Making the Cut and creative research

On a recent weekend, I was feeling relatively slothful and ended up binge-watching the first season of Making the Cut on Amazon Prime. My understanding is that Making the Cut is basically a show where Heidi Klum and Tim Gunn decided to take their toys and go home (or at least to another platform) after leaving Project Runway. I haven’t seen Project Runway since college, so my memories of that show are vague but I think the main differences here is that this show has more of an international focus because it’s seeking fashion designers/entrepreneurs who will become the Next Big Global Brand. Or something.

And obviously, it also has a lot of Amazon-related tie-ins. Product placement in a show is always a bit sketchy but here I’m really not sure if it does the designers any favors to have the more accessible looks they create made available on Amazon. Buying clothes on Amazon is a notoriously huge gamble. Some people I know have been able to find nice stuff on there. Meanwhile, every piece of clothing I’ve ever bought on that site has been crap. I’m sure the intended effect of having these designers’ clothes available on Amazon (other than to give the designers more exposure) is to elevate Amazon’s reputation as a seller of clothing. Instead, I feel like the designers kind of suffer by the association, at least in my mind.

Anyway, that’s not why we’re here. We’re here because I want to talk about Making the Cut as an example of creative research.

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On scholarly vs narrative voice in LIS literature

Once upon a time, I wrote a book chapter about a lesson that I teach students in my first-year seminar about being wrong. The lesson involves having them listen to the song “If I Had a Million Dollars” by The Barenaked Ladies and then telling them a vaguely embarrassing story about a time that I claimed, very confidently, that an emu and a llama were the same thing. If you know the song, you’ll understand. Or maybe not since emus and llamas are very much not the same thing.

In the chapter I originally submitted, I described this lesson and the story it involves in a relatively casual tone, similar to the one I use for this blog. This was different from the more scholarly voice I’d used in my previous professional writings. The reason I chose this more casual, narrative voice was twofold. First, the story was meant to be at least a little funny and it’s hard to tell a funny story in a scholarly voice. Second, I figured that rules about tone and voice are less strict for book chapters than they are for scholarly articles. The opportunity to throw off the constraints of scholarly writing and talk about my work in a voice and tone I personally prefer to use was one of the main attractions of getting to write a book chapter for me in the first place.

What I didn’t account for was the book editors’ preferences or expectations around the level of scholarliness they wanted for their book. Their feedback on that original submission was one of…polite alarm. The kind you might express when someone you know and like has made a particularly embarrassing faux pas. Like if I’d worn a bunny costume to a black tie party.

And I was embarrassed, not least because these editors were people I knew well and whose work I greatly respected. Because I had worked with them on previous projects, I should have known and understood the value they place on scholarliness and written my chapter accordingly. As it was, I ended up frantically rewriting the whole thing and adding a ton more research to my literature review. I don’t know if anyone was super happy with what I ended up with, but it did get published, so I guess it turned out okay in the end, more or less.

Still. I can’t help but wish I’d been able to keep the original narrative tone.

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Leonardo da Vinci was the king of creative research, apparently

So recently I was looking for something to read and I happened to come across a recent biography of Leonardo da Vinci by Walter Isaacson. I am not someone who is typically interested in art or art history but I do love well-written biographies about interesting people and I knew that Isaacson is particularly excellent in this respect, so I decided to pick up a copy from my library out of idle curiosity.

It turns out that telling the story of Leonardo da Vinci’s life is a bit difficult because while he left behind a lot of notebooks and writings, he almost never wrote about himself in any detail. Isaacson does a great job of filling in the blanks based on the historical evidence that still exists but the biography of Leonardo(1) in many ways ends up being a biography of the work he left behind, both finished and unfinished, more than a biography of the man himself and how he lived his life. Because while Leonardo didn’t write much about himself, he did write a great deal about things that sparked his curiosity. And much of what he was curious about ended up informing his work in the various artistic and scientific realms that he worked in.

Basically, what I’m saying is Leonardo da Vinci did a lot of what can be understood now as creative research.

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On going back to the office, part 2

So a few weeks ago, I wrote a post on my feelings about returning to the office after nearly a year and half of working from home. At the time, I felt pretty good about it. Obviously, it was going to be a big change but I was tired of feeling so isolated. I wanted to be among people again and this felt like a good opportunity for a fresh start. Plus, I was grateful that, unlike many of my colleagues who have been working in-person this whole time, I got to wait to go back until things felt more safe again.

As Lin-Manuel Miranda might say, time has made a fool of that last point.

Which I kind of expected. I knew there were going to be variants and that things could get bad again, but like most people, I had no idea how bad they were going to get or how quickly. Now we’re at the start of a new semester and honestly I’m a lot more anxious and scared about what’s going to happen than I expected to be.

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