Courtney Johnston
Art, books, work and tweeting.
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Hi. Welcome back. It's been a while. It's nice to be back here. I hope to do this more in future.
In the meantime. This weekend at City Gallery Wellington I'm taking part in the Don Driver Symposium.
The basic details
Don Driver Symposium
City Gallery Wellington
Civic Square
1pm-3pm
Free entry
www.citygallery.org.nz
The Gallery have written a very proper description of the event:
Ritual was commissioned by the National Art Gallery as part of a series of artists’ installations in 1982. Don Driver responded with a confrontational and undeniably physical work that challenged definitions of installation and sculpture, and also people’s tolerance for and expectations of contemporary art. This symposium is a partnership between City Gallery Wellington and Te Papa and will focus on the legacy of Ritual and its maker Don Driver.
Speakers include Sarah Farrar (Te Papa), Aaron Kreisler (Dunedin Public Art Gallery), artist Eddie Clemens, Hamish McKay (Hamish McKay Gallery), Courtney Johnston (art writer and commentator) and Aaron Lister (City Gallery Wellington).
Me, I'm gonna be a little less proper. I'm super excited about this event. I'm excited Driver is being talked about. I'm excited to be part of the line-up (I speak and present all the time in my work/non-art life, but this is the first time I've been asked to speak at a gallery. I hope not to disappoint).
I'm also excited because Kirsty and Aaron have gone a little out on a limb here. It's a (relatively, I know) youthful line-up. These aren't necessarily the usual suspects who are presenting. Sarah will be talking about the history of Ritual, specifically as it relates to Te Papa. (I'm curious about this. There is so much myth built up around this work, and I want to see how much is true.) Aaron K will be talking about working with Driver's art as a curator, with specific reference to an exhibition he put together at the DPAG, '71-75'. Aaron loves and understands Driver's work. Eddie will give an artist's response. I don't know Eddie, and I have no idea what this will be like - but the hints I've heard sound a little mad, and intriguing.
Then Hamish and I will be 'in conversation'. I don't know if you've ever been there, but 'in conversation' with Hamish McKay is a pretty bloody amazing place to be. I really hope to get an impersonation out of him. I'm unsure what we will actually talk about, but that's part of the excitement, right? The anticipation. The guessing. Some things are better left unplanned.
After that, we all front up on a panel. As I get older, I find myself getting steadily stranger. The barriers between what's in my head and what comes out of my mouth are forever lowering. I hope I don't say anything too silly or too inappropriate. (Part of me hopes I say silly and inappropriate things. These art events could take a little lightening up).
Anyway. The real heart of this Driver, and Ritual. Not long after Obstinate Objects opened, I sent a friend I am working with on another project to see the work, totally unprepared. I wanted to see if it could 'speak' to someone smart and thoughtful who spends little time in art galleries. Here's what he wrote. These are some of the things I'll be thinking about leading up to Saturday, as well these thoughts from nearly five years ago, and memories of the people who have helped me see - really see - Driver's work over the years. I think Driver is an extraordinary artist. I think Ritual is a deeply strange work, caught between being timeless and being a period piece (that red flashing light). I am looking forward to seeing where this afternoon takes us.
I spent a lot of last week thinking about the special hold teenagehood has upon our memories and imaginations.
This was triggered first by a New York Times article titled Why is that nice girl from Friday Night Lights fighting a bunch of ninjas?. The article asked why we find it so hard to let actors move on from the parts they play in programmes we are loyal to, and as the title indicates, 'Friday Night Lights' figures strongly in the piece (as do 'The Wire' and 'Freaks and Geeks'):
The main unifying trait of these shows is this feeling that they are underdogs whom you alone seem to understand. “Friday Night Lights” and “Arrested Development” are prime examples. “Lost” somehow works, because if you do truly believe you understand it, you might very well be the only person in the world who does. Even then, this attachment applies only to select beloved characters, namely Sawyer, Locke and Ben. Matthew Fox is free to take new parts, because he was always Charlie from “Party of Five” to me, anyway.The crown jewel, though, is “Freaks and Geeks,” which existed for just 18 perfect episodes and was, conveniently, not only an underdog show but also a show about underdogs.
It interests me how many of these programmes (I would count 'My So-Called Life' in there too) are about or feature strong teenage characters. This thought was further reinforced when I went to hear Kelly Link speak at the Readers and Writers festival. Link's most recent publication is a selection of her short stories specifically targeted at the YA audience (although her work is cross-over in age-appeal as well as genre). Asked to define YA fiction, Link cited Garth Nix (in a reference I didn't catch, but which may have been this) and then offered another explanation. It's not necessarily fiction aimed at teenagers. But it is fiction that draws on the teenage state: a few short, intense years when you experience many things - a growing awareness of how you do or do not fit into the world, love, betrayal, unfairness, life-altering decision - for the first time.
I've read Oswald's slim, startling, epically beautiful re-writing of the Iliad twice already this weekend. You can read a long extract on Amazon, but here are a couple of my favourite passages:
DIORES son of Amarinceus
Struck by a flying flint
Died in a puddle of his own guts
Slammed down into the mud he lies
With his arms stretched out to his friends
And PIROUS the Thracian
You can tell him by his knotted hair
Lie alongside him
He killed him and was killed
There seem to be black flints
Everywhere a man steps
Like through the jointed grass
The long-stemmed deer
Almost vanishes
But a hound has already found her flattened tracks
And he's running through the fields towards her
Like through the jointed grass
The long-stemmed deer
Almost vanishes
But a hound has already found her flattened tracks
And he's running through the fields towards her
.....
SCAMANDRIUS the hunter
Knew every deer in the woods
He used to hear the voice of Artemis
Calling out to him in the lunar
No man's land of the mountains
She taught him to track her animals
But impartial death has killed the killer
Now Artemis with all her arrows can't help him up
His accurate firing arm is useless
Menelaus stabbed him
One spear-thrust through the shoulders
And the point cam out through the ribs
His father was Strophius
Like when a mother is rushing
And a little girl clings to her clothes
Wants help wants arms
Won't let her walk
Like staring up at that tower of adulthood
Wanting to be light again
Wanting this whole problem of living to be lifted
And carried on a hip
Like when a mother is rushing
And a little girl clings to her clothes
Wants help wants arms
Won't let her walk
Like staring up at that tower of adulthood
Wanting to be light again
Wanting this whole problem of living to be lifted
And carried on a hip
An interesting older article (via Mia Ridge) on 'Understanding Compelling Collections'. In it, John Coburn talks about the experiments the Tyne & Wear Archives & Museums did in 2010 with sharing their collections online.
Coburn writes eloquently about facing the challenge of finding audiences and attention in social spaces. What will be compelling?
The short answer, in my view, is anything that How To Be a Retronaut would share.
The site defines itself as a time machine with ‘capsules’ of historic image collections uploaded every day. The capsules are carefully curated. They are era-specific, event-specific, moment-specific. Abandoned New York movie theatres. Mug shots of destitute Victorian criminals. 1920s Egypt in colour. Yugoslav war memorials. The last surviving witness of the Abraham Lincoln assassination.
It’s a popular site averaging 30,000 visitors a day, and over a million a month. Each capsule is generally shared a thousand times by viewers. The likely reach for each capsule is beyond calculation.
These images are the stuff museums and archives have in abundance. So neatly sidestepping the interminable question of copyright, why are many museums reaching only a fraction of this audience with our collections online.
Chris Wild of How To Be a Retronaut suggests the following “(Museums and archives should) forget about history and think about imagination. (Focus on) the images that tap into magic and the sublime. The images that disrupt people’s model of time, fracture it, break it apart. Looking at these images, viewers should encounter eternity and their own mortality”.I agree with Coburn. I think digitisation should be promiscuous. I think people should be just flinging this stuff through the digitisers (by which I mean, whatever machine they're using) and bunging on the minimum amount of metadata, and then getting them up online. Stop agonising over the quality of your descriptions, over how to prioritise your programme, and just get the presses rolling. Digitise old stuff, so you don't have to worry about copyright so much. Take a risk and put stuff up; clearly post a take-down notice in case anyone objects. Allow people to add information to improve searchability - not squitty little tags, but proper big text fields. Even better, if you have the resource, do something like Brooklyn Museum's Posse and let QA'd contributions enter the metadata.
Making these collections compelling takes a lot of work though. When I was working at the National Library, getting our collections up on The Commons on Flickr was such a rush - so many barriers jumped in such a small amount of time. But the stuff we could share was so carefully vetted that we were (initially at least) restricted to innocuous landscapes and photos of ships - i.e., anything that didn't have people in it. We did the best with what we had, but it hurt knowing what great stuff - what magical and sublime things - we had in the collections.
Even now, I'm entranced on a regular basis. Photos of instructions for a wool-processing machine. Of awkward looking wanna-be models in the 1970s. Of a display of tire treads, or lightbulbs, or lampshades.
Or my recent obsession, photos of children from the 1870s and 1880s taken in the Whanganui studio of William James Harding. The children change, but the two rockinghorse props stay the same (I'm also beginning to suspect the beret and boater were studio props as well). And the children themselves, solemn, rarely cracking that cheeky, knowing grin of children who grew up with little cameras in the home. Often doughy, lumpen. Wearing these voluminous clothes, petticoats poking out, big black boots on their small feet. I've started a little board on Pinterest for my favourites, just to see if other people find them compelling too.
Essentially, if a work of art or an antique is of personal or financial importance, it pays to get a second opinion if you don't much care for the first one. The job of an expert is to use acquired skills and natural gifts to narrow the gap between opinion and fact. The better the expert, the more narrow the gap—but it never disappears entirely. Experience teaches collectors, dealers and art historians that mistakes are unavoidable. Learning from them is often more beneficial and less expensive than going to court.
And in a timely coincidence, a piece from the New York Times on avoiding buying fakes. Endearingly, it's from a column titled 'Wealth matters', and includes this sentence in its preamble: "I know enough about the art world to know that is a secretive, clubby place with more than its fair share of eccentrics."
Over on my work blog, I've written two posts reflecting on Webstock 2012:
Some days on the radio feel like a job interview - you have your spiel prepared, but the first question wrong-foots you. Yesterday Kathryn asked me a bunch of unexpected questions about dealer galleries. I'm not sure where her perspective comes from, but it's quite different from mine. (Links to some of the things I talked about are on the RNZ website.)
Completely unrelated: here are the reading lists I've put together for the 'What I've Been Reading' sessions at the last two Kiwi Foo Camps.
I read Tom Bissell’s Extra Lives: Why Video Games Matter and Pippin Barr’s How to Play a Video Game in one long binge over Waitangi weekend. I realised at the end of the weekend that I had read the books in what would seem to be the wrong order - Bissell’s longer memoir first, Barr’s slim primer second - but I think this accident brought more depth to both.
Let’s start with autobiography. Barr uses autobiography as a framing device, taking us through his near life-long history of gaming, from playing Aztec as a four-year-old on the family’s new Apple IIe to his job now in Copenhagen, 28 years later, teaching video game design in a university. The journey wends past games arcades, rented Sega Mega Drives, teaching his uncle to play Red Dead Redemption, and Barr’s moment of internet splendour last year, when his own game The Artist is Present broke out of the niche of indie game forums and hit the online pages of publications as diverse as HuffPo and The Arts Newspaper.
Barr tells us the personal narrative of his history with his subject matter; this is a hallmark of Awa Press’s Ginger Series, of which How to Play a Video Game is the 12th release. Ginger Series authors give us an entry into a world they enjoy, even adore, through sharing the story of their own romantic relationship with it. Bissell takes this autobiographical approach much further. His book criss-crosses between reportage, travelogue, love letter, and excoriating self confession, especially when it comes to his several years spent not writing (he was the author of several books of fiction and a regular columnist for a number of magazines), playing games in marathon-like sessions, and throwing cocaine up his nose:
Soon I was sleeping in my clothes. Soon my hair was stiff and fragrantly unclean. Soon I was doing lines before my Estonian class, staying up for days, curating prodigious nose bleeds and spontaneously vomiting from exhaustion. Soon my pillowcases bore rusty coins of nasal drippage. Soon the only thing I could smell was something like the inside of an empty bottle of prescription medicine. Soon my biweekly phone call to my cocaine dealer was a weekly phone call. Soon I was walking into the night, handing hundreds of dollars in cash to a Russian man whose name I did not even know, waiting in alleys for him to come back – which he always did, though I never fully expected him to – and retreating home, to my Xbox, to GTA IV, to the electrifying solitude of my mind at play in an anarchic digital world.So Barr’s story is a beginner’s guide that shares his own beginnings; Bissell’s a classic bildungsroman. Both writers verge into being obsessive players, regularly logging 80+ hours on a game (‘I can think of only one other personal activity I would be less eager to see audited in this way’, writes Bissell, ‘and it, too, is a single-player experience’). Bissell seems more performance and personality focused (his interviews with figures in the game design world are a strength of the book that prevent it from becoming me-me-me-ish), Barr somewhat more philosophical and reflective.
...
Video games and cocaine feed on my impulsiveness, reinforce my love of solitude and make me feel good and bad in equal measure. The crucial difference is that I believe in what video games want to give me, while the bequest of cocaine is one I loathe. I do know that video games have enriched my life. Of that I have no doubt. They have also done damage to my life. Of that I have no doubt. I let this happen, of course; I even helped the process along. As for cocaine, it has been a long time since I last did it, but not as long as I would like.
There are many points where I could do a compare and contrast, or just write a list of 200 Things I Learned Reading These Books (I need to declare at this point that I am a hopeless non-gamer, and that everything here was new to me, from William Higinbotham, to the use of ‘training sessions’ at the start of a game to teach you the controls, to the beauty of Flower). But the thing that really interested me, and the thing that I really want to explore here, was each writers’ underlying concern in their book.
For Bissell, the writer, this concern is storytelling, and how video games are still weighted towards game play rather than narrative:
This is one of the most suspect things about the game form. … A game with an involving story and poor gameplay cannot be considered a successful game, whereas a game with superb gameplay and a laughable story can see its spine bend from the weight of many accolades—and those who praise the latter game will not be wrong.Early in the book, Bissell reflects on a piece of juvenilia, an essay for an anthology of “young writing”, where he wrote about ‘video games and whether they were a distraction from the calling of literature’. Then he questioned where video games land on ‘art’s fairly forgiving sliding scale’; today, he says, with video games the youngest and increasingly dominant form of popular art, such questions are redundant.
However, he continues, in that essay he was trying to talk about the intelligence that distinguishes art works from everything else. Intelligence, he says, can be expressed in all sorts of way; morally, formally, technically, stylistically, thematically, emotionally. Masterpieces - the things we identify as wiping the table with their intelligence - are comprehensively intelligent; intelligent in all sorts of ways. And they are generally the result of one unified vision, one single game. Video games, he notes, are usually the products of many minds: many games ‘have more formal and stylistic intelligence than they know what to do with and not even trace amounts of thematic, emotional or moral intelligence.’
Can game play and narrative ever be happily melded? Bissell is unsure:
A noisy group of video-game critics and theoreticians laments the rise of story in games. Games, in one version of this view, are best exemplified as total play, wherein the player is an immaterial demiurge and the only ‘narrative’ is what anecdotally generated during play. (Tetris would be the best example of this sort of game.) My suspicion is that this lament comes less from frustration with story qua story than it does from the narrative butterfingers on outstanding display in the vast majority of contemporary video games. I share that frustration. I also love being the agent of chaos in the video game world. What I want from games - a control as certain and seamless as the means by which I am being controlled - may be impossible, and I am back to where I began.Bissell also observes that video games are different from other art forms in one very exact way: the player is just that - not a viewer or reader, but an active, decision-making participant. Bissell casts around extensively on the potential conflict between narrative and gameplay and, by extension, between the player’s agency and surrender. ‘You get controlled and are controlled’, he notes: the balance is more equal than most forms of art, but the fact that you get to shape the story to any extent reminds you that ‘a presiding intelligence exists within the game along with you, and it is this sensation that invites the otherwise unworkable comparisons between games and other forms of art.’
For Barr, this is less a conundrum than a fruitful tension. His special interest - as a gamer, an academic, and increasingly the game creator - it is playing against the grain, exploring what the world offers, how far you can probe it. What happens if you walk away from your mission and instead decide to drive your car into a lake or watch a rabbit hop around your horse?
In one chapter, Barr describes going off the rails in Grand Theft Auto IV:
When the game demands you ‘drive to the second diamond pickup’, go rogue: veer the truck away from this destination and start calling the shots yourself. Drive for a while, and listen to a jazz station on the radio as you search for something new to do.I’m pretty underwater jazz wasn’t what the morality police were thinking of when they condemned Grand Theft Auto IV in one of those regular Think of the Children pieces about video games. And a following paragraph gives an interesting spin on Bissell’s worries about control:
Eventually you find yourself in the game’s version of Central Park. You carefully drive the lage garbage truck down leafy pathways, swerving to avoid pedestrians. Looking for an amusing diversion, you drive into a lake and somehow manage to keep going with half the vehicle submerged. The music becomes muted by the water, lending a muffled soundtrack to the already strange scene. You drive like this for a while, tooting the horn at people walking next to the water. They stop and star at the incongruous sight of a garbage truck driving in a lake in Central Park.
So, there are two very different ways to approach a video game. You can perform - focusing on trying to do the right thing, succeeding, and ultimately winning on the game’s terms. Or you can play - doing what you want to do, not what you ‘should’ do. The idea that we can decide how we feel like relating to a video game is important, even revolutionary. It means we are playing the game, not the other way around.Gaming the game doesn’t necessarily mean gaming the game’s maker, however. Instead, it’s more like picking up the ball they’ve just tossed you:
... it’s not just that you can do these things, the game’s creator wants you to. Playing a game can be seen as a kind of conversation with its designer. Each time you try something … it’s like asking the designer a question: ‘What if I do this?”. Their answer comes in the way the game responds to your actions.This was the point that really fired my imagination in the two books - and brought me circling back to the frustration Bissell feels. No matter how many diversions you take or daft things you attempt, you’re still playing inside a circumscribed world, one where every pixel is controlled by rules someone else put in place.
The one exception might be the kinds of game that Barr clearly loves: simulations like The Sims, and the collaborative world-building game MInecraft. It is the potential for collaborative play that really seems to thrill him:
A big part of the excitement of playing a game with someone else is sharing a world with them. Even the simple act of handing an object to a friend in Minecraft invests the experience with a strong sense that you’re both really there. Some of the most magical experiences I have had in a video game happened when a friend and I walked together through the world of Minecraft, commenting on each spectacular rock formation we saw, and decorating entire landscapes with torch patterns just so that we could stand together at a vantage point and admire the beauty of what we’d made.But it’s not just the happy happy joy joy game worlds where this feeling is evoked:
Video games creators have lately been catching on to the idea that we might not always want to engage in mortal combat against our friends and families, but play together instead. Often this means teaming up to engage in mortal combat against others. In Left 4 Dead, a zombie-based game, four players join forces to try and survive in various zombie-infested locations. While battling zombies is entertaining on its own, having a friend rush to your side to dislodge a zombie and then give you medical aid can really get the adrenaline pumping …With more space and a different remit, but to the same conclusion, Bissell also discusses Left 4 Dead. He recounts one game in which he had to choose between personal ‘safety’, and going back out to rescue his three teammates, against seemingly impossible odds:
… There are few gaming experiences more immediately stunning than seeing another person run past you in the same virtual world. The realisation that various moving figures around you are, in reality, all people who are playing the same game, following the same rules, and sharing many of the same objectives as you is a paradigm shift. [These virtual worlds] take on a greater significance because you are literally in it together.
At great personal risk, and out of real shame, I had rescued two of my three friends and in the process outfaced against all odds one of the best Left 4 Dead teams I had and have ever played against. …I want to bring in a quote now from a recent post on Barr’s blog. It was through Barr’s blog that I began to develop a curiosity about video games - their making, their playing, their legends, their philosophies. Barr’s blog is more sophisticated, more revealing, more humourous than his book - perhaps because it is written for that marvellous thing, the half-imagined, half-obscured audience of people who are just like the author.
The people I saved that night still talk about my heroic action - and yes, it was, it did feel, heroic - whenever we play together … All the emotions I felt during those few moments - fear, doubt, resolve, and finally courage - were as intensely vivid as any I have felt while reading a novel or watching a film or listening to a piece of music. For what more can one ask? What more could one want?
In this post, Barr comes back to this point he and Bissell have been circling, this magical opportunity. Reviewing an article by another writer on the four types of video game tragedy, he concludes:
we could suggest that much of the tragic isn’t about making choices but rather about the inability to make them. Perhaps one of the challenges for tragedy in video games is to jettison the notion that the player should always be the explicit author of their circumstances but instead as merely one part in a larger world which is not always impressed or even affected by their actions.My overall impressions? Barr’s book is (by design, I believe) more simplistic than his wonderful and self-effacing blog; I think he has a deeper and stranger book hovering in his near future. Bissell’s book is a little baggy-seated, and occasionally repetitive, but also very entertaining. But both have opened my eyes, not just to the rich, deep, wide, silly, expensive, violent, harrowing and pluripotent world of video games, but also to the conversations that go on within it.
Beyond this, however, I think it’s simply true that we, as players, need to get our shit together a bit and attempt to engage with the drama of the games we play. If it’s really true that we’re incapable of choosing a tragic ending, then to my mind that suggests a degree of apathy and weakness of spirit on our part and we ought to train ourselves to be stronger participants. It would help, of course, if games themselves respected us more in this same way, but it’s clearly a shared problem, not the pure responsibility of game makers.
I'm sloooooooooowly tapping out a review of two books I read over Waitangi weekend, before my brain went on the fritz due to the annual overload of Kiwi Foo Camp and Webstock: Tom Bissell's Extra Lives and Pippin Barr's How to play a video game.
The aspect of Barr's book that really struck me was his notion of playing games against the grain - departing from the central narrative in order to explore the world you're in, or departing from the given context to play the game from a different perspective.
Barr's latest blog post is on another writer's article, Line Hollis on tragedy in video games, and picks up somewhat on this theme:
I think it’s simply true that we, as players, need to get our shit together a bit and attempt to engage with the drama of the games we play. If it’s really true that we’re incapable of choosing a tragic ending, then to my mind that suggests a degree of apathy and weakness of spirit on our part and we ought to train ourselves to be stronger participants. It would help, of course, if games themselves respected us more in this same way, but it’s clearly a shared problem, not the pure responsibility of game makers.At the risk of sounding all Shit Non-Players Say About Video Games, these two books have introduced me to a medium to which I've previously given very little thought. It means that now I click through to things like this article about the career (and death) of the video game artist Adam Adamowicz, and feel a new sense of interest and understanding. It's the gift that good writers give you.
A fascinating job up for grabs at Opera Australia
Opera Australia aims to present opera that excites audiences and sustains and develops the artform. As part of this mission, we have established the role of Geek in Residence to assist the Company in developing several online initiatives designed to connect with a broad audience over a 12 month period. These projects include building on the Company’s current social media activity, developing an opera-based interactive game, researching a Facebook online ticketing facility, and improving existing online portals for multimedia access.
They're also asking for killer project management skills - it's a complex bundle. I'll be interested to see how it turns out.
For the second year in a row, my favourite session at KiwiFoo Camp was run by the extraordinary Robert Neale. This year Robert blew the room away by reciting then helping us unravel a selection of love poems.
Here's what we heard (and if I've missed anything, please let me know - @auchmill):
Shakespeare's Sonnet 18
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate;
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date;
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st:
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.
Shakespeare's Sonnet 116
Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come:
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.
Shakespeare's Sonnet 130
My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damask'd, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground:
And yet, by heaven, I think my love as rare
As any she belied with false compare.
In response to which, Tim O'Reilly mentioned Richard Wilbur's Praise in Summer: "Then I wondered why this mad 'instead' / Perverts our praise to uncreation."
Shakespeare's Sonnet 138
When my love swears that she is made of truth
I do believe her, though I know she lies,
That she might think me some untutor'd youth,
Unlearned in the world's false subtleties.
Thus vainly thinking that she thinks me young,
Although she knows my days are past the best,
Simply I credit her false speaking tongue:
On both sides thus is simple truth suppress'd.
But wherefore says she not she is unjust?
And wherefore say not I that I am old?
O, love's best habit is in seeming trust,
And age in love loves not to have years told:
Therefore I lie with her and she with me,
And in our faults by lies we flatter'd be.
Andrew Marvell's To his Coy Mistress
Had we but world enough, and time,
This coyness, lady, were no crime.
We would sit down and think which way
To walk, and pass our long love's day;
Thou by the Indian Ganges' side
Shouldst rubies find; I by the tide
Of Humber would complain. I would
Love you ten years before the Flood;
And you should, if you please, refuse
Till the conversion of the Jews.
My vegetable love should grow
Vaster than empires, and more slow.
An hundred years should go to praise
Thine eyes, and on thy forehead gaze;
Two hundred to adore each breast,
But thirty thousand to the rest;
An age at least to every part,
And the last age should show your heart.
For, lady, you deserve this state,
Nor would I love at lower rate.
But at my back I always hear
Time's winged chariot hurrying near;
And yonder all before us lie
Deserts of vast eternity.
Thy beauty shall no more be found,
Nor, in thy marble vault, shall sound
My echoing song; then worms shall try
That long preserv'd virginity,
And your quaint honour turn to dust,
And into ashes all my lust.
The grave's a fine and private place,
But none I think do there embrace.
Now therefore, while the youthful hue
Sits on thy skin like morning dew,
And while thy willing soul transpires
At every pore with instant fires,
Now let us sport us while we may;
And now, like am'rous birds of prey,
Rather at once our time devour,
Than languish in his slow-chapp'd power.
Let us roll all our strength, and all
Our sweetness, up into one ball;
And tear our pleasures with rough strife
Thorough the iron gates of life.
Thus, though we cannot make our sun
Stand still, yet we will make him run.
Sonnet 138 made me think of Philip Larkin's Talking in Bed
Talking in bed ought to be easiest,
Lying together there goes back so far,
An emblem of two people being honest.
Yet more and more time passes silently.
Outside, the wind's incomplete unrest
Builds and disperses clouds in the sky,
And dark towns heap up on the horizon.
None of this cares for us. Nothing shows why
At this unique distance from isolation
It becomes still more difficult to find
Words at once true and kind,
Or not untrue and not unkind.
And in the session, Tim also quoted from Yeat's Brown Penny
Ah, love is the crooked thing.
There is nobody wise enough
To find out all that is in it.
For he should be thinking of love
Till the stars had run away
And the shadows eaten the moon.
And given that it is the season, the Guardian's selection of love poems made by contemporary writers (including some of my beloved Thomas Wyatt) makes wonderful follow-on reading.
After dismissing it for several months (on the basis of adorkability overload), I've started playing with Pinterest.
If you've been hiding under one of those handy internet-rocks for a while, Pinterest is a social sharing site on which members create 'boards' of images gleaned from around the web, which can then be followed and liked by other members; individual items can also be 'repinned' from another member's board to your own. The site is very popular with designers, stylists, crafters, and the kind of people who tumble pretty shiny things. Like Tumblr, there's a certain element of look-at-me-and-my-exquisite/quirky-taste.
I started using the site because I wanted to see how heritage items would fare on it. Would they pique the curiosity of members? What would prove of the most interest (pinterest?)? Could pinning an item from a website lead people back to the source? Might all this lead people to start investigating heritage material for themselves?
More than a year and a half after leaving the National Library, where I worked on several channels aimed to open up the collections to a wider online audience (like the @NLNZ twitter account, and getting the Library on Flickr Commons), these are questions I still spend a lot of time thinking about. And, to be honest, I spend a lot of time scouring the collections, through Digital New Zealand and National Library Beta. I constantly find things that tickle my fancy, start a Wikipedia trawling session, puzzle me, move me: above all, I find things that require sharing.
So, I have started using Pinterest.
I'm only a couple of days in. I've set up boards for old photos of hats and hairstyles, beautiful commercial and social marketing posters, Kobi Bosshard, Karl Fritsch, and hotties from history (because I'm still disappointed about not being able to add Bob Semple to My Daguerreotype Boyfriend). From the little bits of activity I've seen so far, graphic design is by far and away the most popular content, and colourful also attracts attention (so more Karl Fritsch, less Kobi Bosshard).
If I were still at the Library, and not doing this myself, I'd be far more active - searching the site, following boards, repinning and commenting away merrily. As it is, the site's content is by and large not to my personal interest: I'm not going to while away time as I do on Goodreads. I have started following a couple of existing (real world) friends, and following SFMOMA's It's hip to be square board (totally to my liking).
From my brief experiment, I'd say Pinterest is definitely worth collecting institutions' attention. It's easy to sign up (although it's interesting that you create accounts by authorising connections to your Facebook or Twitter account: you're a bit buggered if you haven't started taking those basic steps) (also, you have to wait days to have your membership activated - WTF?). The bookmarklet tool is convenient to use (and highlighting text on a page automatically inserts it into the item's description on the site). And maybe most importantly, copyright seems to be well managed.
The community rules encourage good acknowledgement of sources and accurate links back to the original item. Individual items display their original source prominently. You can tailor your description to include all the source acknowledgements you like. There are ways of seeing all the items from a specific site. The Copyright page has clear instructions for anyone who feels their work is being misused. This won't be nearly enough for some institutions, but really - it's time to come play in the real world.
This blogpost has (painstakingly detailed) instructions for getting started on the site; this one identifies a couple of museums that are already on there. I feel like my (aging now) questions you should ask yourself before setting up one of these channels for your organisation still hold pretty firm:
- Why do you want to do this? What's the big good reason for doing this, and can your aims be achieved using any existing tools?
- What are you offering? Where will the content come from, and is there anything you have to do to ensure you can use it or make it?
- Who is this for? Who is the audience you're reaching out to, how will you engage with them, and do they want to hear from you?
- Who will be doing this? Any form of outreach needs staff with some time allocated to the endeavour, and a knack for tweaking people's interest.
I think this is the first time I've ever written about a movie tie-in, but this is very clever.
The Hunger Games opens in March this year. The Capital Couture tumblr is a beautifully designed teasey sneak-peak at the outrageous fashion of the decadent Capitol (really - if you haven't read the books, I'm not going to bother to summarise them here for you - Wikipedia is your friend).
The stylistic escapades didn't really grasp me when I read the books - they felt like a blatant grab at the teenage girl market (not that there's anything wrong with that). But as soon as I saw this tumblr, I understood in one of those blinding flashes of d'oh insight just how important style and presentation are going to be in the movie trilogy.
The tumblr is intriguing in that it's taken a sidenote in the bigger story and very successfully spun it off. It's almost entirely self-contained, steering away from the plot to focus on the delicious surface. And by leaking shots of a character in McQueen booties and speculating on Mugler bodysuits, the site latches on to a potentially new audience of fashion obsessed tumblrers and Pinteresters. It's very very sharp, and I'm looking forward to seeing how it evolves.
Drifting around on the wonderful Brainpickings site, I stumbled upon this description of Roald Dahl's Matilda, which knocked me for six:
Originally published in 1988 and illustrated by Quentin Blake, Roald Dahl's Matilda is often seen as a formative foundation for the millennial generation. With its story of an extraordinary child whose ordinary and disagreeable parents dismiss their daughter’s prodigious talent, its central theme echoes millennials’ self-perceived status as a misunderstood social actors with underappreciated talent. More importantly, however, the theme of violence and the abuse of authority — a recurring theme is Dahl’s novels — is a particularly timely one in the sociocultural context of today’s political unrest around the world, from the Middle Eastern revolutions to civic protests across Europe.
While I'm accustomed to reading about adults' levels of discomfort over the violence and evilness of most non-kid characters in Dahl's work, I've never considered Matilda in this light. (It's also interesting to note that Matilda was published in 1988, and that the notion of Gen Y / the Millenial Generation was coined in 1993.) As a not-quite-Millenial myself, I read Matilda round about the end of primary school / my early teens, and took from it three messages: that reading is important and can help you fashion your life; that even though they made you, your parents won't necessarily get you; and that school is the first place in which you create yourself.
So I'm not sure I buy this assessment. The nasty characters in Dahl's books are caricatures, and I think that kids get that (even if not all adults do). Dahl's child characters overcome through wit, cunning and resilience, not rebellion. Still, it's piqued my interest enough to feel the need for a re-read.
It was never a question for me - I would only ever want to be tempestuous, ambitious, boyish Jo March (and I still haven't forgiven her for turning Laurie down and going off with boring old Mr Bhaer).
It's the 50th anniversary this year of Madeleine L'Engle's A Wrinkle in Time, and Pamela Paul opens an article in the NYTimes about the wonderful Meg Murray by noting that:
Bookish girls tend to mark phases of their lives by periods of intense literary character identification. Schoolgirls of the ’70s had their Deenie and Sally J. Freedman and Margaret moments, muddling through adolescence in the guise of one Judy Blume heroine or another. And for almost a century and a half, girls have fluctuated between seasons of Amy and Meg and Jo March, imagining themselves alternately with blond corkscrew curls, eldest sister wisdom or writerly ambitions.Paul investigates how A Wrinkle in Time gave girls an unusual role model: a science fiction heroine, a girl who combined mathematical abilities with fierce family loyalty. Although I enjoyed the book, A Wrinkle in Time never captured by heart: however, one of my favourite books of recent years, Rebecca Stead's When You Reach Me, is a kind of love letter to L'Engle's work, taking her themes of time travel, loss and love and weaving a new story set in 1970s New York, and with Miranda as a Meg for the contemporary reader.
From the occasional book reviews file: Peter Ackroyd's The Death of King Arthur.
>>>>>>
I wanted so much to enjoy this book. I hesitate to say 'love this book', because I'm not an Ackroyd fan, but the subject matter here - I am a die-hard Arthur groupie - should have made this an easy win.
However. I found Ackroyd's retelling flatfooted, emotionless, and barren. Stripped-back prose I might have admired, but here we get stripped back storytelling.
The King Arthur story has been a massive part of my imaginative life since I was little. My first introduction, I think, was Roger Lancelyn Green's 'King Arthur and his Knights of the Round Table'. I still have a copy of the book, and have dipped into it frequently. [Green added the story of Sir Gawaine and the Loathsome Lady to the Arthurian repertoire, and it's one of my favourite fables of all time; that and Kipling's 'White Seal'.]
Green keeps the archaic language (hithers and thithers and thees and thous) which I found incredibly romantic as a kid. He gives a sense of the destiny that drives the Arthurian story - Arthur is a flawed man in a flawed world, trying to do the right thing, fated to fail. It's also a story of adventure and magic, quests and chivalrous acts.
From Green I moved on to T.H. White - first 'The Sword in the Stone' as a little'un, and then 'The Once and Future King' when I was in my teens. Whatever moral compass I have, I owe mostly to White. Some may find him verbose and cheesy: I find 'The Sword in the Stone' to be one of the most fine, most pure, most gently lovely things ever written. It also introduced me - through Merlin's backwards-through-time life - to irony and and a kind of proto-postmodern humour; grown-up humour.
'The Once and Future King' takes us from a funny, thoughtful, educational story to a full-blown tragedy. The triangle between Lancelot, Guinevere and Arthur drives the story, and what I have always loved about this version is that White tries to turn the three into real people, not ciphers. You sympathise with all three, and every time I draw near the end of their story, the tears come rolling down.
In my first year of university, I decided it was time to buy a copy of the daddy of them all, Malory's Morte d'Arthur. I've never even attempted to read it cover to cover - I dip into and out of it, visiting the stories I picked up through Green and White. And I love the lushness of the language. I don't bother to try to follow the narrative, I just soak in the words. It is a Romance, consistent with all that that means - a meditation on courtly love, chivalry, kingship, nobility, a set of lessons for listeners couched as entertainment.
So what does that leave Ackroyd? The problem is, when you strip away Malory's language but don't add any - for the lack of a better word - psychology, you don't have romance and you don't have any reason for the actions. You don't love anyone, and you don't fear for them. You don't have that sadness of history - that sense of experiencing a long-ago loss - that Adam Gopnik recently identified as a key aspect of chidren's love of fantasy:
What substitutes for psychology in Tolkien and his followers, and keeps the stories from seeming barrenly external, is what preceded psychology in epic literature: an overwhelming sense of history and, with it, a sense of loss. The constant evocation of lost or fading glory—Númenor has fallen, the elves are leaving Middle-earth—does the emotional work that mixed-up minds do in realist fiction. We know that Westernesse is lost even before we know what the hell Westernesse was, and our feeling for its loss lends dimension to those who have lost it.
Instead, Ackroyd left me dissatisfied, with a one-dimensional set of stories and no sympathy.
How to explain? Let's try this. Arthur is the son of Igraine, wife of the Earl of Cornwall, and Uther Pendragon, King of England. Uther fell for Igraine when she and her husband Gorlois visited his court, but when he tried to force himself upon her they fled for their castle. Uther, maddened for her, marched on Cornwall with an great army; Gorlois hid Igraine away in Castle Tintagel, and went himself to Caste Terribel, where Uther besieged him. Though many skirmishes were fought and many man killed, Uther came no closer to Igraine, and, as Malory puts it, 'for pure anger and great love of fair Igraine the King Uther fell sick'. One of Uther's knights went forth to seek Merlin to save the king, and in return for securing Uther's agreement that he would receive any one thing he asked for, Merlin agreed to get him into Igraine's bed.
Merlin conjured Uther into the likeness of Gorlois, and himself and one of Uther's knights into the guise of Gorlois's closest companions. When Gorlois rode forth to attack Uther's armies, Merlin smuggled the king into Igraine's bed, where Arthur was conceived. Uther left Igraine, and hours later she learned her husband had been killed in battle - bewildered and grieved, she kept her puzzlement over his seeming visit to herself. Within thirteen days Uther had secured the agreement of the nobles of England that Gorlois's widow should become his wife.
How then, to reconcile Arthur's seeming bastard birth with the legend? Here's how the four writers manage it.
Green elides the topic somewhat (fittingly, I guess, for someone writing for children in the 1950s):
...Uther fell in love with Gorlois's wife, the lovely Igrayne, and there was a battle between them, until Gorlois fell, and Uther married his widow.Malory tidies the ends up so that Igraine becomes a heroine, and not an exploited and betrayed woman:
He visited her first in the haunted castle of Tintagel, the dark castle by the Cornish sea, and Merlin the enchanter watched over their love. One child was born to Uther and Igrayne - but what became of that baby boy only the wise Arthur could have told, for he carried it away by a secret path down the cliff side in the dead of night, and no word was spoken of its fate.
The Queen Igraine waxed daily greater and greater, so it befell after within half a year, as King Uther lay by his queen, he asked her, by the faith she owed to him, whose was the child within her body; then she was sore abashed to give the answer. Dismay you not, said the king, but tell me the truth, and I shall love you the better, by the faith of my body. Sir, said she, I shall tell you the truth. The same night that my lord was dead, the hour of his death, as his knights record, there came to my castle of Tintagil a man like my lord in speech and in countenance, and two knights with him in likeness to his two knights Brastias and Jordans, and so I went unto bed with him as I ought to do with my lord, and the same night, as I shall answer unto God, this child was begotten upon me. That is the truth, said the king, as ye say; for it was I myself that came in the likeness, and therefore dismay you not, for I am the father of the child; and there he told her all the cause, how it was by Merlin's counsel. Then the queen made great joy when she knew who was the father of her child.Here's Ackroyd:
Day by day Igraine grew greater with child. Uther lay with her one night and asked her, on the faith she owed to him, whose offspring it was. She was too ashamed to answer. 'Do not be dismayed,' he told her. 'Tell me the truth, I shall love you all the more for your honesty.'
'I will speak the truth to you, my lord. On the night that my husband died a stranger came to Tintagel in his shape; he had the same speech, and the same countenance,as the duke. There were two companions with him, who I thought to be Sir Brastias and Sir Jordans. So I was deceived. I did my duty, and lay beside him in our bed. I swear to God that, on that same night, this child was conceived.'
'I know, sweet wife, that you are speaking the truth. It was I who came to the castle. I entered your bed. I am the father of this child.' Then he told her of the magic of Merlin, and she marvelled at it. But she was overjoyed, too, that Uther Pendragon was the sire of her offspring.
God, I hate that use of 'offspring'. The two passages are nearly the same, but I find Ackroyd's so charmless.
'The Sword in the Stone' doesn't explain Arthur's origins at all. The task of explaining this falls to four small boys - the brothers who would become Arthur's knights Gawaine, Gaheris and Gareth, and the traitorous Agravaine - huddled together in a draughty tower, telling each other a well-worn family story.
"So when our Grandfather and Granny were winning the sieges, and it looked as if King Uther would be utterly defeated, there came along a wicked magician called Merlyn --"
"A nigromancer," said Gareth.
"And this nigromancer, would you believe it, by means of his infernal arts, succeeded in putting the treacherous Uther Pendragon inside our Granny's Castle. Granda immediately made a sortie out of Terrabil, but he was slain in the battle --"
"Treacherously."
"And the poor Countess of Cornwall --"
"The chaste and beautiful Igraine --"
"Our Granny --"
"-- was captured prisoner by the blackhearted, southron, faithless King of the Dragon and then, in spite of it that she had three beautiful daughters already whatever --"
"The lovely Cornwall Sisters."
"Aunt Elaine."
"Aunt Morgan.'
"And Mammy."
"And if she had these lovely daughters, she was forced into marrying the King of England - the man who had slain her husband!"
They considered the enormous English wickedness in silence, overwhelmed by its denouement. It was their mother's favourite story, on the rare occasions when she troubled to tell them one, and they had learned it by heart.
One of the things that fascinated me, reading back over the different versions of this chapter, was that White's retelling takes Malory's words and inserts into the children's story verbatim:
"The chaste and beautiful Countess of Cornwall," resumed Gawaine, "spurned the advances of King Uther Pendragon, and she told our Grandfather about it. She said: 'I suppose we were sent for you that I should be dishonoured. Wherefore, husband, I counsel you that we depart from hence suddenly, that we may ride all night to our own castle."Call me a romantic, but for me, White will always best convey the heart of Malory's tale. Sure, he brings a Tolkienesque dying-of-the-days to it, a note that Ackroyd strips out. But Ackroyd also takes all the emotional heft out of the story, and doesn't replace it with anything. I wish it was otherwise - I'm sure others will react differently to me - but, well, THWHITE4EVA.
[I drafted this review in my email. When I got to Goodreads, this was the final sentence of the very short description of the book: "This title presents readable accounts of the knights of the Round Table." I could have saved some typing ...]
Two points. One, I am still vaguely resentful that I'm neither fully-fledged Gen X nor Gen Y. Two, I want to claim GLAMAZONS (galleries, libraries, archives, museums, aquariums and zoos) as my own invention, before pointing you to a post that mentions ZAMs (zoos, aquariums, museums).
Colleen Dilenschneider's 8 Top Tips for Museums and Non-Profits to Engage Millenials in 2012, based on Tina Well's Top 10 Gen Y Trends for 2012:
- Sell admission by emphasising the good that your institution does
- Tell people what's special and immediate about the experience you're offering
- I refuse to type in this made-up term; you're going to have to click through for that one
- Blah blah technology blah blah (I'm a bit dubious that point 2 and point 4 work together, unless you make technology the point, and that's shortsighted)
- "Curators are no longer the celebrity rockstars of the museum world… the visitors now hold that title." Awww, bless. I hope someone told the curators about their rockstar status in 2011, when they could still enjoy it.
- Take people behind the scenes - non-generationally specific good advice
- Get your stuff online - help people use it (this I can wholeheartedly agree with)
- Engage at a personal level to get donations, and make it easy to donate online
Overall, I'm not taken by either of these posts. But I often find it's the stuff that annoys me that I need to pay more attention to.
One of the things I do every summer is edit my Feedreader subscriptions (I know - wild, right?). This summer I stripped out a bunch of save-the-world web designy type subscriptions and replaced them with a new folder called Economics.
I've made a small selection of well-known blogs, from across the political spectrum. Since doing this about two weeks ago, I've been intrigued by how strong my reactions have been to the posts. many of them go straight over my head. But most days there's something in there that teaches me something, or forces me to think about casually-held assumptions (like this post about work hours limits, which are enforced for low status roles [e.g. manual labourers] but not high status roles [e.g. lawyers]).
Here's what I've signed up to:
Overcoming Bias by Robin Hanson, an associate professor at George Mason University
The Conscience of a Liberal by Paul Krugman, a professor at Princeton University (although I wish the NYT would push out the full posts via RSS, not just the headings)
Greg Mankiw's Blog by (believe it or not) Greg Mankiw, a professor at Harvard University
Marginal Revolutions by Tyler Cowen, a professor at George Mason University
Do you have any recommendations?
I missed this story last year - the US National Archives ran 'I found it in the Archives', a contest where people entered their favourite items found at the Archives between June and September, and then winners were chosen by public vote.
The winner was this World War Two hand-drawn map, entered by John Lawlor. The objects were interesting, but it was people's (often lengthy) stories about how they found the item and why it was meaningful that really strike a chord.
I like this idea. When I was working at the National Library, it was often the stories from the people doing their own research into collections that drew me in more than the curators' stories. Researchers find the damnedest things. I like the idea of capturing and sharing these stories, and I'd be even happier if there was a physical manifestation of this project - not a book or an exhibition, but something low-fi; a wall where people pinned up colour printouts and a handwritten note would be just fine by me.
One of Chuck Klosterman's predictions for 2012 in a Grantland round-up was this:
7. A popular trend story in the mainstream media becomes coverage of "Gen Y Luddites" — teenagers who consciously disdain social networking and technology.
After reading that, I kept a bit of an eye out over the summer break for stories along these lines. I hav the feeling that over 2012 we're going to see a lot of stories about slow information (like slow food, but for the creation and consumption of web content) and people vowing to lay off the internet (internet-free resorts, internet-free days, any app that monitors your internet use). These are, of course, going to go hand in hand with a deluge of quantified and programmable self stories (articles about how my collecting data on every aspect of your life - how much you eat, sleep, exercise, interact with people, your emotional state throughout the day - and using that to help you meet self-improvement or health goals) which would seem contradictory to the first theme, but when has this ever been a logical game?
Anyway - here are a view examples of what I mean:
New York Times technology blogger Nick Bilton has resolved to spend 30 minutes a day without his iPhone.
Katie Roiphe writes on Slate about the popular Freedom app, which cuts you off from the internet for a period of time you specify.
'The Joy of Silence' by Pico Iyer in the New York Times, which starts off as a normal article about the backlash against our ever-connected lives and then devolves into such gorge-raising paragraphs as
In my own case, I turn to eccentric and often extreme measures to try to keep my sanity and ensure that I have time to do nothing at all (which is the only time when I can see what I should be doing the rest of the time). I’ve yet to use a cellphone and I’ve never Tweeted or entered Facebook. I try not to go online till my day’s writing is finished, and I moved from Manhattan to rural Japan in part so I could more easily survive for long stretches entirely on foot, and every trip to the movies would be an event.David Tate on creating things as a way of breaking free from being a consumer of things.
The links above are not so much about teenage Luddites, but about that generalised anxiety that our always-on, always-connected lives are somehow ruining us. (Mind you, during one of my always-on, always-connected activities prior to the Christmas break, I found an article that said crosswords were going to the the doom of modern society, so this is in all likelihood just that same oh-no-things-are-changing, really-nothing-ever-changes, freakout that every decade burps up.)
I spend 8-10 hours in front of a screen - let's say 70% working, 30% not working and in that grey area where work is just part of your life. I check my iphone incessantly if I'm stuck somewhere with nothing better to do. I also read (paper!) books for at least an hour and a half on weekdays, closer to four hours on weekends. I get through a New Yorker or two most weeks. I no longer read print newspapers, rarely watch tv news, hardly ever visit NZ news websites, and get my daily news from RadioNZ: I trust my friends on twitter to alert me if anything needing my attention has happened. I do not worry about any of these things.
However, a little bit of stillness and switching off wouldn't go amiss in most of our lives. It could, for example, offer a welcome relief from circles of inanity like this StackExchange forum on productivity. (A hint to all posters: you'll be more productive if you stop frequenting this forum, quit reading Lifehacker posts, and generally stop wasting your time trying to optimise every moment of your existence. Trust me.)
A year-long feasibility study, commissioned by the City of Helsinki and done by the Solomon R. Guggenheim Museum, has concluded that yes, building a Guggenheim Museum in Finland would aid Helsinki in its efforts to become a cultural capital.
Which makes me think - why Te Papa North? Why not Guggenheim South?
There's plenty of material to work with, with 11 civilians drafted to rescue Europe's artistic treasures, two deaths and a love story involving a woman who was part of the French resistance. One can only hope this will all result in an art-themed Ryan Gosling tumblr.
I forgot to say I abandoned Testament of Youth (Vera Brittain's memoir of growing up before, through and after World War One) even though I felt like both a traitor to the sisterhood and a real jerk doing so.
I ground it out all the way to the end of Mary Gabriel's Love and Capital: Karl and Jenny Marx and the Birth of a Revolution, not because I liked it (or them) but because I was learning a lot about a subject I turned out to know woefully little about.
I flew through Madeline Miller's debut novel The Song of Achilles, a retelling of the Iliad that focuses on the love story between Achilles and Patroclus (which I loved, until it realised it had Twilight overtones - though at least A and P have it off frequently - at which point I was overcome with doubts).
And I also ripped through the first book in George R. R. Martin's Game of Thrones series, which was pretty much exactly what I expected, with less sex, and didn't really need me to add my opinions to the overflowing seas of opinion and intrigue which surrounds it.
Now on the go: Stephen Greenblatt's 'The Swerve' (taking the place of the essay collections I originally twigged, because the library delivered it up faster than expected). And made happy by the news that there's a new Michael Chabon coming out this year, I think I'm going to re-read 'The Yiddish Policemen's Union', which is, I think, my favourite of his books (after 'Summerlands').
Because you never know, you may be interested:
Patrick Ness, A Monster Calls (impulsive insert) four stars[would have been three, but for the brilliant illustrations and the sheer production values]
Jennifer Egan, A Visit from the Goon Squad (on the original list) just as good as everyone says it is
Maggie Stiefvater, The Scorpio Races (impulsive insert) four stars
Vera Brittain, Testament of Youth (on the original list) abandoned, one star
Mal Peet, Life: An Exploded Diagram (on the original list) five stars
I'm still grinding my way through Mary Gabriel's biography of Jenn and Karl Marx, finding Karl Marx thoroughly exasperating but learning too much to put it down, and am about to embark on another impulse addition, Madeline Miller's The Song of Achilles.
Updates
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@librarykris @NLNZ 'Hey girl. I care about the size of your carbon footprint.'4 hours ago from web | Reply, Retweet, Favorite
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@secondzeit Those are not three names I ever expected to see together, but I love that photo.4 hours ago from web | Reply, Retweet, Favorite
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I may have just emailed @rooschrader with a deeply uncharacteristic squeal @nzfi @fogonwater @omglolwtf @_june @clarionjulie5 hours ago from web | Reply, Retweet, Favorite
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@NLNZ @amywatling @rooschrader @OMGLOLWTF @fogonwater For the happy metadata fail file http://t.co/EHYnDqkE6 hours ago from web | Reply, Retweet, Favorite
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@amywatling As long as you don't take it home one night & never give it back, your professionalism remains intact.6 hours ago from web | Reply, Retweet, Favorite
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@sebchan @NLNZ I have always, always wanted speech bubbles on the photos. But I am considering starting "Men from history say 'Hey, girl'".6 hours ago from web | Reply, Retweet, Favorite
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Especially this. I am heads over heels in love. http://t.co/qkPUoH4g6 hours ago from web | Reply, Retweet, Favorite
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New favourite @NLNZ search: "niven toys" http://t.co/aNAUq88f6 hours ago from web | Reply, Retweet, Favorite
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@JoshForde @timoslimo Picture of the day: I have a little thing for photos in the collection of men with birds http://t.co/sqPtnrHd6 hours ago from web | Reply, Retweet, Favorite
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@plsj @jkiss In which Martha Gellhorn uses the word 'hag ridden' (scroll down to the letter) http://t.co/k6hdXHwA16 hours ago from web | Reply, Retweet, Favorite
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@OMGLOLWTF You see, I would listen to that on a long road trip.16 hours ago from web | Reply, Retweet, Favorite
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If fashion is your trade, / then when you're naked, / I guess you must be unemployed ...16 hours ago from web | Reply, Retweet, Favorite
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I want a recording of Jarvis Cocker reading all my favourite poems. On a cassette tape.17 hours ago from web | Reply, Retweet, Favorite
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@Kiwiseabreeze I have said, to the same man, three times: 'Hi, I'm Courtney. I don't think we've met before ...'17 hours ago from web | Reply, Retweet, Favorite
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I blogged! Because I am happy and excited to be part of the Don Driver event at@CityGalleryWgtn this weekend http://t.co/WuRCJ8jh17 hours ago from web | Reply, Retweet, Favorite
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When in doubt, always smile broadly at the slightly familiar person on the street.
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@rooschrader @nzfi @omglolwtf @_june @clarionjulie It would honestly be like Christmas coming early. If not me - think of posterity!20 hours ago from web | Reply, Retweet, Favorite
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@rooschrader The grey and maroon!21 hours ago from web | Reply, Retweet, Favorite
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@rooschrader The weird thing is, I'm really not a sentimental person. But goddamn - I fell hard for those bins. The romance! The history!21 hours ago from web | Reply, Retweet, Favorite
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We’re very pleased to announce that Boost New Media has been named as one of only 48 companies who are now WorldBlu certified as a democratic workplace.
“People want freedom rather than fear in the workplace,” comments WorldBlu Founder and CEO, Traci Fenton. “WorldBlu-certified organizations model how democracy in the workplace unleashes human potential and builds highly successful organizations that change the world for the better.”
We became eligible for a spot on the WorldBlu List of Most Democratic Workplaces™ when every employee completed a WorldBlu assessment evaluating our company’s practice against the WorldBlu 10 Principles of Organizational Democracy™.
Nathan Donaldson, our Managing Director and founding owner is a big believer in the principles of a democratic workplace. Nathan believes that the more employees are asked to input on the strategic direction of the company the more engaged they become. As a result Boost has happier employees which in turn has resulted in a low staff turnover rate.
Some of the steps we’ve taken to become a democratic workplace:
- Yearly strategic planning meetings
- Quarterly planning retrospectives
- An ideas and questions board
- Boost strategy scrum
- Group interviews of prospective employees
Once a year we devote half a day to strategic planning. The entire company sits in a meeting room and workshop ideas for goals for the coming year. Everyone contributes and we all get to vote on the ideas we’d most like to commit to. We then decide who should drive the tasks associated with each goal and when they should be done by. We all agree on our shared goals as a company.
To ensure we’re on track with our goals and to capture any concerns we hold a planning retrospective quarterly. This allows us to track progress and address any concerns arising.
Our ideas and questions board is located in our kitchen, giving everyone easy access and opportunity to make suggestions about any aspects of the company. The current categories are tools, processes and goals. We’re encouraged to contribute any ideas we might have for improvements or changes by post it note.
Although not everyone is involved in the day to day tasks associated with Boost’s strategic direction, we do run this work by scrum. This means that all tasks are displayed on a scrum board so that everyone can see the status of tasks (not started, in progress and completed). Essentially all strategic work is transparently displayed to anyone who is interested. We find that the underlying principles of Agile work well with the aspiration to be a democratic company.
Our hiring process is another area where employees are invited to get involved. The candidate is initially interviewed by the Managing Director and the General Manager and if they feel they would like the candidate to progress further the team are asked to come to a meeting room and meet the candidate. We’re all encouraged to ask the candidate questions and then once the interview is over we’re asked for our thoughts on the candidate. This means that every new employee is someone the whole team have met and agreed will be a good fit for our company.
We’re delighted to be recognized by WorldBlu as New Zealand’s first certified democratic workplace. We’ve found that using democratic principles results in happier and more productive employees who feel more engaged and motivated.
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Introducing Scrum to an organisation is notoriously difficult but also fabulously rewarding. Making the shift from traditional project manager to Scrum Master can also be very challenging.
Australian Scrum trainer and coach Kane Mar will be at here at Boost running a Certified Scrum Master course on 29-30 March. On Thursday the 29th he’s giving a free 20 minute talk sharing his war stories and recommendations about his experience of moving from traditional project management to Scrum. We’re opening our doors to people interested in project management and Agile practices to join us for Kane’s talk. To sweeten the deal we’ll be putting on drinks and nibbles for everyone who wants to stay on for a more informal chat after the presentation.
We’ve stoked to have Kane over to run this Certified Scrum Master course at Boost again, following a very successful course late last year. Kane is a full-time Scrum trainer and Scrum coach and has been writing about Agile software development since 2005, you can read more on his website. We have a small number of places remaining on the course, if you’d like to find out more about securing a spot, give us a call on 04 939 0062 or email us on info@boost.co.nz.
Kane Mar: From traditional project manager to Scrum Manager
When: 6pm, Thursday 29 March 2012
Cost: Free!
Where: Boost New Media, Level 8, 75 Ghuznee Street, Wellington
Please RSVP by emailing info@boost.co.nz
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Yesterday I posted on two themes I found emerging at Webstock this year: working with design/ers and crafting experiences. Today I’m turning to finding your joy, strategic creativity and One Big Idea ….
Living a good life
There was a definite sense of reassessment at this year’s Webstock. As Jeff Atwood wrote in a recent blog post, announcing he was stepping away from Stack Exchange, start-up life is hard on families. Walter Isaacson’s biography of Steve Jobs is causing reflection in a generation of people who have been pouring their guts into these ventures for the past decade.
Atwood was cited by Matt Haughey in his talk Lessons from a 40 Year Old. “Success at the cost of being away from your family is not success”, Haughey said, arguing that that world is full of ideas that could be executed in 20-30 hours a week, rather than while living off pizza and Coke and getting 2 hours sleep a night huddled under your desk.
The only thing I wrote in my notebook during this talk was THE SLOW STARTUP MOVEMENT. The shared notes for the session record the examples of long-term successful, self-funded companies, the go-to example being Marco Arment’s Instapaper (and see Arment’s response to Atwood’s announcement).
Amy Hoy also renewed up the Webstock tradition of talking inspiration, not technology. In a talk titled Change the Game, she urged us to ignore the invisible rules and the false dichotomies and to find our happiness instead: a true return to the militant strain of joyousness Webstock so often fosters. (And as a sidenote, try watching Matt Haughey’s talk once it’s online then following up with a dose of Hoy’s Fuck Glory – Start-Ups are One Long Con.)
Strategic creativity
Two of my favourite talks this year were by people who have a superpower I utterly envy: drawing. I was fascinated by how illustrator, letterer and designer Jessica Hische and designer, developer and cartoonist Matthew Inman have developed their careers.
Hische noted at the start of her talk that illustration and design are very different industries, and that she feels illustration has better deadlines, better customers and a better understanding between client and illustrator. She also noted that having an artist rep makes getting work and negotiating with clients easier, and that when you’re an illustrator, people assume you’ll be doing freelancing on the side, and are perhaps less demanding as a result.
While being endlessly amusing, Hische also had some strong messages about the intent and benefits of side projects (her own reputation having been significantly enhanced by the well-known Daily Drop Cap project). She noted that she often hears people say that they only get work they don’t want to do, and sees this as a reflection that their portfolio doesn’t reflect the kind of work they do want to do. She started Daily Drop Cap for similar reasons:
- It was set up when she went freelance, to garner attention.
- It was an opportunity (or demand) to be creative every day.
- It’s resulted in an “insane lookbook” for clients, who can survey 300+ examples of her work and use them to identify what feel they want.
- She became known as ‘the drop cap girl’ – which has been no bad thing.
- It’s a side project that’s project her similar paid work (because people always want more of what you’ve done before).
Hische also coined one of the most tweeted sentiments of the conference, talking about the short shelf-life of ideas:
The shared notes for Matthew Inman (of The Oatmeal fame) are some of the shortest for the whole conference, probably because people were too busy laughing to type. But as with Hische, I was impressed by how Inman has strategically moved away from client work that bored or frustrated him, and made his creativity work for him.
I was struck by how closely Inman watches the stats on his site, and rearranges content or creates new pieces to capitalise on this. I also thought about how ephemeral political satire is (most political cartoons have only days or weeks of relevance) but how a guide to correctly using the word ‘literally‘ will be relevant over and over again. And his short rules are gold:
- Write about the things you hate
- Write about the things you love
- Be inspired by facts you learn
- Don’t throw your face up on everything
- Be a good follow
- Don’t ask for likes – make things that are likable
- Keep it short
- Don’t spend too much time on it
- Don’t have your friends look at it.
One Big Idea
Okay – it’s not such a big idea. But: the beauty of Webstock is that it makes you want to keep exploring.
I would love each presentation to end with a slide with three books or articles that the speaker recommends, in the spirit of ‘If you liked this talk, you might also like …’. Or perhaps a Webstock Reading List on the Webstock website (a little like the Kiwi Foo reading list).
Webstock is mind candy (with a side-helping of eye candy) and this, combined with the videos of the talks, would make for year-round inspiration.
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My single favourite quote of Webstock 2012 came courtesy of Scott Hanselman:
So many people who had great blogs now have mediocre tweets.
Given the immense volume of tweets and the beauty of shared notetaking, I now try to stay offline as much as possible at Webstock, so I can focus on the speaker and my pencilled notes. But over the last few days I’ve tried to boil down some of the themes I heard emerging to share here, in two posts. Today: design and craft. Tomorrow: find your happy place, strategic creativity, and One Big Idea.
Working with design/ers
One of the greatest revelations to me since coming to work at Boost has been working with designers. As someone who works primarily through words, I don’t think I’ll ever get sick of watching designers do their thing.
It’s also been humbling to find out how accidentally moronic I sometimes was as a client. Here’s a reenactment of a series of comments I once gave to a poor designer:
I really like what you’ve done – but could we maybe see it in blue instead of brown?
Oh, okay. Hmmmm. How about green?
Oh. Sure. Right. Look, I’m really sorry to keep doing this – but perhaps we could see it in pink?
It’s still not quite right – could you show me the brown version again?
Hey – the brown version’s great! Let’s go with that.
Yeah. I was that person. Now, of course, I realise that (a) designers will always be better at design than I am and (b) almost every variation of colour, placement and size has already been trialled before the best version is shown to the client – and if it wasn’t trialled, it’s probably because it was a bad idea.
So I was delighted by all the speakers who touched on how we can work better with design and the good folks who craft it.
Adam Lisagor hit so many buttons for me on this topic. Here are some of the things I scribbled down (more here in the shared notes):
- ‘Thank you for knowing what you wanted’ – the compliment for a dream client.
- There’s a difference between opinions (just saying stuff because you’ve been invited to a meeting and hey – you get to share your opinion!) and people who are identify problems and want to find answers.
- If you’re the spokesperson for a committee, speak with one voice: either distill the many voices to one piece of feedback, or at least take the names out.
- As a designer, you have been chosen for your demonstrated taste. Sometimes, your client is paying you to correct them.
- The phrase ‘treat me nicely, with trust and respect’ works for both sides.
Michael B Johnson from Pixar also had some doozies. Here he is on Giving Good Note (aka feedback):
- Point out the problem
- Offer a solution (to show you’ve thought this problem through) (not because you expect this solution to be used)
- Give this at the time when it can still be used.
Johnson also invoked the rule of ‘Yes, And’ rather than ‘No, but’, and noted that great teams have great morale, which is needed in the face of constant criticism. I love that at Pixar, criticism takes the form of ‘plussing’ – it’s part of the company’s culture, and it’s essential to the way they create things.
Finally, Jared Spool made a million interesting points, outlining five different breeds of design (Unintentional design, Self design, Genius design, Activity focused design, Experience focused design). The points that really stood out to me came out towards the end:
- Every style has a purpose
- Great designers know which style they’re using
- Great designers use the same style throughout a project
- Great teams ensure everyone uses the same style (and everyone understands that they’re doing this)
- The more advanced the style, the more expensive this will be
- The more advanced the style, the better the design.
Crafting experiences
Webstock 2012 opened with a clarion call for making experiences from returning speaker Kathy Sierra. She gave the idea of “building engagement with users through social media” a robust bollocking, arguing that no matter how awesome your brand or product is, it’s the awesomeness your users feel about themselves that counts. I was interested in her ideas about aligning business goals with user goals, but found myself wanting more actual examples of where she sees this awesomeness happening.
I wasn’t in content strategist Erin Kissane’s presentation, but it sounds like adopting an attitude of craftsmanship (and allowing time for it) were big themes of her presentation. It seems Erin was asking how to bring the values of craft (mastery, human scale, excellence, satisfaction) to large scale system. I’m looking forward to watching her talk when it’s up on the Webstock site.
One of my favourite ever Webstock talks was Cal Henderson at Webstock 2008. I’ve always enjoyed the presenters who take you on a deep dive into the work they’ve done, while teaching you more general lessons along the way. This spot for me was filled this year by responsive design guru Ethan Marcotte, talking about the Boston Globe redesign (if you’re too impatient for the video to go up, check out his blog post on this).
Ethan ran us through the opportunities and challenges of reshaping the bulging content of a newspaper into the slim lines of various desktop and mobile devices, and the ways that designers and developers might be able to change their usual working patterns to meet these (it sounded a lot like what I see in our teams that are using Scrum).
Craft took centre stage in Jennifer Brook’s presentation about publishing and the iPad, where I was more captivated of her stories of teaching herself to bind her own books than I was by her story of working on the New York Times iPad app. I’ve squirreled away her recommendation of Designing Calm Technology for later reading.
Tomorrow
Those were my first two themes. Tomorrow I’ll cover off finding your happy place, strategic creativity and One Big Idea.
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Behavior Driven Development has become a key tool in our toolkit as developers strive to become leaner and more agile. Here at Boost we have been using Cucumber with Ruby on Rails to integrate Behavior Driven Development into our everyday software engineering practices.
At Boost we’ve been using Test Driven Development (TDD) for some time now. Test driven development is a process whereby the developer writes an automated test prior to the beginning of coding of a new function or improvement to an existing function – the test fails at the outset as no code has been written. The developer then develops the code to pass the test, as well as refactoring the code to an accepted standard.
We’re also using Behavior Driven Development (often referred to as BDD). Behavior Driven Development extends Test driven development by writing text cases in a way anyone can understand. Behavior Driven Development fits in well with Scrum in that the Behavior Driven Development tests can be written by the product owner. A product owner writes acceptance criteria for a user story within a sprint, but by asking the product owner to contribute to Behavior Driven Development testing by writing feature descriptions we are fostering collaboration rather than merely co-operation. The product owner is able to take fuller responsibility for a successful outcome.
Over the last year we’ve been using a tool that combines both Test Driven Development and Behavior Driven Development. Cucumber is a tool that enables the product owner and developer to work together to produce features. Here’s how it works:
1. The product owner writes a plain text description of a task and how it should work using a particular syntax (Gherkin) and providing scenario examples. Here’s an example of a feature description written for our Intuition HQ site:
Feature: Sign up to a plan Sign up should be quick and friendly. Scenario: Successful sign up Users should see a confirmation when their payment details have been accepted. Given I have chosen to sign up When I sign up with valid details Then I should receive a confirmation page Scenario: Invalid card number entered Where an incorrect card number is entered Given I have chosen to sign up But I enter an invalid payment card number Then I should be told that the card number is invalid And the form should be redisplayed offering me the opportunity to re enter my card number
2. The developer writes corresponding step definitions. The step definitions should include the phrases used within the feature description. The step definitions are tests written in code that Cucumber then runs against the site. The first time the tests are run they will fail as no code has been written.
3. The developer writes code for the new functionality described in the feature description and re runs the tests. Cucumber highlights success within the feature description in green, pending in yellow and failure in red as shown in the image below:
5. The developer amends the code and reruns the tests and so on until Cucumber shows the entire feature in green indicating that the tests have been successful.
The advantage of working with Cucumber is that both Behavior Driven Development, (in the form of the feature descriptions and scenarios) and test-driven development, (in the form of step definitions), are used to verify the success of development.
I spoke to one of our developers about his experience of using Behavior Driven Development and his response was that one of the most important advantages of using Behavior Driven Development is that it allows the product owner to write acceptance criteria in the form of features. The developer can then work towards developing step definitions to test the features the product owner has defined. The step definitions correlate with the acceptance criteria/features with the intention of leaving no discrepancies between what the product owner wants from their product and what the programmer develops.
Behavior Driven Development is proving to be a valuable tool in helping us to eliminate the gap between developer and client understanding of requirements therefore producing successful and useful features.
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In a recent post I discussed the question “Are user stories the same as use cases?”. This is a question that frequently arises in our Writing Great Agile User Stories workshop, and it’s often asked by business analysts. I’ve also been in Agile/Scrum training courses with BAs, who at a certain point in the day start worrying about where the BA role fits in a Scrum project.
The quick answer is: there is no Business Analyst role in Scrum – just like there isn’t a DBA role or a SysAdmin role or a designer role. You’re either the Scrum Master, the Product Owner, or part of the Scrum Team. There also isn’t a space carved out for a person to be responsible for requirements gathering and reporting.
The longer answer is that there’s still a lot of work in a Scrum project for a good BA to do. As Roman Pichler puts it:
what’s left to do for business analysts in Scrum? I have seen business analysts working as team members as well as taking on the product owner role successfully. In both cases, though, the individuals experienced a change in their daily work. Business analysts working as a team member often support their peers in product backlog grooming activities. As the business analysis activities are now carried out collaboratively, the business analysts often have time to take on other responsibilities, for instance, working with the testers or the technical writer. As a business analyst working on the team, you should hence expect to pick up new skills, broaden your expertise, and be open to work in new areas.
One small case-study
I recently worked on a short (6-sprint) Scrum project that had a nearly full-time BA allocated as a resource to the team. (Don’t you love that kind of phrasing? “allocated as a resource”. Savour it.)
We were creating a mobile interface for a cut-down set of the functionality available through our client’s current website. Our team was made up of a mix of our client’s staff and Boost staff: a Product Owner, the BA, two developers and a tester from our client; a Scrum Master, designer and me doing the wireframes from Boost.
Here’s what our BA did:
Working with the product owner
- Research for writing user stories (usually by confirming how the current system works, and where there was and wasn’t flexibility to make changes)
- Meeting with other parts of the business to explain what we were doing and what we needed, and to find out what they were doing and how that might affect what we were making.
Working with the team
- Ferreting out system documentation
- Getting screenshots of the system that I (working outside their network) couldn’t access, and reviewing wireframes with me
- Helping write and QA’ing test cases
- Getting wording signed off by other parts of the business (always harder than you think it’s going to be)
- Getting approval from other parts of the business for use of a third-party plug-in.
Our BA attended all the planning meetings, retrospectives and stand-ups. Her work was managed just like the rest of the team’s: written as tasks and posted on the Scrum board. What she didn’t do was write requirements or use cases, or reports. There was huge value in having her on the team: she was our go-to person for all the tucked-away documentation and hard-to-find system descriptions.
Further reading
A four-part article based on a roundtable discussion amongst a group of Agile experts (including Alistair Cockburn, Roman Pichler and Ken Schwaber) on business analysis and Agile
Colart Miles has begun a promised series on the Clarus blog
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TL;DR – User stories aren’t use cases. By themselves, user stories don’t provide the details the team needs to do their work. The Scrum process enables this detail to emerge organically, (largely) removing the need to write use cases.
Are user stories the same as use cases?
When running our Writing Great Agile User Stories workshop, I’m frequently asked “So – are user stories the same as use cases?”. Often it’s a business analyst who asks the question; they’re accustomed to working with use cases, and are wondering where use cases fit in a Scrum project, and if they’re replaced by a user story.
Looking around the web, there’s consensus that use cases and user stories are not interchangeable:
- Alistair Cockburn: A user story is to a use case as a gazelle is to a gazebo
- ExtremeProgramming.org: User stories serve the same purpose as use cases but are not the same.
- Mike Cohn: User stories aren’t use cases
My standard answer is that user stories are centred on the result and the benefit of the thing you’re describing, whereas use cases are more granular, and describe how your system will act. And then I say “Just bear me – it will all be clear in soon”. But I thought it was time to dig further down into this.
Use cases and user stories
Let’s start with some definitions.
A user story is a short description of something that your customer will do when they come to your website or use your application/software, focused on the value or result they get from doing this thing. They are written from the point of view of a person using your website or application, and written in the language that your customers would use. A user story is usually written using the format canonised by Mike Cohn: As an [actor] I want [action] so that [achievement]. So, for example: As a Flickr member, I want to set different privacy levels on my photos, so I can control who sees which of my photos.
A use case is a description of a set of interactions between a system and and one or more actors (where ‘actor’ can be people, or other systems: for example, both online shoppers and PayPal can be actors). They are usually created as documents, and generally include this kind of information:
- Use case title
- Rationale/description/goal
- Actor/user
- Preconditions (the things that must have already happened in the system)
- Standard path or Main success scenario (what will usually happen, described as a series of steps)
- Alternate paths or Extensions(variations on the above/edge cases)
- Post conditions (what the system will have done by the end of the steps).
At first blush, use cases look like a much better way of writing requirements than user stories. How will a team be able to implement something as wafty as As an [actor] I want [action] so that [achievement]. So, for example: As a Flickr member, I want to set different privacy levels on my photos, so I can control who sees which of my photos without some rigorous use cases to detail the requirements for the system? And that’s usually the point when someone in the workshop asks that question.
Writing use cases to flesh out user stories in Agile projects is certainly not unheard of (see here, and here). But it becomes clear as we move through the workshop that user stories are just the start of a process of understanding what the team is making that, by the end of its course, covers off everything a use case would have told you, but in an organic manner.
Acceptance criteria
User stories aren’t just single sentence affairs. The product owner also writes acceptance criteria, which define the boundaries of a user story, and are used to confirm when a story is completed and working as intended. For example, if this is your user story: As a conference attendee, I want to be able to register online, so I can register quickly and cut down on paperwork, the acceptance criteria could include:
- A user cannot submit a form without completing all the mandatory fields
- Information from the form is stored in the registrations database
- Protection against spam is working
- Payment can be made via credit card
- An acknowledgment email is sent to the user after submitting the form.
Writing the acceptance criteria is the first step of fleshing out the details of your user story
Sprint planning meetings
In the sprint planning meeting, the product owner presents the user stories from the top of their product backlog (ie. their highest priority features) and the team commits to the stories they will complete in the sprint.
As the product owner presents the stories, the team will ask questions to further clarify the user story and the acceptance criteria. Assumptions will quickly be confirmed or corrected, and any ambiguity about the requirements starts to disappear.
This assumption and ambiguity erasure continues as the team estimates the stories (if five people on the team rates a story as a 2, and one person rates it as a 5, there’s probably some questions that need answering). And it’s repeated again as the team writes the individual tasks for each story.
Standups
We’ve been fortunate in our Scrum projects, in that our product owners generally commit to attend the team stand-up. This is another chance for the team to ask questions, and also to make the product owner aware of restrictions, issues and opportunities are appearing as the story progresses.
Wireframing
I do the wireframing for some of our projects, and usually I start by talking to the product owner about the story, and sometimes making some paper or whiteboard sketches. I turn these into wireframes and then there’s normally a couple of quick iterations with the product owner as we ask each other questions, get feedback from other people, and hopefully squeeze in some user testing.
More recently, I’ve started reviewing the draft wireframes with the designers and developers working on the story. This helps flag up any questions they have, or restrictions I might not have been aware of. After the wireframes are approved by the product owner, I’ll brief the designers and developers again if needed.
Design and development
Although most of the details have been thrashed out during the wireframing more can crop up at this stage, and there are often more questions for the product owner about exactly how they want the backend of the system to behave. Pair programming is useful here, because two sets of eyes on a piece of functionality mean yet more questions and clarifications.
No user story is submitted for acceptance by the product owner until the acceptance criteria are satisfied and the definition of done is met.
Overall
This might sound like a lengthy process. In reality, it’s just what a Scrum team does all day. Rather than one person labouring over the use cases, the team works together to surface and satisfy all the requirements. The product owner can refine the original acceptance criteria in response to new information throughout a user story’s progress.
And finally, in conclusion
There are exceptions, of course – and there are times when the upfront research needed for use cases is important (I’ve got a blog post brewing on this). But my advice would be: don’t start writing use cases until your team specifically asks for them. And if your team does ask for them, spend some time in a retrospective digging into what they’re not getting from your current processes (for example – are the acceptance criteria unclear; is the product owner unavailable; are you working with shitty documentation for another system). Then decide as a team how to fix the root problem.
Further reading
Advantages of user stories for requirements – Mike Cohn
Requirements 101: User stories vs use cases – Andrew Stellman
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Driving home for Christmas, I listened to the audiobook version of Tina Fey’s Bossypants.* Listening to her read the chapter Rules of Improvisation That Will Change Your Life and Reduce Belly Fat, it struck me that the four rules of improv that she describes translate well to the spirit of Scrum projects.
1. The first rule of improvisation is AGREE. Always agree and SAY YES.
This rule for me is about openness and the willingness to engage with new ideas and new practices. As Fey explains it:
When you’re improvising, this means you are required to agree with whatever your partner has created. So if we’re improvising and I say, “Freeze, I have a gun,” and you say, “That’s not a gun. It’s your finger. You’re pointing your finger at me,” our improvised scene has ground to a halt.
The blue screen of death moment is any meeting is when you hear someone say ‘We can’t do that’, or ‘We tried that before and it didn’t work’ or ‘The IT team won’t let us do that’. That moment sucks away at your enthusiasm for the project and if it happens enough, drains your will to work.
A recent Scrum project I worked on had a brand new team working to create a prototype for a mobile app in six two-week sprints. At the beginning of the project, the team’s most common reaction to the Product Owner’s stories was ‘We can’t do that, because…’. This resistance was a real downer for the Product Owner. By the last sprint, the team was saying ‘We can do that by ….’, explaining what the potential issues were, and suggesting how to overcome them. The Product Owner told me this was one of the most satisfying aspects of the whole project for them.
2. The second rule of improvisation is not only to say yes, but YES, AND.
If your reply to “Freeze, I have a gun” is “Yes, you have a gun”, that doesn’t do much to advance the scene. YES, AND for Fey means not being afraid to contribute – in fact, seeing contributing as your responsibility.
When I heard this, I thought about things from the Scrum Master’s point of view. At the start of a project, when you’re the Scrum Master, you sometimes find yourself trying to coax quieter team members into joining discussions. You don’t want to have to do this for much more than a sprint or two. A team that needs the Scrum Master to help them talk about stories or solutions isn’t self-organising. The Scrum Master can however help create an environment where no-one feels afraid to contribute, and coach people to see contribution as part of their role on the team.
3. The next rule is MAKE STATEMENTS.
Fey writes:
This is a positive way of saying “Don’t ask questions all the time.” If we’re in a scene and I say, “Who are you? Where are we? What are we doing here? What’s in that box?” I’m putting pressure on you to come up with all the answers.
In other words: Whatever the problem, be part of the solution. Don’t just sit around raising questions and pointing out obstacles. We’ve all worked with that person. That person is a drag.
I took two things out of this. One was that MAKE STATEMENTS would be a handy poster to put up next to a Scrum board if your team has a tendency to turn a 15 minute stand-up into a 45 minute philosophical discussion.
The other thing was a reminder of how much I love the way Scrum lowers the threat level of decisions. When you’re responsible for a project, making decisions can be scary. Signing off the final design in a waterfall project, for example, means acknowledging that any changes you want to make further down the line will almost certainly be difficult and expensive. If making decisions is stressful, one natural reaction is to delay or obfuscate. However, when you’re a Product Owner on a Scrum project, you’re making decisions all the time. You get used to making the best decision for the moment, and understanding that if you need something to change in the future, you’ll just write another story. This lowers the threat level of decisions considerably, and helps your team a lot: making decisions is a lot like making statements.
4. THERE ARE NO MISTAKES, only opportunities.
If I start a scene as what I think is very clearly a cop riding a bicycle, but you think I am a hamster in a hamster wheel, guess what? Now I’m a hamster in a hamster wheel. I’m not going to stop everything to explain that it was really supposed to be a bike.
The lesson here for Fey is that some of the world’s greatest discoveries have been happy accidents (think Viagra). There’s a useful lesson here about being open to suggestions and discussions, rather than clinging to your original set of assumption and opinions. This is why user stories are written in terms of what and why, rather than how.
In conclusion
Firstly, Bossypants is a great read (or, if you like audio books, a great listen).
Secondly. Improv is the act of working together to build something new from a bunch of quickly generated ideas, pruning off things that don’t work and building on the things that do along the way. The more an improv team works together, the more they trust each other, and the better they know each others’ strengths and how to use them. A lot like Scrum projects, over all.
*I was recounting this to a friend over the weekend, who flummoxed me by asking who Tina Fey is. So just in case – ladies and gentlemen, Tina Fey.
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I recently joined Boost after spending over a decade in the UK. Having worked within a traditional project management process over the last 5 years, I was very keen to learn about the benefits of Agile project management, specifically the benefits of Scrum and the comparison with my previous experience of web development projects.
What I found after a week of observation was that unlike my previous experience of web development projects, an ‘us and them’ (supplier v client) situation causing conflict and resentment is less likely to arise under Scrum. This is due to the scrum itself - both supplier and client are team members with clearly defined roles and responsibilities.
I was asked to observe a number of Scrum meetings in my first week; a stand-up, story sizing meeting and a retrospective.
The stand up
The stand up occurs daily and is a chance for the team to confirm what they are working on and to communicate progress from the previous day. I was immediately struck by the fact that each team member contributed to the stand up in the same way – developers are not asked what they are working on, they tell the team what they are working on and have the opportunity to identify any blockers to their progress. Although brief and straightforward this meeting immediately appears to be beneficial for a number of reasons.
- the entire team knows exactly where in the sprint each person is
- issues or blockers are raised early
- progress is seen as it happens, stories are closed out each day throughout the sprint
Story sizing
Story sizing consists of all team members sitting around a table with a hand of sizing cards (numbered 1, 2, 3, 5, 8). A member of the team reads out a story, team members are then asked to ‘play’ a sizing card. The card indicates a measurement of effort that is not classified in time but by a proportional comparison. For example if the first story is sized as a 3 (or medium) then a story that is larger and will consist of more tasks may be sized as a 5 or 8. If a team member’s sizing differs dramatically from other team members the team member will then explain why they consider the story to be larger or smaller and after a discussion a consensus is reached. Sizing of stories informs the decision as to how many stories will be undertaken during the upcoming sprint.
The advantage of the entire team sitting down to size work as opposed to a more traditional method of having the developer who will undertake the work provide a time estimate is that each and every team member has a chance to input to the sizing of the story therefore the team takes responsibility for the timing of the story, as opposed to an individual. It is a transparent process that ensures the commitment of all team members to the delivery of each story.
The retrospective
The retrospective is a feedback meeting in which each team member is asked to focus on particular aspects of the previous sprint and to record both positive and negative feedback on these. The aims of a retrospective are for the team to communicate, review and improve on previous sprints. Retrospectives may be run in any number of ways in order to get the best out of the team.
During my observation of a retrospective I was immediately struck by the difference between this meeting and that of a traditional lessons learned meeting (held at the end of a traditionally managed project). The retrospective encouraged all team members to communicate openly. Contributions from team members are presented as statements, and are constructive rather than obstructive or defensive. The advantage of holding retrospectives regularly (at the end of each sprint) is that points are raised early and the project goes into a cycle of continuous improvement – as opposed to a traditional lessons learned meeting where any constructive conclusions are beneficial only to the next project the team works on.
My conclusions from my first week of observing Scrum in practice are very positive;
- Developers are encouraged to fully participate in all meetings demonstrating work completed and inputting to decision points as required. As a direct result of their commitment to the project developers take a great degree of responsibility for project outcomes, they are very obviously accountable for tasks, while also having the benefit of the entire team’s support. All too often in non scrum projects the developer is asked to take responsibility for tasks in isolation and are therefore reluctant to commit to timescales and successful outcomes.
- Clients are fully immersed and committed to the process and as such are very much a part of the team. Unlike projects I have worked on previously there is less expectation that the supplier will drive the project in isolation, instead the client is fully involved in all aspects of the project and always aware of exactly what work is taking place and when it will be delivered.
- Processes are consistently reviewed for effectiveness and all team members input to the review process. There are opportunities for both positive and constructive feedback and actions are undertaken as a result. In comparison with the traditional ‘lessons learned’ aspect of a project this seems far more beneficial in terms of continuous improvement rather than undertaking process improvement at project conclusion.
- Project tasks are broken down into explicit finite tasks and the acceptance criteria are clearly defined and agreed at the outset rather than development task estimates taking place at the outset of a project in isolation from other team members.
My overall impression in this early stage of exposure to Agile project management and Scrum is that Scrum builds a happier, closer team and minimises risk by ensuring frequent and open communication between all team members.
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I’ve been coaching members of the Boost team in Agile off and on over the last few years, and by and large it has been useful and well received. But attending The Coaching Stance class run by the Agile Coaching Institute last week has really opened my eyes and made me reconsider what coaching means in the Agile context.
My own personal experience of coaching is firmly grounded in the sports world. The coach evaluates an area of performance, makes a teaching point or two, sets up a drill, evaluates whether the drill is correcting the weakness or fault, and then sets homework for the coming week.
So when I am with my golf coach it usually goes something like this:
- I hit a few balls, some (not many) land on the fairway
- Coach is videoing my swing
- We review the swing together, and coach identifies an area for us to work on for that session
- We do a drill or two, and see if that is impacting on my swing
- I hit more balls then go home.
This is fairly typical and extremely useful. My golf has gone from “baboon attacks ball with stick” to “chimp attacks ball with more expensive stick” in only a year and 5 trips to the pro shop!
My approach to Agile coaching had, in many ways, mirrored this. I would talk with my client, identify an opportunity for improvement, and suggest something for them to try. Rinse and repeat. This has been effective on many occasions, but I’ve always wondered how I could do better.
The Agile Coaching Institute promotes co-active coaching, and this is what we were exposed to in our two day class. The class focussed on coaching, with the understanding that participants already had a deep understanding of Agile/Lean practices.
The class was the most effective training I have ever had. After two days I’d coached and been coached by over a dozen different people, and had moved my practice to a whole new level. I am excited by the possibilities it opens for myself, the Boost team and our clients. I’m not waiting until I get back to Wellington to put the training into practice: I’ve already been doing some coaching with the team back at work over the phone.
While it’s not easy or fair to try to distill the whole course into a paragraph or two, I’d like to reflect on the changes I’m already seeing in my practice. The biggest change is that I’m seeing coaching in a new light. I’m not there to problem-solve: my coaching client is whole, resourceful and creative, not someone who needs to be ‘fixed’ or ‘improved’. Instead, my role is to support the person I’m coaching to find their own solutions. This takes the pressure off me. I don’t need to know all the answers or figure out how to fix things: I can relax, and focus on what I’m hearing.
Cynthia, Lyssa and Michael provided a safe, supportive and honest space for us to learn and challenged us in many different ways. I was suprised by how quickly the class bonded. The coaching was at times intense ,and often suprisingly carthartic.
Thanks to everyone on the course. With so many talented Agile coaches, I know the Agile world is in good hands.
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As an intern here at Boost I have had the privilege of working with a group of experienced and friendly developers. I have been here two weeks now and already feel settled in completely. One of the great things about working for Boost is that everybody is very approachable when you need to ask for help or when you need things to be elaborated. This has made the transition from university to industry easier than I initially expected.
Here at Boost we use the Agile software development methodology known as Scrum. So every day I have a stand up meeting with my scrum master (Jacob Creech) and product owner (Nathan Donaldson) where I go over what I have done, what I will be working on today, and discuss problems that I need to get out of my way. So far at Boost I have been working on bug fixes for our online usability testing tool IntuitionHQ, which is built in Ruby on Rails. Working in this way has helped me get my head around the large code base that I will gradually move towards developing features for.
The IntuitionHQ Scrum Board
Using Scrum means that I’m working in ‘sprints’, or two-week long development periods. Each bug in IntuitionHQ is written up as a user story. At the start of my first sprint I took part in a sprint planning meeting which included sizing the stories (assigning them points between 1 and 8 to indicate their complexity/the effort required to fix them) and then breaking the stories down into tasks. I had to indicate how many of the stories I could commit to in the two-week sprint, and how confident I was that I could complete them in that time frame.
As an intern I was not really sure how much I could complete, being new to Rails and working in the industry in general. But one of the cool things about Scrum is that at the end of each sprint you have a sprint retrospective. This is a chance to talk about how the sprint went, and what can be done to improve things. If I don’t complete all my stories in the first sprint, the next sprint will be adapted to deal with this, and so on and so forth. So in the case that I didn’t complete all my stories it will be known for the next sprint to take on less stories in relation to their size. Overall, this is about figuring out your ‘velocity’ – how many story points you can get done in a sprint.
For my first sprint I initially committed to seven stories. I ended up completing the stories early and brought in two more stories from the backlog. One of the fun things I have found about fixing bugs is it really stimulates the mind’s problem solving abilities. I developed most of my problem solving abilities while doing my Software Engineering degree at Victoria University. Although university is a great learning environment I have found that learning in a working environment has more merits. This is because you are working with a group of people towards a common goal so they are more likely to help you out and I find that social learning is the best way to learn. This differs from university as everybody in your papers are competing to get higher grades than you so they generally don’t feed you all the facts.
One of the cool things about coming out of university into a working environment is that once you get home from work it’s your time, not stressing-about-assignments time. I believe that the less stress you have weighing on your mind the more productive you can be. Not being stressed out has helped me to be more productive working here at Boost and has got me highly motivated and keen for my next sprint. To sum up my experiences so far I would say that working here has been awesome!
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Here at Boost we’ve been pair programming for a while, and seeing benefits in the form of cohesion and knowledge sharing, as well as the quality of code we produce when working in pairs. As part of the adoption of this practice I set out to research how pair programming has been working for other teams and how it can be used to improve the team dynamics.
For those that are new to the concept of pair programming: at its core, it’s when two developers sit in front of the same computer and develop code together. One programmer acts as a driver and the other as the navigator. The driver controls the keyboard and mouse and is concerned with the concrete tasks of coding, while the navigator reviews the code and thinks about bigger picture issues.
It’s not for every team
As Obie Fernandez explains in his article “10 reasons pair programming is not for the masses”, in order for pairing to work the team has to consist of developers who are committed to their work, and who are sociable and able to interact with other team members. Otherwise problems will quickly arise when you are working in such close proximity with other team members.
Why it’s great
Few or no bugs: The first thing you will notice when pair programming is how few bugs are left in code produced by the pair. Pair programming is like a constant code review process, which is why typos or small details that a single programmer normally wouldn’t notice gets spotted almost instantly by the navigator, eliminating hours of debugging later on.
Code quality: The general quality of the code is also greatly increased. This is because while the driver is implementing the logic, the navigator is free both to spot errors and to think about the big picture and how it relates to the rest of the code.
Programmer productivity: When working alone it is very easy to get distracted by email, twitter, Facebook, and all the things going on within the office. When working in pairs, if you were to do any of those things it would waste the other person’s time, so pair programming is a constant reminder to focus on the work.
Knowledge transfer: In an environment where developers work alone, it can be hard to share knowledge because there often isn’t a time or place to do it. Pair programming involves constant discussion and flow of ideas on how to resolve a problem, and normally a pair can come up with many different solutions to a single problem. It’s also great in situations where you want to introduce a new team member, to get them up to speed very quickly with the development practices, coding style, git workflow and other practices the developers might use.
How to do it
When: Although some of the development companies promoting pair programming suggest using it 100% of the time, in my own experience the intense focus and concentration that happens with pair programming can be draining over a full day. I suggest you pick the tasks that will benefit from having a pair work on them, rather than applying pair programming to every task.
Workstation setup: We have been using just one display, keyboard and mouse with great success but I would definitely like to experiment with two keyboards and see how the interaction between developers works out.
Rotating pairs: One important aspect is to let developers constantly change pairs, on a daily or weekly basis. This has several benefits: it helps develop a bond between the team members; the team as a whole takes ownership of the code instead of individuals; and knowledge sharing is increased by working with developers with different levels of experience and backgrounds.
Resources
- Obie Fernandez – 10 Reasons Pair Programming Is Not For the Masses
- WikiHow – How to Pair Program
- Computer.org – How Pair Programming Really Work
- Ian Burgess – Pair Programming- Software Development Learning Steps
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Here at Boost we’ve been reviewing the updated Scrum Guide by Jeff Sutherland and Ken Schwaber, released in July (you can download the guide at Scrum.org)
Rather than covering techniques (like release planning, burndowns and sprint tasks) the guide focuses on what makes Scrum Scrum: the roles, events and artifacts, and the set of rules that bind these together.
In an introduction to the changes from the 2010 Scrum Guide, Schwaber and Sutherland compare the Scrum Guide to guides for games: rules (pass go, collect $200) are different from strategy (get to three houses as quickly as possible, because this is when the rent bumps up dramatically). They write:
The Scrum Guide is the definitive rule book of Scrum and the documentation of Scrum itself. The Scrum Guide and the rules of chess offer simply the rules on how the pieces move, how turns are taken, what is a win, and so on.
Strategies for playing Scrum or chess vary widely and are explained in many books, articles, and blog posts on the respective subjects. For those of us working on a revision to the Scrum Guide, this meant that all tips, optional practices, and techniques should be removed from this document. This was done along with refining some language to correct some long-standing misunderstandings about Scrum.
Given the Introduction to Scrum workshops we’re running at the moment, we were keen to look at the Guide in terms of how it can help us teach people about Scrum. Here are some of the passages that really grabbed us:
The Scrum Master helps those outside the Scrum Team understand which of their interactions with the Scrum Team are helpful and which aren’t. The Scrum Master helps everyone change these interactions to maximize the value created by the Scrum Team.
We often explain that a key part of the Scrum Master’s role is to clear impediments that are stopping the team from working as well as they could. Here, we like the notion that the Scrum Master isn’t just clearing blocks, they’re teaching people to proactively stop the blocks from happening.
… each event in Scrum is an opportunity to inspect and adapt something. These events are specifically designed to enable critical transparency and inspection. Failure to include any of these events results in reduced transparency and is a lost opportunity to inspect and adapt.
We’re frequently asked whether all the events in Scrum (stand-ups, planning meetings, task estimation, demonstrations, retrospectives) are really necessary. We usually say that of course you should use the structure and methods that suit you best – but that if you’re not following the Scrum events, you’re not using Scrum.
We also try to explain how you can go through the motions of Scrum events without getting the benefits. Thinking of every event as an opportunity to inspect and adapt, and to create transparency, reminds you of why these events are held and the spirit in which people need to participate.
A Product Backlog is never complete. The earliest development of it only lays out the initially known and best-understood requirements. The Product Backlog evolves as the product and the environment in which it will be used evolves. The Product Backlog is dynamic; it constantly changes to identify what the product needs to be appropriate, competitive, and useful. As long as a product exists, a Product Backlog also exists.
The Scrum Guide’s section on the product backlog really emphasises that the product backlog isn’t there just to get you to an initial release – it is a long term commitment. In fact, the Guide states that the product backlog will become ‘larger and more exhaustive’ after launch. Interestingly, the Guide also dwells on the role of team members in contributing to product backlog grooming, not just the product owner and stakeholders/subject experts.
Overall, the 2011 Scrum Guide is concise (a slim 16 pages), focused and a useful resource for newbies and experienced Scrum practitioners alike. Enjoy!
More reviews of the differences between the 2011 Scrum Guide and earlier versions:
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In Scrum, the definition of done tells us when a feature is completed to a releasable standard. It sits above the individual acceptance criteria for each user story. For example, here’s the definition of done for development stories from one of our projects:
- committed to source code repository
- passes appropriate tests for story (including cross-browser testing)
- tests written and run on integration server
- accepted by product owner on UAT (unless story asks otherwise)
- documented (well-commented)
- cross- browser testing of interface elements
- readme updated if applicable
- change log updated
Adding the definition of ready to the definition of done
Recently, we’ve been looking at the definition of ready – the criteria a user story has to reach before it can be handed over to the team. You can think of the definition of ready and the definition of done as two key points in the sprint cycle – one defines when a story is ready to go in, and the other defines when a story is ready to come out.
Jeff Sutherland and Carsten Ruseng Jakobsen have described a definition of ready as a simple concept that depends on discipline and creates stability in a sprint. It’s designed to stop time being wasted when it’s discovered that user stories are missing important pieces of information that means they can’t be started or completed.
A definition of ready gives the team confidence that every story they bring into a sprint is completely ready for them to get started on. In this way, as Sutherland and Jakobsen observe, a definition of ready can improve the flow and stability in a sprint.
A sample definition of ready
Here’s a definition of ready we’ve developed for one of our projects:
- The business value is clearly articulated (in the format of ‘As a type of user I want some goal so that some reason‘)
- The story follows the INVEST model
- The story has a 2 – 3 word short summary
- The story is small enough to fit in one sprint
- The story has clear and concise acceptance criteria which describe all of the features of the story. Details are captured as a narrative texts that describe an interaction of the user and the system, focusing on the value a user gains from the system.
- Once the acceptance criteria have been met the story is complete
- No external dependencies block the story being completed
- Story identifies external expertise and provides contact details.
Many of the points (for example, 2,4 and 5) reinforce the usual expectations of a good user story. Some are designed to trouble-shoot in advance: for example, 7 and 8 are there to help the team work as efficiently as possible, by ensuring they’re not being held up by business processes outside of the team, and have ready access to any expert help they need. And some are small tweaks that add efficiency in the longer term – for example, point 3 ensures we have a short headings for the user stories that make them easy to scan in Pivotal Tracker.
In conclusion
Of course, having a definition of ready doesn’t mean there won’t be occasions during sprint planning meetings when gaps are found in the preparation or understanding of a user story. It also doesn’t mean the team no longer has to talk the stories through with the product owner during these meetings, and throughout the sprint. But it does mean you’re creating the best possible conditions for optimal productivity in the sprint.
More reading:
- Going from Good to Great with Scrum presentation by Jeff Sutherland and Carsten Ruseng Jakobsen
- Definition of ready by Ken Power
- The definition of ready by Roman Pichler
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The Boost office was buzzing yesterday when we got a call from Rich Chetwynd and Nicole Fougere from Litmos.com to let us know they’d chosen our entry for IntuitionHQ (our online usability testing tool) as the winner of their Booster Seat 2011 competition.
As a result, two people from Boost will be winging their way to San Francisco in November and spending a month working out of The Landing Pad in the SOMA district. You can read more about this on the IntuitionHQ blog and this Idealog story, but we’d just really like to say a huge thank you to Rich and Nicole for their amazing generosity towards New Zealand businesses, and this incredible opportunity.