some of these future-stories may come from Hollywood, at least from Participant. Some will be told from the future working backwards, like the Free Range oldie Climate: A Crisis Averted.

Future Flick by Free Range

Others might come from you.

The challenge is for the storytellers to take to the course, to tell enough stories from enough angles that a meta-narrative evolves…and so that we, too, begin to see these possible futures. And adopt one or two as our own. And see ourselves in them.

I believe these stories are brewing. Believe it if you want to; I believe it because I have to.

New Yorker cover says it all

June 7th, 2010

At some point we will need to go on trial, whether we know it or not, in front of the other inhabitants of this planet. Will the jury be lenient?

James Cameron tours DC to talk Climate

April 26th, 2010

The Avatar creator talks climate turkey on Politico.com. Here’s his comment on meeting the pres, and a hint at his true intentions behind the movie: “Oh, yeah, he was highly complimentary about the film,” Cameron said, nonchalantly. “That’s great, but it’s just a movie. … Does it engender some rise in consciousness at a national and international level? It remains to be seen.”

James Cameron goes big

Cameron also talked about the perceived dichotomy between eco and economy.

“Look at ‘Avatar’: It’s good for the environment and it’s good for the economy,” said Cameron. “That’s the paradigm that we all need to look towards. The Republicans have created this concept that you can either have a healthy economy or you can work on the environment — but you can’t do both. You have to choose between them — but you don’t! … What’s good for energy and what’s good for the environment is ultimately going to be good for the nation.”

Full article here.

Odd Job Nation: This Web Show Gets You Working

April 14th, 2010

I’m not a push-over when it comes to judging web shows, but I love this one.  Odd Job Nation.

It’s one part Odd Couple, one part Flight of the Conchords (er, I mean, without the songs). It’s funny, it’s timely, and it has an odd jobs board to consult, after Nate and Joe help you feel that much better about your own employment situation. My personal favorite part is the “What you talkin ’bout Will-is” song. Check out the first episode, you’ll see.

Oh and P.S. just won a Streamy!

Marshall McLuhan on (story)space

April 9th, 2010

Here’s a Friday wander…into a land where modern media is an extension, not always an expansion…

….

Marshall McLuhan on media and story

McLUHAN: I mean space that has no center and no margin, unlike strictly visual space, which is an extension and intensification of the eye. Acoustic space is organic and integral, perceived through the simultaneous interplay of all the senses; whereas “rational” or pictorial space is uniform, sequential and continuous and creates a closed world with none of the rich resonance of the tribal echoland. Our own Western time-space concepts derive from the environment created by the discovery of phonetic writing, as does our entire concept of Western civilization. The man of the tribal world led a complex, kaleidoscopic life precisely because the ear, unlike the eye, cannot be focused and is synaesthetic rather than analytical and linear. Speech is an utterance, or more precisely, an outering, of all our senses at once; the auditory field is simultaneous, the visual successive. The models of life of nonliterate people were implicit, simultaneous and discontinuous, and also far richer than those of literate man. By their dependence on the spoken word for information, people were drawn together into a tribal mesh; and since the spoken word is more emotionally laden than the written — conveying by intonation such rich emotions as anger, joy, sorrow, fear — tribal man was more spontaneous and passionately volatile. Audile-tactile tribal man partook of the collective unconscious, lived in a magical integral world patterned by myth and ritual, its values divine and unchallenged, whereas literate or visual man creates an environment that is strongly fragmented, individualistic, explicit, logical, specialized and detached.

Borrowed from:
http://www.nextnature.net/2009/12/the-playboy-interview-marshall-mcluhan/

Tsunami Stories Help Make it Real

March 30th, 2010

Part of modern life is having access to the tragedies all around us on what seems like a daily basis. And yet how do we connect with them, the hurricanes, the earthquakes, the fires…how do we feel them and empathize with those that are suffering? It’s a question that seems to hit me with every tragedy: how to make it real?

Maybe it just does take five years to collect them. Here’s an amazing set of first person stories from the tsunamis that do just that. I also really like the combination of still image, b-roll footage, personal footage, and interviews. Also includes an interesting interactive map.

Created in part by the folks from MediaStorm.

Real Stories from the Tsunami

Real Stories from the Tsunami

The Storytelling is a-Changin’

March 15th, 2010

Here’s a very interesting post I just came across, further reinforcement to me that the nature of how we tell and distribute stories, and how we bring ideas to reality in our communities are dramatically shifting. Admittedly, I haven’t seen this yet executed, but that’s not really the point to me. The point is it’s being discussed, explored, acted upon. Media—>Action

From Robert Patterson’s blog:

The New Reality of Engagement – Stories that Drive Action

Why should we measure story in a new way? Because using story well is our great chance in public media to be the leaders of our time. To help Americans take back their power to control their lives and their communities.

How do we do this?

Deep change is all about a change in the collective story. It is a change in the way that people, think, feel and act.

* First of of all, there is the the appearance of a new and way-out idea that violates the status quo – such as say Local Food – the 100 mile diet. The idea itself is tested by the immune system of the wider community. Often a breakthrough is accelerated by a good book – for Food: The Omnivore’s Dilemma. For the Environment: An Inconvenient Truth. In 1776, “Americans” are stirred by a way out new idea that a people did not need a King. No book but a document, the Declaration of Independence, filled with ideas that were not self evident at the time, energized people to defeat the greatest world power of the time. They made the idea of democracy real. This is how all new paradigm stories start.

Complete story here.

“My Dinner with Andre” just gets more amazing.

March 10th, 2010

I remember when my parents came home from watching “My Dinner with Andre.” I must have been 12. They raved about it for weeks. “It’s about two people sitting and eating dinner, telling stories,” said my mom. Then when it first came out on TV we watched it together. I loved it, and have seen it probably twice since, once every 15 years. It just gets more amazing! Deep powerful conversations on the edge of life. Visions of loss, of completeness, of reckless adventure. And not even in 3-d. It’s inconceivable!

Vision + Timing + Action = Change

March 9th, 2010

Amazing video about a good idea whose time (and incredible support) had come. In Estonia on May 3, 2008 with help of 50,000 volunteers and an amazing media campaign, more than 10 000 tons of garbage that had been dumped in the forests was cleaned up.

A Recipe for Good Crowdsourced Storytelling

March 4th, 2010

A Recipe for Good Crowdsourced Storytelling

A long time ago, in the summer of ’01, in the wake of the dot-com bust, I created a series of underground interactive travel story show called “Journeys.” The motivation was to capture the stories of the people that had come to San Francisco from all corners of the globe…before they went home. The show was made up of a combination of professional performers and raw audience stories, all backed up by a great three-person music ensemble.

So why, you ask, am I bringing this up now? I most recently completed a consulting project helping a company create a strategy for crowd-sourcing video stories from their biggest fans. I drew a lot of the ideas from my experiences in putting on the Journeys shows. While the notes below were about creating a powerful audience-storytelling environment in the theater, I find them relevant to the user-generated content world.

Provide a clear framework for each show (or genre). Our story recall is like a searching a hard drive: the more specific the search the better. A clear invitation (theme: Lost in Translation: Language Mishaps) is both easier for the storyteller and clears the path for a more interesting experience overall. Reflect the power of the stories we bring, and that everyone has a story.

Have a clear, strong story invitation. Make sure potential storytellers know how we define ‘telling story’. Story in this case is ‘something was told at dinner that resulted in a powerful audience reaction.’ Set clear time parameters (suggested 3 minutes) for each story.

Give the story some music: Whether you’re a songwriter, dancer, or spoken word artist, music will deepen the story experience. Not required but a nice add on.

Seed the show with strong but not too-seasoned storytellers: Set the bar of what a well-told story looks like and feels like. Performers may range from professional to passionate amateur, but the average quality of featured stories should maintain a level of quality that leaves the audience inspired, not daunted.

Connect the audience to one another: Provide the audience members with a way of seeing each other and honoring their own histories through simple fun introd uctions that allows them to see one another. Invite audience members to share stories at home in the same way. For example: Now, take 3 minutes to turn to a person next to you to share a story about something you got in trouble for as a kid. (Note: nowadays this is can also relate to creation of a user profile).

Provide a featured audience story: Open the stage to feature the well-told audience member story. Also, make sure throughout the show and in the marketing outreach the audience members are clearly invited to reflect on their own stories. This is a constant reassurance that keeps the attention from being too strongly set on the best or most highly-rated storytellers, and entice greater participation.