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The Spectrum of Art

By | Art & Social Change, Of Love and Concrete | No Comments

Agnes Denes is one of the featured artists in the current exhibit Expo1 taking place at PS1 through September 2nd. Denes is an environmental artist. Her canvas is literally the world around us. The work on display at PS1 was documentation (photos) of a piece she created in 1982; Wheatfield – A confrontation: Battery Park Landfill, Downtown Manhattan. It is a powerful work of art! It is a work that calls for change as it exemplifies beauty, calls for hope, and explores the human condition.

Wheat1

From an aesthetic standpoint, the photographs probably do not do the piece justice, but what they show is nothing short of breathtaking. Remember the context is 1982. The Battery is not a lush green environment; it is barren. Also recall that 9/11 is unimaginable. A wispy rural wheat field, two acres of wheat growing in a near desolate environment. Golden rods of grain flitting in front of skyscrapers. The image that resonates for me is the amber grain waving in front of the Twin Towers, “America the Beautiful” to a T. The aesthetics of the piece left a tingling sensation in the body.

Wheat7

Webster defines hope as “desire with expectation of obtainment.” When Denes was inspired to do her work, the Battery was a desolate canvas. Two hundred truckloads of dirt were trucked in for the installation. She toiled with the soil for months to ensure that the plain was fertile. In the end, a bountiful crop displayed the amazing opportunity. An empty landscape can be so much more than blight. The opportunities with creativity and hard-work cannot be contained.

Wheat9

Two acres is not a lot of grain in the grand scheme of things. It does not feed many people, and it does not generate a lot of revenue, particularly considering the resources invested into the production. But Wheatfields explores something far more meaningful. According to Denes,

Planting and harvesting a field of wheat on land worth $4.5 billion created a powerful paradox. Wheatfield was a symbol, a universal concept; it represented food, energy, commerce, world trade, and economics. It referred to mismanagement, waste, world hunger and ecological concerns. It called attention to our misplaced priorities.

The field was more than just the beautiful landscape it created. It was even more than just the fruits of someone’s labor. It was a statement to one of the most powerful streets on the planet.

Things have changed in the 30 years since the field. Battery Park is a lush tourist destination containing many new symbols of hope. The Towers have fallen. Some things have not changed, hunger still exists and Wall Street excess still persists. I think there is room for many more installations to make bold proclamations like Denes’ two acres of wheat. There is still room to show us beautiful things in everyday surroundings. There is still a place to show opportunity. There is still a place to show us what really matters in life.

IMAGE CREDIT. [Agnes Denes, “Wheatfield — A Confrontation” (1982), two acres of wheat planted and harvested in Battery Park landfill, Manhattan, New York (© Agnes Denes, via theecologist.org)].

 

A Human Project

By | Art & Social Change, Of Love and Concrete | No Comments

JR is an international street artist who uses portraits to tell stories. His work is not only big in the sense that his canvases are typically measured in meters but his statements are huge!

Portraits of a Generation: Byron, Paris, 20ème arrondissement, 2004

In his early work, Portraits of a Generation, JR captured images of the overlooked population of  youth in the projects of Paris and posted them in highly visible locations throughout the city. In his later work Face 2 Face, he captured images of both parties to the Israel-Palestinian conflict and posted them side by side on the Separation Barrier. His most recent work, The Inside Out Project, is an open invitation to the world to tell their story through portraiture. The Emmerson Collective is using the project as a tool to highlight the stories of the newest residents of the United States.

Inside Out Baltimore: Kristin Stith, Scott Burkholder, Bonnie Schupp photo by Theresa Keil via What Weekly

JR’s work touches upon some of the most divisive topics: poverty, human dignity, the middle east, war, immigration and the list goes on. However, JR refuses to get political and professes that his work is apolitical. How can he do that? JR does so by looking at these circumstances through the lense of values and not as “issues.” He sees his work as telling the story of humanity

“This artistic act is first and foremost a human project”

JR: Women Are Heroes Action in Kibera Slum, Train Passage 5, Kenya, 2009

JR has tapped into the most powerful and important attribute of art. Art is about values!

When art is a place for society to explore our values, it is extremely powerful. By focusing on human story, JR directs our attention to our universal axiom of being human. He gives us dignity and causes us to explore dignity without regard for condition because we all have a story. JR and successful art gets to the root of humanity by using issues not for the sake of an agenda but for the sake of reminding us of the most important things about being human.

Exploring our values is extremely important! In a society, and world, that is hung up on the fleeting nature of issues, we have become overly divided. I dare say that there are values that all people will claim. Life, liberty,  love, the pursuit of happiness … to name a few. There are very few issues or interests that a significant majority would claim (see the current Habor Point TIF issue in Baltimore Maryland.). It is in our values that we will have the opportunity to not only work together, but to live together. The divided world needs to consider the values behind our thoughts and actions. In that exploration we might possibly find the ground big enough for all of us to stand on.

JR is not a politician, but his work is making big bold statements as if he were one. And his work is likely doing more to change the world than politics as usual.

IMAGE CREDIT. [Scott Burkholder June 2013 NYC].

Silo-Breakers: Scott Burkholder

By | Art & Social Change, Of Love and Concrete, Silo-Breakers | No Comments

Editor’s 0714_WVanthem …

At ChangingMedia, we love playing around with new technologies. One of our core beliefs is that tech has the potential to break down barriers and create meaningful social change. That pixelated sense of playfulness extends to ChangeEngine, where we’re always looking for new ways to send grand schemes and new ideas into orbit. Our most advanced technology, of course, is the genius of our contributors. But we also know that those new tools can push the debate and the work of social change forward. And so, without further ado and through the magic of Instagram video, we present the latest installment in our Silo-Breakers series — our very own bard of love and concrete, Scott Burkholder, on his work with GBTC at the intersection of art and tech.

Thanks to Scott for agreeing to be our pioneer (and a shout-out to ChangeEngine’s chief booster, the irrepressible Colin Seal, for suggesting the idea.)

[Want to join in the fun? Create a short Instagram video telling us what your silo is and how you’re working to break out of it. Share with us at changeengine on Instagram, @ChangEngine #breakoutchallenge on Twitter, or at facebook.com/ChangingMedia.]

 

Biting Galileo’s Style

By | ChangeEngine, Silo-Breakers | No Comments

Yes, we admit it: we’re shamelessly ripping off Galileo’s style for our own purposes. But in this case we come by it honestly. Our impromptu Silo-Breakers series prompted a tremendously thought-provoking contribution from our friend, Rodney Foxworth, on the power of racial divisions in Baltimore. So provocative in fact that it sparked its own spirited back-and-forth via email, even as we were discussing the mundane details of when to schedule publication.

The exchange put us in mind of Galileo’s “Dialogue Concerning the Two Chief World Systems” where he framed his argument for the Copernican model of the universe, in which the earth revolves around the sun, in the form of a classic Platonic dialogue. Perhaps the reference is obscure, but then again maybe not. Perhaps there’s as much progress to be made scouring our souls as gazing at the stars. So here, in somewhat briefer form, we present our dialogue on the cosmology of our personal universes and on the forces that keep us apart…

(TAKE THE BREAKOUT CHALLENGE! What’s YOUR silo? And how do you break out of it? Let us know @ChangEngine #breakoutchallengefacebook.com/ChangingMedia, or email hasdai@changingmediagroup.com.)

Silo Breakers – Michelle Geiss

By | ChangeEngine, Silo-Breakers | No Comments

Editor’s 0714_WVanthem …

What with ChangeEngine being the free-wheeling, spontaneous social change platform that it is, we’re not surprised to see a chain-reaction of inspirations leading us to the first in what we hope will be a long and illustrious series of profiles in silo-breaking from change-makers in Baltimore and beyond. Inspired by the recent Community Design Lab, Adam’s magnificent post on the perils of silos set off a dynamic discussion on boundaries, barriers, and busting through to cross-pollination and inclusion … which brings us full circle to the first of our Silo Breakers, Community Design Lab Co-Organizer Michelle Geiss…

Michelle Geiss

My primary silo is the world of global health, with sub-silos galore — malaria, family planning, social marketing, social franchising, and so on. Each sub-silo has its own culture, practices, lore, dynamic and wonky terminology. And each has almost no idea what happens in the silo next door.

Funding structures reinforce this state of disconnectedness. In each country, the weight of coordination falls largely on the backs of underfunded, overwhelmed and disorganized ministries of health, which themselves are siloed to match donor interests (sound familiar?). Though the silos lead to duplication and disproportionate efforts towards the issue-du-jour, they are very deeply entrenched and massively difficult to change.

I try to break out of silos by taking on projects across a range of health areas and technical areas, and by cross-pollinating or encouraging integrated approaches when I can. Gradually, I’m also learning the contours and constraints of Baltimore and its challenges, which gives me the opportunity to experiment with plugging my global health skills into entirely new areas of focus. It has been humbling and inspiring to step out of the world of multi-million, multi-country malaria grants and into the heart of small, homegrown grassroots efforts in Baltimore scraping by on volunteer time and a few hundred dollars.

I’m a big believer in using design thinking methods to show that inspiration can come from the darndest of places and that everyone can be innovative in their work if they respect creativity as a process. My second hat as a Community Design Lab organizer is born out of that belief. That and a nagging feeling that a better Baltimore is right at our fingertips if we could just mix the amazing change-makers, creative minds and communities together in the right way.

One thing that struck me about our inaugural Design Lab was how many folks in the room were natural silo breakers. Nearly everyone had an affiliation with forward slashes. Adam’s three hats — City Health Department / ChangeEngine contributor / free-range potter — were the norm rather than the exception. The SocEnt breakfasts are also full of the city’s renaissance men and women who rattle off two or three projects or affiliations during the around-the-table intros.

I see this as an encouraging sign that there is a growing community of people who want to listen, collaborate and share ideas, and who see this as the only way to begin breaking down the inefficiencies, injustices and inequities of the city. The issue of inclusion is on a lot of people’s minds and I hope we’ll continue to challenge ourselves to be better and better at this. If we continue to acknowledge that we don’t have all the answers and that we need community leaders in the room, I’m optimistic we’ll keep moving in the right direction.

Michelle is a freelance public health consultant and co-initiator of the Baltimore Community Design Lab.

TAKE THE BREAKOUT CHALLENGE! What’s YOUR silo? And how do you break out of it? Let us know @ChangEnginefacebook.com/ChangingMedia, or email hasdai@changingmediagroup.com.

IMAGE CREDIT. www.chrissauter.com.

Vision Driven Change

By | Health, The Global Is Local | 2 Comments

A few nights ago my wife and I had a conversation with our friend Peter. In contrast to our method of deciding our fate (last minute panic combined with procrastination and our desire to live in the moment), Peter was describing himself as vision-driven in his decision making process. By coincidence, the following morning I sat among a large group, including my fellow ChangeEngine blogger Scott Burkholder, loosely organized around the concepts of social entrepreneurship and a vague but optimistic vision of a better city.

These conversations have given me pause for thought, and to consider the role of this social innovation/social change blog platform. Our group of authors approaches the challenge of promoting positive social change from a variety of perspectives, and most of us have personal investment in the projects and programs that we write about.

I’ve occasionally thought that the quote attributed to Ghandi on a million self-satisfied bumper stickers — “Be the change you want to see in the world” — might be an appropriate mission statement for ChangeEngine. I looked up the phrase and found that he has been misquoted for the purposes of bumperstickerability. As corrected by the New York Times:

If we could change ourselves, the tendencies in the world would also change. As a man changes his own nature, so does the attitude of the world change towards him. … We need not wait to see what others do.”

Not surprisingly, Ghandi is a smidge more complex and a tad more profound than the sentiment captured on a bumper sticker.

My conversation with Peter and the breakfast group the following morning centered around the potential for individuals and small groups to generate substantial change. Both interactions emphasized the importance of envisioning a better place, even if the precise vision of a better future is vague. In a way, it doesn’t really matter. The effort counts.

Making an effort toward positive change almost certainly shifts the expectations, changes the conversation, and re-frames the possibilities for a community in need of transformative positive change. If Ghandi were a statistician, he might have talked about shifting or weighting the mean, if he were a talk show host, he might have talked about seeding the audience, but since he was an agent of transformative change, he talked about changing ourselves in order to change the world.

Hasdai Westbrook, our editor extraordinaire and Change-Monger-in-Chief, regularly reminds me to consider the social innovation components of the various issues that I address in my columns, and often this is a challenge for me when writing about burgeoning pandemics in Saudi Arabia. Today, however, I am struck how the health of the city is affected by all of its residents and their activities. Planting community gardens and socially responsible investment are both contributers to the same vision, and are relevant to the health of the greater community.

Barton, H.; Grant, M., 2006. A health map for the local human habitat. The Journal of the Royal Society for the Promotion of Health

My beat is Public Health, with local and global implications. At its core, Public Health is concerned with trends and interventions at the population level. While those in the research and analysis end of the field must be driven by process and procedure, those engaging in interventions must be driven by vision.

No public health intervention is undertaken without a vision of a better future for the population, but I believe that the definition of health intervention should be broadened considerably. From urban farms to the Mayor’s public safety initiatives to public art projects, there are a great number of activities taking place in Baltimore (and around the world) that directly and substantially impact population health. These activities impact the education, nutrition, economics, safety, and appearance of our neighborhoods, which can have a profound impact by shifting the mean toward a healthier city and and a healthier world.

Next time, The Gluten Wars, A Health-Conscious Society Loses Its Mind

Building Bridges

By | Art & Social Change, Of Love and Concrete | No Comments

Art is a bridge. It connects the mind to reality.

One of the most powerful connections that art can make is between people. Art can bring the CEO next to a hipster in a stank bar to indulge in some tunes. Art can reach deep into our soul as we explore the fallacy of our thoughts on material things. Art can even connect us to people we may not know. Art that tells the story of the unknown is among the most powerful in creating change. When we bring light to mystery it allows us to see and navigate.

In 1999 multidisciplinary artist Alfredo Jaar sought to bring to light a dark issue in Montreal. He used the amazing canvas of the Copula of the Marche Bonsecours to tell a story of homelessness in the city. “Lights of the City” thoughtfully considered how to draw attention to an issue that society would rather ignore. On many occasions portraits have captured the story of overlooked people, but “Lights of the City” sought to maintain the dignity of the subjects and not exploit their current circumstances. With respect, the instillation drew attention to the situation and suggested that it is only temporary.

As a monumental part of the sky line, the canvas was a beacon for much of the city. Jaar installed a hundred thousand watts of red lights into the copula. The lights could be flashed on with audience participation at several strategically located switches. The switches were placed in the office of an organization that serves the homeless, and several missions located within 500 yards of the copula.  Every time a homeless person entered any of the institutions they were welcome to flip the switch. This allowed the individual to be recognized without being humiliated.

Jaar created a connection for society. Just as a bridge cannot deliver us to our destination, his installation alone cannot eradicate homeless. It is on society to press onto our goal of a better life.

As a final thought I wanted to share some words from fellow Baltimore artist Gaia, on how to take this installation to the next level:

“Eventually all the shelters for homeless people in Montreal could be wired and connected to the Cupola. This way, a major landmark and historical monument in the city would be acting as a non-stop lighthouse, producing endless, painful distress signals to society.

With enough media coverage and public outrage and support triggered by these ongoing distress signals, homelessness could be completely eradicated from Montreal.”

IMAGE CREDIT. Wikimedia Commons.

Rise from the Rust: Art and Economic Development

By | Art & Social Change, Of Love and Concrete | 2 Comments

Grand Rapids, Michigan — an urban town — is becoming the envy of American metropolises. Forbes magazine just cited it as one of 15 cities to watch. ArtPrize is likely a significant factor in the rise of this emerald city in the heart of America’s rust belt. The five-year-old event is shaping the mini-metropolis’ economy and the global dialog about art.

ArtPrize began as an experiment of visionary entrepreneur Rick DeVos. As a third-generation entrepreneur and Grand Rapidian, DeVos knows something about vision and cared deeply about his home town. In 2009 he devised an event to crown the largest prize awarded in art in Grand Rapids. The novelty of the idea went beyond the size of the prize and the non-art-mecca location of small-town-America. The award was open to any artist from across the globe. Any venue or public space within the boundaries of downtown Grand Rapids could serve as a gallery. Finally, and likely most risque, the award was to be decided by popular vote of the people physically present in downtown Grand Rapids during the event.

The event proposes some interesting questions:

What happens when anyone can identify themselves as an artist?

What happens when any venue can be declared a gallery?

What happens when anyone can be a critic?

The answer is twofold: economic impact in a post industrial city and rich dialog!

The event was an economic force in it’s first year! It was obvious to the restaurants in the heart of the event, many ran out of food to serve during the first weekend of the two week extravaganza! In post event reports, the second competition had economic impact of over $7 million. Data for 2012 event has not yet been published but 2011 saw $15.4 million of economic activity and brought over 300,000 visitors to the urban town!

With an additional “Christmas” type retail season in the early fall, the event has attracted many new restaurants, bars, and boutiques to the downtown area. One of the more interesting additions was a “pop-up” storefront for Wolverine, an international shoe brand with offices in Grand Rapids. The brand opened up a store in downtown for what was anticipated to be a short-term during ArtPrize 2011, but in the end has held onto the spot. The success of the “pop up store” inspired the brand to open up their first store in New York City.

Beyond the economic success, the event has created conversation. ArtPrize is devoted to Art! The previous four events have attracted over 5,000 creative installations and hundreds of thousands of visitors. New thoughts are certainly formed and voiced with the presence of new minds in the town; add art, good or bad, and conversation abounds.

ArtPrize is a jackpot! ArtPrize awards $200,000 to an artist for a single work. To put that in perspective, Baltimore’s own Sondheim prize and Baker’s artist awards are $25,000. Even the prestigious Turner Art Prize awarded annually by the Tate in London is only 40,000 pounds ($62,300) and the Guggenheim’s Hugo Boss award is $100,000. ArtPrize is a large boost for the “starving” artist.

The ArtPrize is awarded democratically. The popular vote of the prize suggest that anyone has the opportunity to express their thoughts on art. This has attracted more “attention” than any other element of the prize. For quite some time the art establishment has been a tight community with prolific educational or economic hurdles as barriers. ArtPrize is leveling the playing field. By allowing the vote of anyone in the community to count, art is now something anyone can talk about. The metropolitan socialite, the hipster, the farmer and the homeless man can all voice a statement. In 2012, ArtPrize added a $100,000 juried award, suggesting a desire to be serious about the art but still placing the emphasis on accessibility of art to the general population. It will be interesting to see if ArtPrize ever awards both prizes to the same work.

ArtPrize is creating change. A small city in west central Michigan is on the minds of city planners, events organizers and the global art community. The interesting thing about ArtPrize is that it does not have to be confined to a geographic area. Many elements of the concept could be exported and the future may hold a global movement of democratically awarded art prizes that foster the economy and expand thought.

IMAGE CREDIT. “Open Water No.24” by Ran Ortner; Photo by Flickr user Haunting Notions.

Why Change Can’t Be Built In A Day

By | Art & Social Change, Of Love and Concrete | 2 Comments

Creating social change is not easy. Creating social change within the confines of cultural norms today is near miraculous. In my previous two posts, I have explored the challenges culture throws at social change makers. In part one, I explored the larger picture through the perspective of a national non-profit fund raising expert, Dan Pallotta. In part two, I explored the challenges on a personal level through my experiences using public art in Baltimore to create social change. In my final post in this series, I hope to suggest things that we can do as a society and as social change makers to make the process of lasting impact easier.

Compensation: Know what it is worth and ask for it.

Pallotta points out that society sees nothing wrong with compensating the developer of a violent blockbuster video game tens of millions of dollars, yet struggles to pay the guy ridding the world of malaria several hundred thousand dollars. Society knows how to keep score for the video game developer. Society has the company’s balance sheet. Society does not know how to keep score for the guy curing malaria. There is no balance sheet. Culture needs to consider that value goes beyond a bottom line. Change makers need to do our part to describe that value. On the personal front, Love Project artist Michael Owen and I had no idea how much work it would take to complete our “simple” project. We now know and as a result we understand better the value of such monumental tasks. We need to share this information with other folks: funders, artists, community developers and anyone working in the area of adding social and economic value through art. We need to help set the “appropriate” market rates for this type of work and ask for the appropriate rate.

Advertising and Marketing: There are more efficient methods than development.

One of Pallotta’s over-arching themes is how society perceives overhead in non-profit work as evil. Society needs to know that overhead may actually work to fight evil. The current methods of non-profit fundraising are ripe for corruption and cronyism. Development, the protocol for traditional non-profit fundraising,  is about relationships with people who already value you or your work. This mindset is supposed to reduce the amount of effort (dollars) spent on raising money as you are not working to find new supporters, but rather expanding the “charity” of the current supporters of the cause. This sounds great but not only does it lends itself to support coming from family, friends and the business acquaintances of the executive director’s spouse, it suggests the pool is only so wide and yet infinitely deep. In for-profit business, a development mindset would be ludicrous. It suggest that the pool of customers never expands; it just grows in depth. Business does marketing because it is easier to make the market wider than it is to make the market deeper. We as change makers need to make some noise on this issue. We need to fight for the opportunity to market and let our funders know that expanding the pool alleviates financial stress on them.

Risk: Failure is a part of learning even in social change.

A trend in start-up business these days is to “fail fast” and change. The notion is that it is better to figure out early that an idea is not going anywhere and move onto the next thing than to linger and waste resources on it. Mr. Pallotta points out that in for-profit that failure is seen as a pivot point, or learning opportunity. In non-profit, failure is viewed as a moral lapse of judgement. Society needs to understand that failure is still a learning experience in non-profit just as it is in for-profit. We need to accept and encourage risk, meaning failure might happen, so that we can grow. If social concerns are still with us, there is still opportunity and a need to try new methods of change. We must learn in order to create change.

Time Horizons: Be real about achieving social change.

Adding value that goes beyond the bottom line requires long-time horizons and there is always someone else behind you ready to take the money from the funder. Society (funders, the public, and organizations) needs to grow in our understanding of realistic expectations for change. We know that Rome was not built in a day, but do we know that the social ills of Rome were never solved? Change makers need to be realistic about the change that they can deliver and over what time. We need to do our part to demonstrate progress whenever possible. We need to embrace accountability and be able to clearly articulate the progress that IS being made. We need metrics and we need to know what they mean. It should be the goal of every organization to make their “balance sheets” available, and I do not mean financials. Funders also need to do their part to express realistic expectations and commit to the long term with organizations. Change will come but it will likely not happen tomorrow.

Social Capital Markets: Ownership of doing good.

When a non-profit organization wants to grow its infrastructure so it can deliver more services or products it relies on the same pool of dollars as it would for programming. Operations and build money are treated as one and the same. For-profit business would find this inefficient. Society needs to rethink the financial opportunities for social change makers. Yes, we are doing that with crowd funding platforms but these are limited by imagination and regulations. Could we imagine a platform that allows for distinctive “ownership” of social good? Could we create reasonable regulations that open up funding for social change? These are in the works but we must again accept some risk and allow for learning and growth so that our efforts to deliver social change can be made more efficient.

Social change is hard. I do not think that will ever change. But as a society, we can rethink our perspectives on delivering that social change and make it far easier. Many hands can lift a far greater weight when we don’t hold ourselves back.

The Top Ten Most Useless Top-Tens About Social Media

By | ChangeEngine, Social Media | 2 Comments

As someone who spends a good deal of time helping organizations great and small harness the power of social media, I often find myself stumbling across “top-ten lists” of social media tips from a never-ending parade of blog evangelists, web-thumpers, and manic e-preachers. It’s intriguing how closely these features tend to mirror the anxieties and misconceptions that I come across in my face-to-face conversations with real-life people seeking insight, which is no doubt one of the reasons they’re so popular.

The top-ten list itself is one of the dominant tropes of the infinitely-aggregating (and often aggravating) digital media age — link-bait for our flicker-quick attention spans, churned out as proven traffic drivers to cater to our jones for simple answers. A vast number are about sex of course, or at least love. In fact, the social media top-tens remind me most of the advice lists written in breathless tones by relationship “experts” that we all click-through eager for some secret insight, even though our rational minds know the premise is absurd…”Ten Ways to Know She’s Into You!”* or “Top Ten Things Your Man REALLY wants!”** Superficially revealing, deceptively empowering, and almost certainly completely useless if applied to your specific circumstances.

So, without pointing any particular fingers, here’s a run-down of the top ten kinds of top-tens for social media, and why you might want to use them for novelty purposes only…

*Because it makes perfect sense that the answer to a mystery that has eluded every poet, philosopher, and evolutionary biologist since the dawn of time can be imparted to you by a freelance “Passion Consultant” in a 500-word post on DudesHealth.com
**Chris Rock has helpfully boiled the list down to three.

Updated1) “Top Ten Reasons You Should Be On <Insert Social Media Site> RIGHT NOW!”

I’m often asked in panic-stricken tones “should I be on…?” And my answer invariably is, “well, that depends.”

Facebook, right? I need to be on Facebook!”

Well, maybe. The real question is who you want to reach and why. Your audience isn’t “Facebook.” There are a billion people on Facebook, and unless you have a cat with a Hitler ‘stache you’re not going to reach them all, nor would you want to.

Oh right, I should be on Twitter.”

Your audience isn’t anyone called “Twitter” either. These things were created to help us communicate with people. Sometimes the most powerful social media tool is e-mail, or that most dynamic of social inventions — a conversation.

2) “Top Ten Twitter Hash-Tags You NEED to Be Using, Like, YESTERDAY!” 

Speaking of Twitter, no magic tags. Event tags good for
events. Build relationships, find your voice. Remember,
you only have 140 charact... #WasteOfTime 

3) “Top Ten BEST Practices for Social Media!”

Nooo. Nope. There are no generalizable social media tips for content or strategy other than don’t post bomb threats, pornography, or pictures of your Weiner.

4) “Top Ten Ways to Go VIRAL!” 

The percentage of content on the internet that actually goes “viral” – as in ubiquitous enough for you to be sick of it (or at least vaguely aware of its virulent existence without even seeing it) – is so infinitesimally small, you might as well have a “top ten ways” to win the lottery or hit a half-court shot. If you insist on chasing the chimera of being the next Gangnam Style, by all means spend your waking hours trying to come up with a hilariously preposterous little dance move that sets the world on fire. But that’s probably time better spent creating quality content that resonates with your audience.

5) “Top Ten Ways to Make SURE … !”

There’s a great deal of fear associated with social media — of wasting one’s time, of bomb or Weiner-wielding lunatics, but mostly of criticism. Most of these “Make Sure”‘s are of the “something doesn’t happen” variety. But there is no certainty in social media, whether of results or consequences, be they negative or positive. There are ways to watch and listen, to learn, to harness these tools for your own ends. But if there’s one thing that’s true of social media it’s that it’s not an inanimate technology like a crankshaft or an engine; it’s a human system, and so susceptible to failure, horror, and great joy.

Pac-ManReverse2

6) “Ten Creative Ways to Use …!”

To be fair, these are actually the most useful of this breed. It never hurts to be open to new ideas or new ways to use familiar platforms. The key word here though is “creative,” as in being inspired to create something fresh and meaningful in a way that expresses your unique voice. Slavishly following some tip will lead to derivative drudgery, which brings us to…

7) “Top Ten Trends You NEED to Jump On Before It’s TOO LATE!”

People are using video/audio/auto-/wiki/real-time/Vine/ …people are using this… people are doing that. Media trends in the digital world have the half-life of a mayfly. It doesn’t necessarily matter what other people are doing (again, most of these trends probably involve cats.) It matters what you’re doing.

8) “Top Ten Predictions – The Next BIG THING in Social Media!”

Always good for a chortle. If the people who make such predictions really knew what the next big thing in social media was they’d be poppin’ champagne in a solid-gold jacuzzi molded into the fuselage of a diamond-encrusted private jet, not sharing that information with you via a top-ten blog post for the standard digital media industry fee of no money at all.

9) “Top Ten Ways to INCREASE Your Site Traffic Using Social Media!”

… Slow down, think about who you want to reach and why. Most tips for increasing site traffic won’t work, won’t be sustainable and some of them might even get you on Google’s naughty list. Though, of course, a top-ten list is a pretty sure-fire way to drive traffic 😛

10) “Top Ten Social Media BLOGS You Should Be Reading!”

The blog you’re reading is almost always one of these. They all tend to consist of advice that’s either too broad, wrong for you, or too technical (i.e. written for other breathless professionals!!!). You’re better off reading blogs, websites, and content by people in your field, or finding outlets that share your passions and values. Oh, and of course, you should be reading ChangeEngine 😎

RunAway

IMAGE CREDIT. Hasdai Westbrook.