Click here to Download Show Your Work PDF Book by Austin Kleon English having PDF Size 8.8 MB and No of Pages 225.
In order to be found, you have to be findable. I think there’s an easy way of putting your work out there and making it discoverable while you’re focused on getting really good at what you do. Almost all of the people I look up to and try to steal from today, regardless of their profession, have built sharing into their routine.
Show Your Work PDF Book by Austin Kleon
|Name of Book||Show Your Work|
|PDF Size||8.8 MB|
|No of Pages||225|
|Buy Book From Amazon|
About Book – Show Your Work PDF Book
These people aren’t schmoozing at cocktail parties; they’re too busy for that. They’re cranking away in their studios, their laboratories, or their cubicles, but instead of maintaining absolute secrecy and hoarding their work, they’re open about what they’re working on, and they’re consistently posting bits and pieces of their work, their ideas, and what they’re learning online.
Instead of wasting their time “networking,” they’re taking advantage of the network. By generously sharing their ideas and their knowledge, they often gain an audience that they can then leverage when they need it—for fellowship, feedback, or patronage. 3 I wanted to create a kind of beginner’s manual for this way of operating, so here’s what I came up with.
|Click here to DownloadShow Your Work PDF Book|
A book for people who hate the very idea of self-promotion. An alternative, if you will, to self-promotion. I’m going to try to teach you how to think about your work as a neverending process, how to share your process in a way that attracts people who might be interested in what you do, and how to deal with the ups and downs of putting yourself and your work out in the world.
If Steal Like an Artist was a book about stealing influence from other people, this book is about how to influence others by letting them steal from you. Imagine if your next boss didn’t have to read your résumé because he already reads your blog. Imagine being a student and getting your first gig based on a school project you posted online.
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Imagine losing your job but having a social network of people familiar with your work and ready to help you find a new one. Imagine turning a side project or. If you look back closely at history, many of the people who we think of as lone geniuses were actually part of “a whole scene of people who were supporting each other, looking at each other’s work, copying from each other, stealing ideas, and contributing ideas.”
Scenius doesn’t take away from the achievements of those great individuals; it just acknowledges that good work isn’t created in a vacuum, and that creativity is always, in some sense, a collaboration, the result of a mind connected to other minds. What I love about the idea of scenius is that it makes room in the story of creativity for the rest of us: the people who don’t consider ourselves geniuses.
Being a valuable part of a scenius is not necessarily about how smart or talented you are, but about what you have to contribute—the ideas you share, the quality of the connections you make, and the conversations you start. If we forget about genius and think more about how we can nurture and contribute to a scenius, 12 we can adjust our own expectations and the expectations of the worlds we want to accept us. Show Your Work PDF Book
We can stop asking what others can do for us, and start asking what we can do for others. We live in an age where it’s easier than ever to join a scenius. The Internet is basically a bunch of sceniuses connected together, divorced from physical geography. Blogs, social media sites, email groups, discussion boards, forums—they’re all the same thing.
Virtual scenes where people go to hang out and talk about the things they care about. There’s no bouncer, no gatekeeper, and no barrier to entering these scenes: You don’t have to be rich, you don’t have to be famous, and you don’t have to have a fancy résumé or a degree from an expensive school.
Online, everyone—the artist and the curator, the master and the apprentice, the expert and the amateur—has the ability to contribute something. Things fell into place when his sons explained social media to him and got him set up on Twitter and other social networks. During his next five-month mission, while performing all his regular astronautical duties. Show Your Work PDF Book
He tweeted, answered questions from his followers, posted pictures he’d taken of Earth, recorded music, and filmed YouTube videos of himself clipping his nails, brushing his teeth, sleeping, and even performing maintenance on the space station. Millions of people ate it all up, including my agent, Ted, who tweeted, “Wouldn’t normally watch live video of a couple of guys doing plumbing repair, but IT’S IN SPACE!”
Now, let’s face it: We’re not all artists or astronauts. A lot of us go about our work and feel like we have nothing to show for it at the end of the day. But whatever the nature of your work, there is an art to what you do, and there are people who would be interested in that art, if only you presented it to them in the right way.
In fact, sharing your process might actually be most valuable if the products of your work aren’t easily shared, if you’re still in the apprentice stage of your work, if you can’t just slap up a portfolio and call it a day, or if your process doesn’t necessarily lead to tangible finished products. How can you show your work even when you have nothing to show? Show Your Work PDF Book
The first step is to scoop up the scraps and the residue of your process and shape them into some interesting bit of media that you can share. You have to turn the invisible into something other people can see. “You have to make stuff,” said journalist David Carr when he was asked if he had any advice for students.
“No one is going to give a damn about your résumé; they want to see what you have made with your own little fingers.” Become a documentarian of what you do. Start a work journal: Write your thoughts down in a notebook, or speak them into an audio recorder. Keep a scrapbook.
Social networks are great, but they come and go. (Remember Myspace? Friendster? GeoCities?) If you’re really interested in sharing your work and expressing yourself, nothing beats owning your own space online, a place that you control, a place that no one can take away from you, a world headquarters where people can always find you. Show Your Work PDF Book Download
More than 10 years ago, I staked my own little Internet claim and bought the domain name austinkleon.com. I was a complete amateur with no skills when I began building my website: It started off bare bones and ugly. Eventually, I figured out how to install a blog, and that changed everything.
A blog is the ideal machine for turning flow into stock: One little blog post is nothing on its own, but publish a thousand blog posts over a decade, and it turns into your life’s work. My blog has been my sketchbook, my studio, my gallery, my storefront, and my salon. Absolutely everything good that has happened in my career can be 67 traced back to my blog.
My books, my art shows, my speaking gigs, some of my best friendships—they all exist because I have my own little piece of turf on the Internet. So, if you get one thing out of this book make it this: Go register a domain name. Buy www.[insert your name here] .com. If your name is common, or you don’t like your name, come up with a pseudonym or an alias, and register that. Show Your Work PDF Book Download
Then buy some web hosting and build a website. (These things sound technical, but they’re really not—a few Google searches and some books from the library will show you the way.) If you don’t have the time or inclination to build your own site, there’s a small army of web designers ready to help you. Your website doesn’t have to look pretty; it just has to exist.
Don’t think of your website as a self-promotion machine, think of it as a self-invention machine. Online, you can become the person you really want to be. Fill your website with your work and your ideas and the stuff you care about. Close your eyes and imagine you’re a wealthy collector who’s just entered a gallery in an art museum.
On the wall facing you there are two gigantic canvases, each more than 10 feet tall. Both paintings depict a harbor at sunset. From across the room, they look identical: the same ships, the same reflections on the water, the same sun at the same stage of setting. You go in for a closer look. You can’t find a label or a museum tag anywhere. Show Your Work PDF Book Download
You become obsessed with the paintings, which you nickname Painting A and Painting B. You spend an hour going back and forth from 91 canvas to canvas, comparing brushstrokes. You can’t detect a single difference. Just as you go to fetch a museum guard or someone who can shed light on these mysterious twin masterpieces, the head curator of the museum walks in.
You eagerly inquire as to the origins of your new obsessions. The curator tells you that Painting A was painted in the 17th century by a Dutch master. “And what of Painting B?” you ask. “Ah yes, Painting B,” the curator says. “That’s a forgery. It was copied last week by a graduate student at the local art college.” Look up at the paintings.
Which canvas looks better now? Which one do you want to take home? Art forgery is a strange phenomenon. “You might think that the pleasure you get from a painting depends on its color and its shape and its pattern,” says psychology professor Paul Bloom. “And if that’s right, it shouldn’t matter whether it’s an original or a forgery.” Show Your Work PDF Book Download
But our brains don’t work that way. “When shown an object, or given a food, or shown a face, people’s assessment of it—how much they like it, how valuable it is—is deeply affected by what you tell them about it.” No matter how famous they get, the forward-thinking artists of today aren’t just looking for fans or passive consumers of their work, they’re looking for potential collaborators, or co-conspirators.
These artists acknowledge that good work isn’t created in a vacuum, and that the experience of art is always a two-way street, incomplete without feedback. These artists hang out online and answer questions. They ask for reading recommendations. They chat with fans about the stuff they love.
The music producer Adrian Younge was hanging out on Twitter one day and tweeted, “Who is better: The Dramatics or The Delfonics?” As his followers erupted in a debate over the two soul groups, one follower mentioned that the lead singer of The Delfonics, William Hart, was a friend of his dad’s and that Hart just happened to be a fan of Younge’s music. Show Your Work PDF Book Free
The follower suggested that the two should collaborate. “To make a long story short,” Younge says, “a day later, I’m on the phone with William Hart and 127 we’re speaking for like two hours . . . we hit it off in a way that was just cosmic.” Younge then produced a brand-new record with Hart, Adrian Younge Presents The Delfonics. That story is great for two reasons.
One, it’s the only story of an album I know of whose existence can be traced to a single tweet. Two, it shows what happens when a musician interacts with his fans on the level of a fan himself. If you want fans, you have to be a fan first. If you want to be accepted by a community, you have to first be a good citizen of that community.
If you’re only pointing to your own stuff online, you’re doing it wrong. You have to be a connector. The writer Blake Butler calls this being an open node. If you want to get, you have to give. If you want to be noticed, you have to notice. Shut up and listen once in a while. Be thoughtful. Be considerate. Don’t turn into human spam. Be an open node. Show Your Work PDF Book Free