Flying out to Dconstruct 2011 in Brighton

Dconstruct logoAfter a great event like Ampersandconf organised by Clearleft I have decided with no hesitation, to go to the next event that they were organising, Dconstruct to sharp my professional skills in a different way than just reading books and experimenting, by interacting with humans and not with computers.

I am flying from Barcelona, and this time I am not the only one to be there, but other friends of the Barcelona community are going (in reality, they are already there for the workshops: ).

What I love about it, is that I know more or less what to expect, and my enthusiasm it is not diminished but increased proportionally!!! The line up, it is great, I really want to meet Frank Chimero and Kelly Goto [My second book of web design, and one of the most useful]. And with my surprise being recently focused on Mobile Web, I discovered the really good slideshows of Bryan Rieger and he will be there giving a talk. Am I blessed from some mystical goddess of web design or is it just a dream? 😀

I am excited even because the people that are going over there to assist are small gems of people that are passionate about Web Design, and that dedicate all their days working hard to find good way to communicate. And I am so happy that a part from all these unknown people I alrady know some that came at Ampersandconf various months ago like and What I want more than this

I expect a great good time, being busy talking, exchanging business cards, and yes free beer! But I really do not care about it, because it will be the synergy of people that will be there that will make this event, worth it.

So I want to say thx to Clearleft for keeping the budget affortable, so people like me can come and have a day of learning, and exchanging. A day of growing in our indsutry (and in our souls).

Ira Glass on being a good creative

Ira Glass is an American public radio personality, and host and producer of the radio and television show This American Life. He talks about something that it is really important to me. Be good at what I do for living. The only way to have a style that match our ambitions it is only experience.

… Nobody tells people who are beginners, and I really wish somebody had told this to me, is that if you’re watching this video you’re somebody who wants to make videos, right? And all of us who do creative work like, you know, we get into it and we get into it because we have good taste. Do you know what I mean?

Like you want to make TV because you love TV. You know what I mean? Because there’s stuff that you just like love, OK? So you’ve got really good taste and you get into this thing that I don’t even know how to describe but it’s like there’s a gap. That for the first couple years that you’re making stuff, what you’re making isn’t so good, OK? It’s not that great. It’s really not that great. It’s trying to be good, it has ambition to be good, but it’s not quite that good.

But your taste, the thing that got you into the game, your taste is still killer and your taste is good enough that you can tell that what you’re making is kind of a disappointment to you, you know what I mean? Like you can tell that it’s still sort of crappy. A lot of people never get past that phase and a lot of people at that point quit.

And the thing I would just like say to you with all my heart is that most everybody I know who does interesting creative work, they went through a phase of years where they had really good taste and they could tell what they were making wasn’t as good as they wanted it to be. They knew it fell short, you know, and some of us can admit that to ourselves and some of us are a little less able to admit that to ourselves.

But we knew that it didn’t have the special thing that we wanted it to have and the thing what to do is… Everybody goes through that. And for you to go through it, if you’re going through it right now, if you’re just getting out of that phase or if you’re just starting off and you’re entering into that phase, you’ve got to know it’s totally normal and the most important possible thing you can do is do a lot of work.

Do a huge volume of work. Put yourself on a deadline so that every week or every month you know you’re going to finish one story. You know what I mean? Whatever it’s going to be. You create the deadline. It’s best if you have somebody who’s waiting for work from you, somebody who’s expecting work from you, even if it’s not somebody who pays you but that you’re in a situation where you have to try not to work. Because it’s only be actually going through a volume of work that you are actually going to catch up and close that gap. And the work you’re making will be as good as your ambitions.Ira Glass

Costruendo cittá invisibili

Copertina delle cittá invisibili di Italo Calvino

Nelle Città invisibili non si trovano città riconoscibili. Sono tutte città inventate; le ho chiamate ognuna con un nome di donna; il libro è fatto di brevi capitoli, ognuno dei quali dovrebbe offrire uno spunto di riflessione che vale per ogni città o per la città in generale.

Il libro è nato un pezzetto per volta, a intervalli anche lunghi, come poesie che mettevo sulla carta, seguendo le più varie ispirazioni. Io nello scrivere vado a serie: tengo tante cartelle dove metto le pagine che mi capita di scrivere, secondo le idee che mi girano per la testa, oppure soltanto appunti di cose che vorrei scrivere. Ho una cartella per gli oggetti, una cartella per gli animali, una per le persone, una cartella per i personaggi storici e un’altra per gli eroi della mitologia; ho una cartella sulle quattro stagioni e una sui cinque sensi; in una raccolgo pagine sulle città e i paesaggi della mia vita e in un’altra città immaginarie, fuori dallo spazio e dal tempo. Quando una cartella comincia a riempirsi di fogli, comincio a pensare al libro che ne posso tirar fuori.

Cosi mi sono portato dietro questo libro delle città negli ultimi anni, scrivendo saltuariamente, un pezzetto per volta, passando attraverso fasi diverse. Per qualche tempo mi veniva da immaginare solo città tristi e per qualche tempo solo città contente; c’è stato un periodo in cui paragonavo le città al cielo stellato, e in un altro periodo invece mi veniva sempre da parlare della spazzatura che dilaga fuori dalle città ogni giorno. Era diventato un po’ come un diario che seguiva i miei umori e le mie riflessioni; tutto finiva per trasformarsi in immagini di città: i libri che leggevo, le esposizioni d’arte che visitavo, le discussioni con gli amici.

Ma tutte queste pagine insieme non facevano ancora un libro: un libro (io credo) è qualcosa con un principio e una fine (anche se non è un romanzo in senso stretto), è uno spazio in cui il lettore deve entrare, girare, magari perdersi, ma a un certo punto trovare un’uscita, o magari parecchie uscite, la possibilità di aprirsi una strada per venirne fuori. Qualcuno di voi mi può dire che questa definizione può valere per un romanzo a intreccio, e non per un libro come questo, che si deve leggere come si leggono i libri di poesie, o di saggi, o tutt’al più di racconti. Ebbene, voglio appunto dire che anche un libro così, per essere un libro, deve avere una costruzione, cioè vi si deve poter scoprire un intreccio, un itinerario, una soluzione. Italo Calvino

Parole inspiratrici che voglio ricordare di Italo Calvino tratte da una conferenza a la Columbia University di New York sulla creazione del suo libro Le cittá invisibili.