How Pixar Used Moore's Law to Predict the Future→

Pixar co-founder Alvy Ray Smith in Wired: 

We know what Moore’s Law is and how it works, but not many people reflect on why it exists. Yes, there are often physical barriers to innovation. But there’s no imminent physical barrier to the realization of a bit: A bit is merely presence or absence of something, say a voltage, which means it can get exponentially smaller. So with no physical limitation, Moore’s Law reflects the top rate at which humans can innovate. If we could proceed faster, we would.

There are no shortcuts at the edge of discovery and invention. ​

Content or Objects: Neil Gaiman and the future of books

"I worry that too many of us . . . are certain that if only we can get 1993 to come back again, we'll clean up. That if we hold our breath and close our eyes and guard the gates with bigger and more dangerous weapons, time will turn backwards and it will be yesterday again. And we all knew what the rules were yesterday. The rules of publishing were simple. Authors, agents, books, incredibly long lunches--that was publishing. Not any more." 

Neil Gaiman is one of my favorite writers and this keynote at The Digital Minds Conference 2013 is further evidence why. 

​I've been an avid reader my whole life. Growing up in Puerto Rico my parents used to say that I was a "come libros," literally a book eater. The only thing I would consume more was music. You could see me with headphones from a brand new walkman or a book in hand, sometimes foolishly reading while walking. While my schoolmates grumbled at having to read Cervantes, Quijote was my hero.

Nothing has changed, I still devour books and music. Sometimes listening to music while simultaneously reading on the same device. Well, something has changed, I now have a deep understanding of what it takes to both write and produce a book. ​

And then there is digital. I've spent most of the past month tumbling through the wild frontier of editing, programming and packaging digital books in EPUB format. I find all of it challenging, frustrating and terribly exhilarating. I feel that to honor all those books I've read and that in many ways have consumed me, that I too have to do my part in figuring out the future of books. 

Writing, creating, is a dandelion thing. When writing, make good art. When coding, make good art. Produce beautiful content in beautiful packages, make good art. Try everything. 

Hand In Hand: Advice For Writers→

For Shared Worlds 2013, we have asked some of speculative fiction's finest artists, editors, and writers to write advice on their own hands and send us a picture.

Here are some of my favorite images and advice from the Shared Worlds 2013 Hand in Hand project: ​

Neil Gaiman

Gregory Norman Bossert

Lev Grossman

Patrick Rothfuss

The Adverb Is Not Your Friend

The adverb is not your friend.

"Adverbs, you will remember ... are words that modify verbs, adjectives, or other adverbs. They're the ones that usually end in -ly. Adverbs, like the passive voice, seem to have been created with the timid writer in mind. ... With adverbs, the writer usually tells us he or she is afraid he/she isn't expressing himself/herself clearly, that he or she is not getting the point or the picture across.

Every so often I re-read Stephen King's On Writing: A Memoir of the Craft. This time around the passage above was the thing that resonated with me the most. ​

Agony & Ecstasy: A Year with English National Ballet

Previously I shared the secret lives of dancers and looked at a year at The Australian Ballet. Recently I discovered a three-part documentary filmed in 2010 by the BBC following the English National Ballet as they stage a production of the most famous ballet, Swan Lake, with a Visa-challenged and therefore missing prima ballerina; address injuries and challenging casting choices for a production of Romeo and Juliet; and lastly, speed towards opening night of their biggest moneymaker, The Nutcracker, with a brand-new, incomplete, let alone ready, production. 

During the 2001-2002 season I worked with American Repertory Ballet, which included doing the marketing and subscription operations for many performances of a brand new The Nutcracker. Watching the third episode of this series brought back vivid memories of the process of staging and selling what is without a doubt the key financial production of any dance company.

In the first episode, we follow the production of Swan Lake at the Royal Albert Hall and its enormous cast of new and experienced dancers longing for recognition. When choreographer Derek Deane puts his reputation on the line by casting a talented but inexperienced young dancer with a world-class guest ballerina, the challenge is on. Derek demands absolute perfection, and all the dancers are under pressure to meet his high standards

We join the company as they fight to finish their most ambitious production of the year - Rudolf Nureyev's Romeo & Juliet. From tensions on stage to challenging rehearsals using real weaponry, the men are performing for their lives. The company are already undermanned so it's crucial that no dancers are injured, but it's only a matter of time before the demanding schedule takes its toll.

The final episode offers a raw and revealing insight into English National Ballet, one of the world's premier ballet companies, at the climax of one of its most demanding years. From injury and pain to success and elation, the series exposes the storm behind the calm of big ballet productions.

Wayne Eagling has a highly demanding job as the artistic director of English National Ballet, looking after the 64 dancers that produce eight ballets a year. He has also decided to put his neck on the line by creating his first full length ballet for the company - The Nutcracker. As the company's crucial and lucrative Christmas production, there is no room for error and Wayne must complete the two hour ballet on an extremely tight schedule.

The film follows the creative processes of a choreographer under pressure and a new production fighting against time. With an important audience of critics, donors and government officials expected on opening night, the show must be finished. But with rehearsals running late and severe snow disrupting the making of the sets, it seems the dancers, costume-makers and technical staff are all fighting for stage time right up until the curtain rises.