One Thing At A Time — The Power of Less

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The danger and complexity of Wile E. Coyote’s plans (and his use of ACME products) were a sure sign of imminent failure. Images courtesy of Warner Bros.

“The more simply you see, the more simply you will render. People see too much, scatteringly.” — Robert Henri

Less isn’t more, but it can be more effective. The modern world may not agree, but our obsession with doing more, acquiring more and being busy all the time hasn’t exactly created more happiness. As artists, constant doing doesn’t necessarily equate to greater success or creativity. We need to be present and focused to be at our best. Our art demands it.

“It is during our darkest moments that we must focus to see the light.” — Aristotle

If there’s one word in the 21st century that haunts us it’s multi-tasking. The excuse is that we’ve got so much to do with so little time that we all have to multi-task. We sadly think that by doing it all, and doing it all at once, is balance. We couldn’t be more wrong.

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Cartoon strip from Scott Adam’s comic Dilbert.

Science has shown time and time again, that multi-tasking doesn’t work. Many people claim they can multi-task, but what they’re actually doing is jumping from one task to another while doing none in particular at any level of respectable competence or honest attention. Some individuals can appear to juggle many things at once successfully — switching quickly between activities — but a majority of individuals fail and tend to do so spectacularly. Juggling is a rare skill which can be learned, but regardless of our adeptness, there is always a risk and price associated with it.

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The Letterman Techroom at Lucas Film in San Francisco. Render farms are a huge collection of processors designed to handle all the rendering needs of an animation studio. Photo by Peter Sciretta.

What about computers? Don’t they multi-task? Aren’t we just computers? Well, even computers don’t multi-task — they operate by time splicing which consists of giving a very short period of time (usually milliseconds) to one task, then a few to the next and then to the next and so on. In other words, even the fastest computers in the world only switch from one task to another, only they do so at very high speeds. Now, computer systems with multiple CPU’s connected and working together are able to drive multiple programs or calculations at the same time. In animation studios, we all know the look and size of those render farms (stored in that one big room no one dares to enter except the IT guys). Substantial computing requires substantial power.

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The two halves of the human brain. Each side has its own priorities and responsibilities. Illustration by VaXzine.

As humans, at least for now, we only have one brain (one processor) and even then that one processor is split into two halves — a right hemisphere (for gestalt, social and creative tasks) and a left hemisphere (for logical, analytical and mathematical calculation). Moreover, these two halves of our one brain don’t seem to operate so well together or even at the same time. One tends to dominate over the other with the balance of power constantly shifting at different rates among different individuals.

“It’s very hard to get your heart and your mind in the same place.” — Woody Allen

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Image from Cat in the Hat by Dr. Seuss. Are you also juggling too many things of different size, weight and complexity in your life?

Multi-tasking is like juggling eggs. With two hands, we can hold on to two eggs quite easily even if we can only feel the weight and texture of one egg at a time. Once we add more eggs, we need to keep our hands moving in order to keep them eggs in mid-air. This can be fun, if not entertaining, at least for a short period of time. The more eggs we add however, the more speed and focus you need to place on the act of juggling while risking dropping any or all of the eggs. The fun stops and the stress rises. Not only does multi-tasking rob us of the entire physical and relational experience we have with the object(s) in our grasp, we also exponentially increase both the size and the odds of failure. We’re talking eggs in this example, but we could easily swap these eggs for more substantial things, such as our job, our health, time with family or our personal happiness. A significant fail in any one of those departments have incalculable effects on the others.

Here then, is a list of some of the benefits of doing less:

1) Increased attention (focus)

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Archery requires the utmost in focus and strength. Here, Errol Flynn stars as the legendary archer-hero, Robin Hood in the 1938 classic film of the same title directed by Michael Curtiz.

“Concentrate all your thoughts upon the work at hand. The sun’s rays do not burn until brought to a focus.” — Alexander Graham Bell

When we reduce our attention to fewer things, more our of creative and physical energy gets directed to the immediate challenge before us. With decreased distractions, we give our minds and bodies the opportunity to get in sync, coordinate and align together for maximal performance. When the path is clear and empty of distraction, deviation is limited and the job is actually easier.

2) Achieving simplicity

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Picasso’s remarkabe sculpture, Head of a Bull, which is made out of bicycle parts is perfect in its simplicity.

“The ability to simplify means to eliminate the unnecessary so that the necessary may speak” — Hans Hofmann

This is true in art as it is in life. To accomplish the simple things well is often the hardest. It’s why the greatest performers, when they reach their peak, act and express simply. Their work is clear, decisive and remarkably effective. This is true in sports, music, and the arts. The masters always seem to be able to slow time down while expressing themselves with directness and clairvoyance.

3) Seeing the bigger picture

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Artist Franz Kline was a very skilled, traditional easel painter who discovered a new way of painting to address his individual needs and the needs of an emerging America. By venturing into abstract expression, he and his fellow modernists helped define a new era of art, one that was grand in size and remarkably bold, much like its homeland.

“Big thinking precedes great achievement.” — Wilferd Peterson

With less on the table, it’s far easier to see what’s at stake. We can access problems, pitfalls and make better plans. We gain time to question our desires, assess our options and by default decrease the tendency to rush into action, which in turn of course, decreases the odds of failure and having to do it all over again. As artists, we don’t want to repeat the past. Doing something new has always been the aim of artist, both past and present. We are not here to copy or mimic. We want to boldly step forward. To do this, we must step back and look at what’s really here or there.

4) Remaining flexible

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The strength of bamboo is in its flexibility and is both commonly used and revered by Asian societies.

“The measure of intelligence is the ability to change.”  — Albert Einstein

With less obligations, we’re also more flexible to adapt to unexpected challenges that are sure to happen. Taking on less things opens up our reserves for handling adversity. The best people aren’t necessarily the ones who can do more, but those who are most adaptable to the forces at hand. In our age of advancing technology and accelerated human and economic activity, flexibility is a powerful asset.

5) Improved learning & performance

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The great Bruce Lee practiced a multitude of techniques and trained with all kinds of equipment, but he always worked only on one thing at a time, fully committed, fully focused.

“I fear not the man who has practiced 10,000 kicks once, but I fear the man who has practiced one kick 10,000 times.” — Bruce Lee

We gain both effectiveness and efficiency when we’re focused.  We learn better when we give things the time that they need. And when we repeat those tasks our skills develop, making us stronger and more adept at handling similar challenges in the future. This is the essence of practice — the ritual of rehearsing our minds and bodies on singular tasks for excellence. It’s the foundation of greatness.

6) Ability to see the details that matter

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The Artist’s Mother by Lucien Freud. Freud’s pain-staking approach to painting revels in the details. They make the picture.

“There’s something in the very small minutia of life that tells us something about the big, big picture that we see every day all over the place, and so I think the more specific and creative and revelatory you are in the micro, the more powerful the macro will be.” — Philip Seymour Hoffman

When we are looking at too much or doing too much, we simply can’t see or feel the details. The mind needs to be clear and calm to do so. If you multi-task, it can be pretty much guaranteed that you’re missing out on the easily overlooked, but important details. Sometimes these seemingly minute concerns, are like that tiny screw that holds the whole thing together. We all know that a slight miscalculation or misstep here or there can be the difference between success or failure in our art. Life is oftentimes very fragile and temperamental. We need to know when things matter, no matter how small they may appear.

7) Higher level of engagement

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Bill Waterson’s funny and often poignant comic book series, Calvin and Hobbes.

“Never mistake activity for achievement.” — John Wooden

Being constantly busy or doing a million things at once robs us of the experience of doing. It’s like cooking ten dishes at once and not getting the chance to taste or eat any of them. All presence is gone when attention is so fleeting, and such is the state we’re in constantly when we attempt to multi-task. To feel presence, we have to be present. One thing at a time assures us of living in the now.

8) Greater fulfillment & more memorable experience

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Arnold Schwarzenegger, seen here during a break from his training enroute to his 6th Mr. Olympia title. From the definitive film on bodybuilding, Pumping Iron.

The most powerful thing to emerge from doing one task at a time with complete and utter devotion is that we get more out of it, both immediately and in the long-term. When we’re fully engaged, we’re completely absorbed and sight, sound, touch and feel become ingrained in our minds. How wonderful it is engrave our sweetest experiences into memory! Think back to the many mindless, busy tasks that we’ve all succumbed to in our past and you’ll know exactly what we’re talking about here.

Many of our actions and feelings are so fleeting when we’re not fully engaged. I don’t remember a single thing from my numerous hours studying organic chemistry or macroeconomic equations in University where I was often going through the motions. They feel blank, like time and energy sucked into a black hole. But I always  remember the time when I was so immersed in my evening figure drawing class that all the existed for me was the model and the drawing. When I “awoke” from my trance, I was alarmed to see that the entire class was standing behind me watching me draw. Singular focus has great power.

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“So much to do and so little time.” Such are the words of the Mad Hatter from Walt Disney’s interpretation of Lewis Carol’s Alice In Wonderland.

Now, there’s nothing wrong with shifting from one task to another — we must all do that once in a while or else we couldn’t function. Staying with any one activity for too long can also be taxing and unsustainable. But our aim most of the time should be to tackle one sustained challenge at a time. Life is complex enough and we’re all riding this wave towards the unknown, hoping to grow, hoping to battle through the tough times and enjoying the ride while it lasts. Why complicate each and every precious moment with ever more stress and responsibility by trying to do too much in too little time?

We mustn’t feel obligated to rush or to multi-task just because everyone else is doing it. We can choose our own way — one of presence and fulfillment — doing one thing, one moment at a time.

“Everything can be taken from a man but one thing: the last of human freedoms – to choose one’s attitude in any given set of circumstances, to choose one’s own way.” — Viktor E. Frankl

Time

Time

Time seems so endless and yet ever-diminishing at the same. Never in our brief human history has the concept of time become as dominant as it is now.

“The only reason for time is so that everything doesn’t happen at once.” — Albert Einstein

As an animation artist the issue of time is a serious matter. As a subject it represents both a tool we use to execute our artistry and a constraint in terms of production (i.e. deadlines). But in life, time has come to be viewed as a commodity — something to possess, to get more of and to take advantage of. Speed and efficiency have become the buzz words of the 21st century.

Charlie Chaplin stars in one of his funniest films, Modern Times. Despite being made over 80 years ago, the theme of Chaplin’s film is just as significant today in its profound statement about the progress of technology and its impact on humanity.

For animators, time is represented by frames — units of measure that depict the spatial travel of objects or shapes. In typical film work, animating 24 fps (frames per second) is standard, while in Virtual Reality, the goal now is a mind-whopping 120 fps (to prevent nausea for the gamer). A solid understanding and control of time’s properties can help an animator tell a story by controlling the mood or energy of a shot. And when used in conjunction with sound posing and composition, wonderful patterns emerge forming rhythms not unlike what music creates — moments of action and stillness that trigger sensations that can’t be described verbally. Such is the beauty and power of this craft.

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The suspension of disbelief through the astute usage of “hang time” are what helped make Wile E. Coyote’s foibles ever so interesting. From Warner Bros’ Looney Tunes and Merry Melodies series directed by Chuck Jones.

But like anything in film or any computer-enhanced imagery, nothing about animated time is actually real. Both the shapes made and the speed at which they travel are illusions. They can’t be physically touched and its information is contained only in an invisible digital format. Much like money and social approval, time is ultimately insubstantial — it has no physical bearing or weight. There’s nothing there. Units of time are just symbols, mere markers for the sake of convenience.

“We mistook the symbol for the real thing.” — Alan Watts

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Chow Yun Fat burns counterfeit currency during his spectacular performance in director John Woo’s 1986 Hong Kong mafia flick, A Better Tomorrow, a film about the challenge of balancing money (power) and brotherhood (family).

So the irony remains — the animator controls the units of time in his craft but not in his life. Tight external and sometimes unrealistic deadlines and creative demands generate immeasurable pressures on the production artist. We don’t have to be animators to live or understand that. This pressure is now everywhere, in every industry. We work to find time, and use that time to do more work. When do we stop or rest? What has happened to presence and leisure?

“Pruning minutes and seconds and hundredths of seconds become an obsession in all but a few segments of our society.” — James Gleick, from his book, Faster.

Having already mistaken money for wealth and social approval for love, we’ve now confused time  — or its synonymous cousin, speed — for power. The most valued artists, or workers, are not necessarily the most effective ones anymore but those that deliver “acceptable” quality the fastest. The most successful and popular product isn’t the best product but one that reaches the market in the most timely fashion. It’s why release dates, and thus deadlines, have become so important, so pressing. How did this come about? How did we so blindly and voluntarily give in to such madness? Is there truth in that old saying “It’s not a lie, if you believe it”?

Keanu Reeves and Lawrence Fishbourne star in the Warchowski’s brothers iconic film, The Matrix. Our minds often confuse fantasy with reality.

As a society, we have all bought into the hurry-sickness of our times. It’s hard to break free from this mindset when everyone else is on board the same ship. It’s why crowd behavior is so powerful, and manias and financial asset bubbles form. Trends and formulas get repeated. A wave of belief assures even the most suspicious-minded, luring them also towards conformity. As a modern people, we can’t stand idleness — we’re all Type A personalities now. We’re all rushing to get things done so we can do even more. Wants become needs and time is something everyone wants. Unfortunately, the more time we have, the more we tend to fill it up.

“Time is what we want most, but what we use worst.” — William Penn

Is it no surprise that every CEO, producer, manager and coordinator is trying to cram as much as possible in the schedule? I once knew of a producer who was constantly pressing his programmers to design tools to deliver animations ever faster, to reduce the need for customization and ultimately, to cut down the need for staff while at the same time, demand greater artistry and emotional connection (which of course, requires that same customization and personalization he sought so hard to eliminate). Motion capture tools, auto-animate controls, special dynamics scripts and preset lighting modules are all the rage when it comes to speeding up the animation pipeline. The motivations behind these technologies rarely have to do with advancing the art form or improving quality, but rather reducing costs in order to increase profits, which ironically is diminishing because of the constant out-bidding among studios. It’s truly becoming a fruitless and futile, lose-lose scenario. All we did was get faster.

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Untitled V. The art of Abstract Expressionist Willem De Kooning looks like it’d be easy to duplicate to the untrained eye, but that’s far from the reality. Fantastic personal artistry is impossible to duplicate.

Fortunately, nature has its limits. Creativity, and the emotional impact that responds to the highest quality — which can only come from the personal space that lies within the artist’s mind and soul — can’t be duplicated. Did photography remove the need for drawing or painting? Do realistic animations remove the need for live actors? Will machines or programs replace artists? The answer to all these questions is a resounding NO. We don’t connect to any work that is impersonal.

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If you’re Olympic Champion Usain Bolt or any professional athlete speed matters. But we must ask for most other things in life, why should it?

Time is a tool. As much as it is a tool to help us get things done, it’s a tool to help express our craft. Furthermore, clocks and watches helps us measure things like cooking times and athletic performance, as well as set up conveniences like meetings. But when time is used to measure artistic merit or self-worth, it fails miserably. A musician isn’t judged by how quickly he plays and neither should an artist be judged by his rate of production. No great piece of art in history, whether in the realms of music, film or painting is remembered for how quickly it was done. Yet again and again, we commonly hear how successful a person or company is because of the speed of execution or how quickly a fortune has been amassed. Let’s get over this delusion. Society has yet to realize that when one person or one company has gotten faster, so has everyone else. The end result being no one is further ahead. The goal of art (and life) shouldn’t be to do it faster, but to learn from it, dance with it, and having a bit of fun with it.

South Park Creators Matt Stone and Trey Parker lend a little animation to some Alan Watts wisdom.

But what if the world refuses to behave and our deadlines remain just as real and foreboding? Well, then hard difficult decisions have to be made. We must ask, is the work we’re doing worth doing? If not, why should we keep doing it? And if it is, can we find balance somehow?  Is there a way of working within the external constraints? Musical talents like Bob Dylan and Bruce Springsteen found ways to express their poetry in the standard three minute song. Within our everyday performance,there are many ways of working to improve our focus and effectiveness. Improved skill is highly correlated with improved efficiency and execution — it’s part of being a professional to bolster our abilities. Asking the right questions helps us get stronger. At the end of the day, we’re all  judged by the quality of our contributions. Shortcuts don’t work, they never have.

“There are no secrets that time does not reveal.” — Jean Racine

Now, the other concern we may have is whether our work will suffer if we can’t work quickly or be able to endure super long hours. My own experience has shown me that rushing decisions (for example, skipping the planning stage) and working when we’re tired both diminishes performance and results in poor delivery — which ultimately results in having to do things over and taking even longer. Bottom line is, we can only do the best we can in the time allotted — the key word being allotted. Mistakes and failure are bound to happen and we have to learn from them. They are acceptable outcomes of being an artist and being a human being. Wise organizations will make adjustments and set more achievable milestones. The unintelligible ones will remain short-sighted and have short life spans.

Always remember that lack of success doesn’t break us, but rather helps us grow — it’s good and proper feedback. Rushing and pressing for more and more, with less and less time and resources, however, can break you. In fact, it will lead to a mental state that turns us sick in mind, body and spirit. If we let something as abstract as time dominate us, we will have invited impatience, irritation and aggressiveness into our lives and allow these attributes to define us. If we let go of expectation and perpetual haste, the anxieties attached to our creative performance diminishes.

At the end of the day, art requires the time that it needs. Varied pacing and balance are needed for great and interesting art. It’s only logical that the same goes with working and living.

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Perhaps this moment from John Lasseter’s marvelous film, Toy Story 2, says it best. Good work requires skill, technique, care, and most of all, time.

“Art tends toward balance, order, judgment of relative values, the laws of growth, the economy of living – very good things for anyone to be interested in.” — Robert Henri