DE GEPROGRAMMEERDE

BIBLIOTHEEK

Was een goed idee

Maar inzichten evolueren

Een bibliotheek gaat over verbinding maken

In the connected world

Bibliothecarissen programmeren

Hebben vijf petten op:

Producer, conciërge, leraar en impresario.

Maar bovenal is hij (of zij) doorlopend een 'verbinder'.

MAAR HOE

PROGRAMMEER JE?

Vanuit welke houding?

Waarom doe je dat?

Hoe doe je dat?

Hierna komen geen antwoorden

Noch een handleiding

Een protocol

Of leer je hoe te copy – pasten!

Ik haal een man naar voren

Een held?!?

SETH GODIN

DE MAN VAN

Linchpin (schakel, splitpen)

(Nederlands: Onmisbaar)

Tribes (stammetjes)

Stop stealing dreams (what are schools for?)

The library is a place, still

Van de vijf rollen

In the connected age, reading and writing remain the two

skills that are more likely to pay off with exponential skills.

THE ICARUS

DECEPTION

Ondertitel: How high will you fly

Industriële tijdperk loopt op z’n end

We leven in een connected world

Kern van zijn boek:

We zullen ons in de connected world als een kunstenaar

moeten opstellen

Doorlopend unieke ‘dingen’ tot stand brengen

En vooral: mensen verbinden

Noem het: ‘programmeren’

We doen als bibliotheek niet alles, maken keuzes

WHY MAKE ART?

Because you must. The new connected economy demands it

and will reward you for nothing else.

Because you can. Art is what it is to be human

ART IS THE NEW SAFETY ZONE

Hij onderscheidt safety and comfort zone

Creating ideas that spread and connecting the disconnected

are the two pillars of our new society, and both of them

require the posture of the artist.

FORGET SALVADOR DALI

Art is not a gene or a specific talent.

Art is an attitude, culturally driven and available to anyone

who chooses to adopt it.

Art isn’t something sold in a gallery or performed on a stage.

Art is the unique work of a human being, work that touches

another.

NEW, REAL AND IMPORTANT

The connection economy functions on a steady diet of new,

real, and important.

Art is difficult, risky, and frightening.

It’s also the only option if we choose to care.

What happened yesterday is over. Tomorrow the door is wide

open, and then is your chance to connect.

YOUR PAIN IS REAL

It’s the pain of possibility, vulnerability, and risk. Once you

stop feeling it, you’ve lost your best chance to make a

difference.

The easiest way to avoid the pain is to lull it to sleep by

finding a job that numbs you.

Soon the pain of the artist will be replaced by a different sort

of pain, the pain of the cog, the pain of someone who knows

that his gifts are being wasted and that his future is out of his

control.

THE CONNECTION ECONOMY

DEMANDS THAT WE CREATE ART

The search for the right answer is the enemy of art. The right

answer belongs to the productivity-minded industrialists, to

Taylor and the denizens of Scientific Management.

Icarus was told not to fly too high and not to fly too low. But

what’s the right altitude? Where’s the map, where’s the safe

middle?

Art has no right answer. The best we can hope for is an

interesting answer.

THE ASSETS THAT MATTER

Trust

Permission

Remarkability

Leadership

Stories that spread

Humanity: connection, compassion and humility

PICK YOURSELF

Our cultural instinct is to wait to get picked. To seek out the

permission, authority, and safety that come from a publisher

or a talk-show host or even a blogger who says, “I pick you.”

Once you reject that impulse and realize that no one is going

to select you – that Prince Charming has chosen another

house in his search for Cinderella – then you can actually go

to work.

No one is going to pick you. Pick yourself

SEEK OUT QUESTIONS,

NOT ANSWERS

The connection economy asks you to turn all that upside

down, to not want or need or seek a map. Your instinct to

search for a sinecure (that thing that was a safety zone is

now merely a comfort zone) is proof that you’ve been

brainwashed. ()

Seek out questions, not answers

THE PIECES OF ART

Personal

Because it must reflect the artist

Untested

Because art is original

Intended to connect

because art unshared is invulnerable, selfish and ultimately

pointless

SIR KEN ROBINSON

Creativity

Is the process of having original ideas,

That have value

Echte waarde(n)

Who’s in control?

CONNECTION CAUSES

CHANGE

Author Michael Schrage wants you to ask:

“Who do you want your customers to become?”

Who will your customers become after they interact with

you?

Who will you become as a result?

6 DAILY HABITS

Sit alone; sit quietly.

Learn something new without any apparent practical benefit.

Ask individuals for bold feedback; ignore what you hear from

the crowd.

Spend time encouraging other artists.

Teach, with the intent of making change.

Ship something that you created.

A FEW WORLDVIEW QUESTIONS

How do I get more? vs.

How do I give more?

How do I guarantee success? vs.

How do I risk failure?

Where is the map? vs.

Where is the wilderness?

Do I have enough money? vs.

Have I made enough art?

WHERE ARE THE GODS?

The old work: Bale that cotton, mow that hay, load that barge.

Fill in this form, obey these instructions, take this test.

The new work: Start something. Figure it out. Connect. Make

the call. Ask. Learn. Repeat. Risk it. Open. What’s next?

The old world is machinelike.

The new world is for mythological gods.

Gods in charge of their destiny. Gods responsible for their

choices. Gods with power and the freedom to use it.

Us.

THIS MIGHT NOT WORK

This is the mantra of the artist.

And of course, this is where the vulnerability comes from,

and the fascination.

If you’re sure it’s going to work, where is the tension?

“This might work” is the twin sister of “This might not work.”

THERE’S NO MAP

Art has no safety map, no easy to follow manual, no

guaranteed method.

Once those things exist, the art becomes paint by numbers

and is hardly worth doing.

TO MAKE ART YOU NEED …

… to remove three things:

Control

Motivation

Approval

RESISTANCE IS NOT TO BE

AVOIDED

If not enough people doubt you, you’re not making a

difference

the single most important sentence in this book:

The resistance is not something to be avoided; it’s

something to seek out.

To Make Art, Think Like an Artist.

To Connect, Be Human

THREE FOUNDATIONS OF ART

1.

Students need to learn to see

2.

They are taught how to make

3.

Then they start with a blank slate

THREE USELESS

QUESTIONS

Where do you get your ideas?

What sort of software do you use to do your writing?

What should I do next?

WORTH NOTING

They will tell you that it’s easy

(it’s not).

They will tell you that it’s fun

(it is, but only sometimes).

They will tell you that you must be born with it

(not true).

And they will tell you that it’s not your turn

(and they are wrong).

SPECTATORS

The gods are not spectators. Consumers are spectators. The

fans in the stands are spectators.

Marketers like spectators because guessing what they will do

is easy and safe. You can build budgets

By the way

Volgens Seth is marketing DOOD, over

IS THE ARTIST FREE?

Free to choose, free to switch, free to make whatever ruckus

she chooses, sure.

But not free of the lizard brain.

Not free of the voice of insecurity or second thoughts

Ever.

HABITS OF SUCCESFUL

ARTISTS (A FEW)

Learn to sell what you’ve made.

Say thank you in writing.

Speak in public.

Fail often.

See the world as it is.

Make predictions.

Write daily.

Connect others.

Lead a tribe.

SCHERPE KANTJES

(ROUGH EDGES)

In the name of productivity and mass-market acceptance, the

industrialist sands off the rough edges.

The artist understands that the rough edges are the entire

point.

DON’T WASTE THIS

PLATFORM

We built this world for you.

Not so you would watch more online videos, keep up on your

feeds, and LOL with your high school friends.

We built it so you could do what you’re capable of.

Without apology and without excuse.

Go.