Some days ago I was reading a blog, and the author suggested that, in recapping this year, "just say it was good, no matter what happened this year".
I was unsure what she exactly meant at the time. But I like the idea. So I am passing on the idea here in my blog.
If you had something good, you can honestly say, "it was good".
What if there was something bad in a conventional sense? You can still say "it was good".
If we consider much of life's suffering and damage are self-inflicted, saying "it was good" is a great way to reduce damage and to move forward. Besides, like some proverbs say, fortunes and misfortunes are intertwined, and what you thought an evil may be a blessing in disguise.
Saying "it was good" can help you to change or re-define your perception, your personal evaluation of the year. It is a very empowering statement. Also, by saying that, you got to look harder to find the bright side of the event. And there are bright sides.
Personally year 2013 was an eventful year, and also was a year of learning. Even if I take only last couple of months, I feel like I learned a lot about myself and took many other lessons more than in last 7 years combined. I can use the lessons for the future. And it is good.
December 23, 2013
December 14, 2013
Science: Grant award
Most people do something professionally, and they take the routine they do granted. But sometimes the story is interesting to others working in different business. Let's try a story by a scientist.
Last week a colon cancer foundation notified me that my research proposal is going to be funded. I am very, very, thankful for that.
Unlike other award notices like the Academy award for movies, a scientific grant award notice is not something given for the past accomplishments. The award notice is for future accomplishment. It is basically telling me that I got the contract through competitive bidding. The notice marks the beginning of the work on my part.
They like the application's idea, they believe that the project can be done by the team, and they think the results or "returns" would match their cause or purpose. Then they invest their money. That is the nature of the contemporary scientific grant business.
Accordingly, what I did first was to contact my university's grant office, where they handle all grants and contracts. Next I did was to read my own proposal. If the project has not been initiated already, I need to refresh my memory to get the job done. Then I made a list of tasks and of reagents to order. I got to think through the project again.
When the grant office set up a new account and when we see the money, I'll start the ordering.
Incidentally, this time of the year, usually all December, is a work planning session time for me. Time to work with notepad and write down what should happen in 2014 (and beyond).
The planning is like, "Now I got the grant and start this project, so I'll get the results by this time and I will be writing paper manuscript by this time. Based on the results, I'd be able to develop another project by this time. Perhaps I can merge the results with those from another project and develop the other proposal due on October, etc."
Science does have a moment of excitement ("Eureka!!!") not unlike the rush in fishing or hunting. But as a business, it is much more like farming. Knowing when to plant seeds of this crop, when to tend to, and when to harvest..... I did not get much of this aspect of science in my graduate school.
Only when you see science as a small business from the standpoint of a project leader (or a PI, Principal Investigator), you can see these.
When we read scientific journals and magazines, these everyday operations are not told. Only results. This should be the same for other businesses and industries.
Last week a colon cancer foundation notified me that my research proposal is going to be funded. I am very, very, thankful for that.
Unlike other award notices like the Academy award for movies, a scientific grant award notice is not something given for the past accomplishments. The award notice is for future accomplishment. It is basically telling me that I got the contract through competitive bidding. The notice marks the beginning of the work on my part.
They like the application's idea, they believe that the project can be done by the team, and they think the results or "returns" would match their cause or purpose. Then they invest their money. That is the nature of the contemporary scientific grant business.
Accordingly, what I did first was to contact my university's grant office, where they handle all grants and contracts. Next I did was to read my own proposal. If the project has not been initiated already, I need to refresh my memory to get the job done. Then I made a list of tasks and of reagents to order. I got to think through the project again.
When the grant office set up a new account and when we see the money, I'll start the ordering.
Incidentally, this time of the year, usually all December, is a work planning session time for me. Time to work with notepad and write down what should happen in 2014 (and beyond).
The planning is like, "Now I got the grant and start this project, so I'll get the results by this time and I will be writing paper manuscript by this time. Based on the results, I'd be able to develop another project by this time. Perhaps I can merge the results with those from another project and develop the other proposal due on October, etc."
Science does have a moment of excitement ("Eureka!!!") not unlike the rush in fishing or hunting. But as a business, it is much more like farming. Knowing when to plant seeds of this crop, when to tend to, and when to harvest..... I did not get much of this aspect of science in my graduate school.
Only when you see science as a small business from the standpoint of a project leader (or a PI, Principal Investigator), you can see these.
When we read scientific journals and magazines, these everyday operations are not told. Only results. This should be the same for other businesses and industries.
December 6, 2013
Dance: Fandango de Tango 2013
The last entry was on 11/23!? When you are busy in real life, internet presence tends to diminish. Time is a precious resource indeed.
This snow day may be a good time to catch up with this blog. Thank you, winter storm.
**************************************************
Fandango de Tango is an Argentine Tango event held over Thanksgiving weekend in Dallas. With classes by 5 famous couples/instructors/performers, practicas, nightly milongas and a show night (plus occasional exhibitions), it is an awesome, fun event to attend.
I went there for milongas and the show. The event was celebrating its 15th year. The running was smooth and the show was terrific. I'd go there again.
This year my wife was not joining, so instead of being busy dancing or chatting, I got some extra time to sit, watch, and think about this Tango business.
There were invited master-level instructors/performers, who did the show. They were undoubtedly a major attraction of the event. Their dance was sophisticated, and such dances are not something you see every day. I love to watch dances at the level of sophistication.
But most people don't show up just to watch the show.
A non-subsidized event has to be financially viable. From the standpoint of business, most other attending dancers were the main people of the event. They (including myself) were the customers paying the bills eventually. They showed up expecting decent classes, which would help improving their dancing skills, and decent milongas, which would give them good time dancing and meeting up new people.
This kind of event is two sports combined; spectator sport (watching the masters) and fun sport (learn how to or improve your skills in classes and dance in the parties meeting new people).
Even if you don't dance or are not interested in the dance, like you are dragged down by your girlfriend, something new can be fun. We choose how we have fun out of the event.
If you see Tango as a business, it is a winner-takes-all type business. All money go to a small number of "winners".
For dancers, only a handful professionals can live only from performing dancing. Most other dancers double as teachers/instructors, where the money is, and where different sets of skills for teaching are required. Dancing and running a studio or teaching are different businesses. Yet, money-wise, they are on the winner's side.
For promoters, like any other businesses, they have to aim at financial viability. They hire pros who can perform and teach, and promote the event to get more "customers". To get the event going, they better be on the winner's side, too.
For most others ("customers"), they pay money, so money-wise, they are consumers. How well they dance actually does not matter in this business relationship. What they are buying in return is a good time. They find their niche, and find the ways they have fun out of it. They may not make money out of it, but it does not matter. What matters is having a good time out of it. By having a good time, they all can be winners.
Time is priceless, and we better spend it well. Money is merely a facilitator of having a good time.
This snow day may be a good time to catch up with this blog. Thank you, winter storm.
**************************************************
Fandango de Tango is an Argentine Tango event held over Thanksgiving weekend in Dallas. With classes by 5 famous couples/instructors/performers, practicas, nightly milongas and a show night (plus occasional exhibitions), it is an awesome, fun event to attend.
I went there for milongas and the show. The event was celebrating its 15th year. The running was smooth and the show was terrific. I'd go there again.
This year my wife was not joining, so instead of being busy dancing or chatting, I got some extra time to sit, watch, and think about this Tango business.
There were invited master-level instructors/performers, who did the show. They were undoubtedly a major attraction of the event. Their dance was sophisticated, and such dances are not something you see every day. I love to watch dances at the level of sophistication.
But most people don't show up just to watch the show.
A non-subsidized event has to be financially viable. From the standpoint of business, most other attending dancers were the main people of the event. They (including myself) were the customers paying the bills eventually. They showed up expecting decent classes, which would help improving their dancing skills, and decent milongas, which would give them good time dancing and meeting up new people.
This kind of event is two sports combined; spectator sport (watching the masters) and fun sport (learn how to or improve your skills in classes and dance in the parties meeting new people).
Even if you don't dance or are not interested in the dance, like you are dragged down by your girlfriend, something new can be fun. We choose how we have fun out of the event.
If you see Tango as a business, it is a winner-takes-all type business. All money go to a small number of "winners".
For dancers, only a handful professionals can live only from performing dancing. Most other dancers double as teachers/instructors, where the money is, and where different sets of skills for teaching are required. Dancing and running a studio or teaching are different businesses. Yet, money-wise, they are on the winner's side.
For promoters, like any other businesses, they have to aim at financial viability. They hire pros who can perform and teach, and promote the event to get more "customers". To get the event going, they better be on the winner's side, too.
For most others ("customers"), they pay money, so money-wise, they are consumers. How well they dance actually does not matter in this business relationship. What they are buying in return is a good time. They find their niche, and find the ways they have fun out of it. They may not make money out of it, but it does not matter. What matters is having a good time out of it. By having a good time, they all can be winners.
Time is priceless, and we better spend it well. Money is merely a facilitator of having a good time.
November 23, 2013
Life: MBTI. Sometimes it's good to be told who you are
Recently I am having fun reading about MBTI, Myers-Briggs Type Indicator. It's basically a method for typing personalities.
They focus on four character dichotomies, [Extrovert (E)-Introvert (I)], [Sensing (S)-Intuition (N)], [Thinking (T)-Feeling (F)] and [Judgement (J)-Perception (P)]. So they categorize people to 16 types (2x2x2x2), like, ISTJ, ENFP, etc.
More information can be found everywhere in the net, including this one.
http://www.personalitypage.com/html/portraits.html
Apparently I am a very typical INTJ, "The Scientist". In fact I work as a scientist, so I got my career choice right, although I was not aware of my "type" when I chose my career path. I am somewhat perfectionist. I look reserved. I always ask "does it work" and think ways for improvement. I was pretty good at school. I tend to have ridiculously high standard of performance for myself and for others...... There are many character descriptions that are hilariously accurate for me. So I was having a lot of fun.
Then I started reading about other types. It was eye-opening, too. I enjoyed the rich variety. Then I started speculating the types of some of people I know.
Currently the way I have fun out of this is like fantasy sports. Matching up different characters, and imagining how it would work out, or would not work out, or what needs to be done to get it work.
What's next? I don't know. Maybe it's a time to decide my stance to this information, this new mind toy? At this time I am not interested in joining a forum or two and discuss this at length, because probably there are better ways to use my time than that kind of endless chat that may not go anywhere. I guess I'll play with it until I get bored of it.
The MBTI gave me some typical names to characters of people. Our mind starts recognizing "it" only when we name "it". That's what I learned from a book "The Non-designer's Design book" by Robin Williams. The book called it "the Joshua tree epiphany". Only after she learned the name of Joshua tree in a tree identification book, she recognized the trees, that grew everywhere in her neighborhood.
I understand this type of theoretical or formulaic approach is not for everyone. But I like it, because it would work, and something that works appeals to my INTJ personality. Hehe.
Oh, and looking at these MBTI memes is fun, too. A good pastime for a freezing cold morning with a sleeping cat on my lap.
PS Even if your typing looks quite accurate, it does not mean a licence of sort. It's not like we can act as much as the descriptions say. Rather, I see it as cautionary diagnosis. It can tell me what I am NOT naturally strong at. So I can cover my *** better. INTJ thinking? Indeed.
They focus on four character dichotomies, [Extrovert (E)-Introvert (I)], [Sensing (S)-Intuition (N)], [Thinking (T)-Feeling (F)] and [Judgement (J)-Perception (P)]. So they categorize people to 16 types (2x2x2x2), like, ISTJ, ENFP, etc.
More information can be found everywhere in the net, including this one.
http://www.personalitypage.com/html/portraits.html
Apparently I am a very typical INTJ, "The Scientist". In fact I work as a scientist, so I got my career choice right, although I was not aware of my "type" when I chose my career path. I am somewhat perfectionist. I look reserved. I always ask "does it work" and think ways for improvement. I was pretty good at school. I tend to have ridiculously high standard of performance for myself and for others...... There are many character descriptions that are hilariously accurate for me. So I was having a lot of fun.
Then I started reading about other types. It was eye-opening, too. I enjoyed the rich variety. Then I started speculating the types of some of people I know.
Currently the way I have fun out of this is like fantasy sports. Matching up different characters, and imagining how it would work out, or would not work out, or what needs to be done to get it work.
What's next? I don't know. Maybe it's a time to decide my stance to this information, this new mind toy? At this time I am not interested in joining a forum or two and discuss this at length, because probably there are better ways to use my time than that kind of endless chat that may not go anywhere. I guess I'll play with it until I get bored of it.
The MBTI gave me some typical names to characters of people. Our mind starts recognizing "it" only when we name "it". That's what I learned from a book "The Non-designer's Design book" by Robin Williams. The book called it "the Joshua tree epiphany". Only after she learned the name of Joshua tree in a tree identification book, she recognized the trees, that grew everywhere in her neighborhood.
I understand this type of theoretical or formulaic approach is not for everyone. But I like it, because it would work, and something that works appeals to my INTJ personality. Hehe.
Oh, and looking at these MBTI memes is fun, too. A good pastime for a freezing cold morning with a sleeping cat on my lap.
PS Even if your typing looks quite accurate, it does not mean a licence of sort. It's not like we can act as much as the descriptions say. Rather, I see it as cautionary diagnosis. It can tell me what I am NOT naturally strong at. So I can cover my *** better. INTJ thinking? Indeed.
November 17, 2013
Dance: Why they dance Tango in Tandas
A Tanda is a series of a few Tango songs. In a standard social Argentine Tango party (called milonga), it is customary that the couple dances the few songs successively. The Tandas are separated by a small piece of music called Cortina (Curtain), and when they hear Cortina, they return to their seats.
After the last blog entry, I sent out the manuscript again. To celebrate the re-submission, I went to Tulsa for their monthly milonga on Friday (the third Friday of the month at the Tulsalseros dance studio).
There were some partners I had not danced with for a long time. And at the very first dance, well, the dance was not working well with the partner. But after a few songs, we began to adopt to each other's dance habits and styles.
The extra time a Tanda can give; that is the reason why they dance Tango in Tandas. In many social dance settings, it takes more than one song to adopt to each other and achieve the Tango. Dancing Tango is, after all, somewhat like developing relationship.
Social Tango is a different game from working on a show Tango, in which familiarity to each other to pull off fancy choreography is a key. Show Tango practice is much more like other dances with choreography. To some extent repeated practice takes away the special air from the Tango, and makes it more regular dance.
In social Tango, on rare occasion, there is a great chemistry between two strangers/social dancers to set the dance off right away. But it is rare.
Usually it takes some time to figure out and adopt to the new partner, and achieve the dance. One song may be too short, all night may be too long, and a few songs may be a good amount of time to "converse" in a satisfying manner.
In a sense it might be likened to a Catholic marriage. If you are prohibited to divorce as a rule, religiously, you got to set your mind to get the marriage work, and work on it harder. There is no way out of divorcing. Tanda rule is, in a much smaller way, prohibiting you from separating. You got to work harder to get the dance work in the limited time.
Speaking of the dance that did not work well at first? Later on we got each other, and we had very satisfying dances. I enjoyed them a lot. I love this aspect of social dancing.
After the last blog entry, I sent out the manuscript again. To celebrate the re-submission, I went to Tulsa for their monthly milonga on Friday (the third Friday of the month at the Tulsalseros dance studio).
There were some partners I had not danced with for a long time. And at the very first dance, well, the dance was not working well with the partner. But after a few songs, we began to adopt to each other's dance habits and styles.
The extra time a Tanda can give; that is the reason why they dance Tango in Tandas. In many social dance settings, it takes more than one song to adopt to each other and achieve the Tango. Dancing Tango is, after all, somewhat like developing relationship.
Social Tango is a different game from working on a show Tango, in which familiarity to each other to pull off fancy choreography is a key. Show Tango practice is much more like other dances with choreography. To some extent repeated practice takes away the special air from the Tango, and makes it more regular dance.
In social Tango, on rare occasion, there is a great chemistry between two strangers/social dancers to set the dance off right away. But it is rare.
Usually it takes some time to figure out and adopt to the new partner, and achieve the dance. One song may be too short, all night may be too long, and a few songs may be a good amount of time to "converse" in a satisfying manner.
In a sense it might be likened to a Catholic marriage. If you are prohibited to divorce as a rule, religiously, you got to set your mind to get the marriage work, and work on it harder. There is no way out of divorcing. Tanda rule is, in a much smaller way, prohibiting you from separating. You got to work harder to get the dance work in the limited time.
Speaking of the dance that did not work well at first? Later on we got each other, and we had very satisfying dances. I enjoyed them a lot. I love this aspect of social dancing.
November 14, 2013
Science: Standard Operating Procedures (SOPs) for manuscript rejection
We submitted a paper manuscript for a journal some time ago. Since the journal's main targeted readers are physicians, we were not exactly certain how our manuscript with mainly mice model research would be received.
Today we got a rejection notice. As we suspected, the focus and scope was a reason for the rejection.
When you do science as a job, rejection of a manuscript is a part of the game. Sure, I am not happy to hear rejection, but if we take it hard every time, it does no good for anyone.
So over years I have developed my SOPs for coping with manuscript rejection.
(i) Receive and read the notification.
Usually you can immediately tell acceptance or rejection by reading a few lines. "We regret""Unfortunately" are for rejection, "We are happy to inform" is for acceptance.
(ii) Even if you know it by the word "regret" immediately, read the mail through, and catch general reason for rejection.
(iii) Breathe deeply. Allow yourself to be bummed for 5-10 minutes. Swearing is optional, depending on reaction. Getting up and walking around can be helpful.
(iv) Read the mail again.
By this time it should be easier to catch what they are saying more rationally.
(v) Activate contingency plans.
Usually we have an assortment of journals considered for submitting the manuscript. We would try the next-in-the-line journal.
(vi) Talk with the boss or co-authors about the new plan.
(vii) Read the new journal format specification and reformat the manuscript.
If the rejection notice points out a good point, incorporate it whenever possible.
(viii) Send out the manuscript.
(ix) Celebrate the re-submission. Cross fingers. Pray. Do whatever works for you.
(x) Be a cool professional. Don't bring negative emotions home.
The trick is to reduce emotional attachment. For the purpose, systems, rituals and SOPs do help. But it is kind of like trying to achieve Buddhism enlightenment. It's not easy.
At the manuscript submission stage, the part of the project is done, and I am usually working on something else already. As a matter of fact I am working on two other manuscripts and they keep me busy. It is helpful just to focus on the tasks at hand, and not to indulge on emotions.
And, when it is accepted for publication, be happy and celebrate. Yey :)
Today we got a rejection notice. As we suspected, the focus and scope was a reason for the rejection.
When you do science as a job, rejection of a manuscript is a part of the game. Sure, I am not happy to hear rejection, but if we take it hard every time, it does no good for anyone.
So over years I have developed my SOPs for coping with manuscript rejection.
(i) Receive and read the notification.
Usually you can immediately tell acceptance or rejection by reading a few lines. "We regret""Unfortunately" are for rejection, "We are happy to inform" is for acceptance.
(ii) Even if you know it by the word "regret" immediately, read the mail through, and catch general reason for rejection.
(iii) Breathe deeply. Allow yourself to be bummed for 5-10 minutes. Swearing is optional, depending on reaction. Getting up and walking around can be helpful.
(iv) Read the mail again.
By this time it should be easier to catch what they are saying more rationally.
(v) Activate contingency plans.
Usually we have an assortment of journals considered for submitting the manuscript. We would try the next-in-the-line journal.
(vi) Talk with the boss or co-authors about the new plan.
(vii) Read the new journal format specification and reformat the manuscript.
If the rejection notice points out a good point, incorporate it whenever possible.
(viii) Send out the manuscript.
(ix) Celebrate the re-submission. Cross fingers. Pray. Do whatever works for you.
(x) Be a cool professional. Don't bring negative emotions home.
The trick is to reduce emotional attachment. For the purpose, systems, rituals and SOPs do help. But it is kind of like trying to achieve Buddhism enlightenment. It's not easy.
At the manuscript submission stage, the part of the project is done, and I am usually working on something else already. As a matter of fact I am working on two other manuscripts and they keep me busy. It is helpful just to focus on the tasks at hand, and not to indulge on emotions.
And, when it is accepted for publication, be happy and celebrate. Yey :)
November 4, 2013
Book: "The Depression Cure" by S. Ilardi
I like books whose purpose is clear. This book is one of such books.
This book tells you what to do to combat Depression.
Most people go through some phases in their life in a depressed mood. Our moods naturally fluctuate. Little ups and downs are a normal part of life.
But for some, the downs (and ups) are greater than others. Clinical depression is a physical illness just like asthma or cold, and need to be treated as such. "Snap out of it" doesn't work, no more than they can snap out of asthma attack or cold.
I went through a few depressed times while I was in college. From now I can say they were not that serious, but at these old times I had different opinion.
Besides, I am somewhat inclined to be self-absorbed. It works for me to work as a scientist (there are a bunch like me among scientists), to write blogs and other stuff, and to analyze whatever I am interested with (probably) greater attentiveness. But a side effect is that I can be, well, self-absorbed and remote. And with this character I can get caught by depression, just like I can get caught by a flu.
So when I recently heard something that made me sad, I bought this book.
This book describes a six-step program to beat depression without drugs. So, it should work for still healthy (hopefully), me.
This book says,
(1) Take omega3 (fish oil) supplements
(2) Engage activity
(3) Exercise physically
(4) Exposed to sunlight
(5) Have social support
(6) Sleep
Yup, I'll keep them in mind and will do them.
Here are a few nuggets from the book.
"Hunter-gatherers don't get depression"
"Depression is closely linked to a toxic thought process called rumination--the habit of dwelling on negative thoughts, turning them over and over and over in your mind".
"SAD (Seasonal Affefctive Disorder)....the treatment of choice for SAD is bright light therapy"
"Wherever a person is caught in the grip of depressive illness, the situation is agonizing for the spouse,...........Spouses can be an invaluable resource in the recovery process."
Overall I liked this book. The six steps are all actionable.
On a related topic;
This article is not from the book, but it caught my attention some time ago.
http://www.frontiersin.org/Behavioral_Neuroscience/10.3389/fnbeh.2013.00041/full
The title of this behavioral neuroscience paper reads,
"Don't be too strict with yourself! Rigid negative self-representation in healthy subjects mimics the neurocognitive profile of depression for autographical memory".
It is saying that the brain usage pattern of people with Negative over-generalization is similar to patients with depression.
Yeah, if I keep saying to myself "why am I ALWAYS like that", "I will NEVER be able to do it", or "You will not change, you will ALWAYS be the same", it's got to be depressing.
A Tango instructor told me that he can tell a beginner couple that is not going to last just by listening to their language.
He basically said that if one is blaming the other,or both are blaming each other, it's not going to last.
It is a wisdom. Language of how we speak to self and others matters. I got to be very careful on this one.
A few days ago I went to Tulsa for a milonga and for OK/KS/AR state swing dance contest. I had some pretty good dances, both for Tango and for Swing. They should be helpful to combat depression, too.
This book tells you what to do to combat Depression.
Most people go through some phases in their life in a depressed mood. Our moods naturally fluctuate. Little ups and downs are a normal part of life.
But for some, the downs (and ups) are greater than others. Clinical depression is a physical illness just like asthma or cold, and need to be treated as such. "Snap out of it" doesn't work, no more than they can snap out of asthma attack or cold.
I went through a few depressed times while I was in college. From now I can say they were not that serious, but at these old times I had different opinion.
Besides, I am somewhat inclined to be self-absorbed. It works for me to work as a scientist (there are a bunch like me among scientists), to write blogs and other stuff, and to analyze whatever I am interested with (probably) greater attentiveness. But a side effect is that I can be, well, self-absorbed and remote. And with this character I can get caught by depression, just like I can get caught by a flu.
So when I recently heard something that made me sad, I bought this book.
This book describes a six-step program to beat depression without drugs. So, it should work for still healthy (hopefully), me.
This book says,
(1) Take omega3 (fish oil) supplements
(2) Engage activity
(3) Exercise physically
(4) Exposed to sunlight
(5) Have social support
(6) Sleep
Yup, I'll keep them in mind and will do them.
Here are a few nuggets from the book.
"Hunter-gatherers don't get depression"
"Depression is closely linked to a toxic thought process called rumination--the habit of dwelling on negative thoughts, turning them over and over and over in your mind".
"SAD (Seasonal Affefctive Disorder)....the treatment of choice for SAD is bright light therapy"
"Wherever a person is caught in the grip of depressive illness, the situation is agonizing for the spouse,...........Spouses can be an invaluable resource in the recovery process."
Overall I liked this book. The six steps are all actionable.
On a related topic;
This article is not from the book, but it caught my attention some time ago.
http://www.frontiersin.org/Behavioral_Neuroscience/10.3389/fnbeh.2013.00041/full
The title of this behavioral neuroscience paper reads,
"Don't be too strict with yourself! Rigid negative self-representation in healthy subjects mimics the neurocognitive profile of depression for autographical memory".
It is saying that the brain usage pattern of people with Negative over-generalization is similar to patients with depression.
Yeah, if I keep saying to myself "why am I ALWAYS like that", "I will NEVER be able to do it", or "You will not change, you will ALWAYS be the same", it's got to be depressing.
A Tango instructor told me that he can tell a beginner couple that is not going to last just by listening to their language.
He basically said that if one is blaming the other,or both are blaming each other, it's not going to last.
It is a wisdom. Language of how we speak to self and others matters. I got to be very careful on this one.
A few days ago I went to Tulsa for a milonga and for OK/KS/AR state swing dance contest. I had some pretty good dances, both for Tango and for Swing. They should be helpful to combat depression, too.
October 22, 2013
Life: Our black cat Deja update
Halloween is approaching. Talking about a black cat might be seasonal.
We have a black cat named Deja vu (after "the Matrix" movie). He is almost 10 months old now. We got to take him to a vet before he starts spraying.
When we adopted him, we were hoping for him to be a smart cat. Sure, we keepers both had a few cats before, and had some expectations for a smart cat. Even among cats, there are some whose eyes show intelligence. Well, Deja might show it on occasion but not all the time, I'd say. He is much wilder than that. In fact, he turned out to be a mischievous, occasionally wild, and probably-not-the-smartest-of-the-bunch cat.
Every time he jumps up somewhere and knocks something down to the ground with crashing noise, or chews out cellphone charger cable, or bites my leg casually and walks off, I'm saying, "Why are you doing thiiiieees!?!"
Still, we love him. He is a family member to me. I guess I'd exercise my selective memory and only remember his best, and not worst.
He also made me think that, although I have expectations, a family member is still not me, and how he/she tends to grow may be beyond me. I have certain ways of doing things that I believe have served me best. But the cat doesn't give a ****about it.
Come to think of it, success in society is not necessarily about being smart or nice. Toughness and blind force are a part of what it takes. In that sense, Deja may be the guy who has had the right attitude all along. He is not a smart, intelligent, nice and docile pussycat. But I assume he can fight viciously outside.
He is just being himself. Live strong, Deja. I'll still yell at you when you knock down the vase, though.
We have a black cat named Deja vu (after "the Matrix" movie). He is almost 10 months old now. We got to take him to a vet before he starts spraying.
When we adopted him, we were hoping for him to be a smart cat. Sure, we keepers both had a few cats before, and had some expectations for a smart cat. Even among cats, there are some whose eyes show intelligence. Well, Deja might show it on occasion but not all the time, I'd say. He is much wilder than that. In fact, he turned out to be a mischievous, occasionally wild, and probably-not-the-smartest-of-the-bunch cat.
Every time he jumps up somewhere and knocks something down to the ground with crashing noise, or chews out cellphone charger cable, or bites my leg casually and walks off, I'm saying, "Why are you doing thiiiieees!?!"
Still, we love him. He is a family member to me. I guess I'd exercise my selective memory and only remember his best, and not worst.
He also made me think that, although I have expectations, a family member is still not me, and how he/she tends to grow may be beyond me. I have certain ways of doing things that I believe have served me best. But the cat doesn't give a ****about it.
Come to think of it, success in society is not necessarily about being smart or nice. Toughness and blind force are a part of what it takes. In that sense, Deja may be the guy who has had the right attitude all along. He is not a smart, intelligent, nice and docile pussycat. But I assume he can fight viciously outside.
He is just being himself. Live strong, Deja. I'll still yell at you when you knock down the vase, though.
October 20, 2013
Science: Scientific Presentation in "Iron Man 3" style?
I do science for living. Science as a job includes presentation, an act of communicating the results and persuading the audience. To improve the aspect, I've read many books about presentation, and am still trying to pick up some tips for improvement.
Since scientific presentation is not a business press release, we usually do not use flashy and memorable Steve Jobs' style. For business, they need to impress audience so the audience take home a message. In contrast, scientific presentation is supposed to include the process how the presenters got to the message and conclusion.
The polishing in scientific presentation begins in the lab and the data we acquire, then eventually goes to the design aspects, mainly the order of information and visual presentation of the message. Of course the audience level and reception are among the first to think about. Usually the audience for scientific presentation is more specialized than general audience.
The Hollywood movie makers are very, very good at presentation to the general audience. They are THE professionals for the aspect. If their messages don't stick to our mind, the movie wouldn't sell. In the sense their life depends on the presentations that drive the story in the key points. Masterly done presentations include,"How Titanic sank", "What is the Matrix", and "Introduction for Star Wars ".
Sure, they skip all the scientific (or sci-fi) details. That's not important to them. What matters is the message. So they can go on with the story. Scientific accuracy does not matter, either. "The Jurassic Park scientists recreated dinosaurs from dino blood DNA preserved in mosquitoes in amber." Even after the chance of success of the movie technology was refuted (DNA will degrade over time), the idea still stands in our mind. Such is the power of great, mind-sticking presentation.
Slick presentations dazzle us. Dazzled mind does not work skeptical enough to meet scientist's standard. Slickness is a different way to persuade people.
The other day, I was watching Iron Man 3. The Brain hologram and the possibility of applications was a great pitch.
I was imagining how I can present what I do in the Hollywood style. Imagining I have the fancy technology, rolling the projectors and giving a 1-minute pitch. And....mmm, it's not easy.
Why is it not easy? A reason is that my education as a scientist gets in the way. Imagining requires skipping the details and ignoring what we don't know. In my case what I think I knew, the paradigm, actually inhibits free imagination. Imagination is a creative act, and not the two-way dialogue in standard bio-medical science. Also I worry too much about the accuracy.
Hmmm. I was not aware of my mental habit clearly enough before. I got to imagine more.
Albert Einstein emphasized the importance of imagination. I got to listen to him.
Since scientific presentation is not a business press release, we usually do not use flashy and memorable Steve Jobs' style. For business, they need to impress audience so the audience take home a message. In contrast, scientific presentation is supposed to include the process how the presenters got to the message and conclusion.
The polishing in scientific presentation begins in the lab and the data we acquire, then eventually goes to the design aspects, mainly the order of information and visual presentation of the message. Of course the audience level and reception are among the first to think about. Usually the audience for scientific presentation is more specialized than general audience.
The Hollywood movie makers are very, very good at presentation to the general audience. They are THE professionals for the aspect. If their messages don't stick to our mind, the movie wouldn't sell. In the sense their life depends on the presentations that drive the story in the key points. Masterly done presentations include,"How Titanic sank", "What is the Matrix", and "Introduction for Star Wars ".
Sure, they skip all the scientific (or sci-fi) details. That's not important to them. What matters is the message. So they can go on with the story. Scientific accuracy does not matter, either. "The Jurassic Park scientists recreated dinosaurs from dino blood DNA preserved in mosquitoes in amber." Even after the chance of success of the movie technology was refuted (DNA will degrade over time), the idea still stands in our mind. Such is the power of great, mind-sticking presentation.
Slick presentations dazzle us. Dazzled mind does not work skeptical enough to meet scientist's standard. Slickness is a different way to persuade people.
The other day, I was watching Iron Man 3. The Brain hologram and the possibility of applications was a great pitch.
I was imagining how I can present what I do in the Hollywood style. Imagining I have the fancy technology, rolling the projectors and giving a 1-minute pitch. And....mmm, it's not easy.
Why is it not easy? A reason is that my education as a scientist gets in the way. Imagining requires skipping the details and ignoring what we don't know. In my case what I think I knew, the paradigm, actually inhibits free imagination. Imagination is a creative act, and not the two-way dialogue in standard bio-medical science. Also I worry too much about the accuracy.
Hmmm. I was not aware of my mental habit clearly enough before. I got to imagine more.
Albert Einstein emphasized the importance of imagination. I got to listen to him.
October 14, 2013
Life: How to Distinguish Self-Serving Agendas and Sincere Advice
I have been working on a project, and have not written a blog entry with "Life" title. So here it is.
**********************************************
There are Self-serving agendas and sincere advice. They are everywhere in the web and in real life.
How do you distinguish them, and listen only to sincere advice?
First, I'll check who is speaking, then simulate what happens if I listen to him and his advice. Is he going to benefit from the advice?
If he does, I'll proceed with caution, or at least keep it in mind. If he does not directly benefit from it, the advice may not directly be "self-serving", at least.
Second, I'll simulate the consequences. If I listen to the advice, will it benefit me in the long run?
By definition, sincere advice aim at serving and benefiting the recipient of the advice.
Here I added another layer of judgement; Time. In many cases, advice with short term scope, "Give them fish"-kind of advice, do not benefit the recipient well. Short term scope advice often keep the recipient weak and dependent, although they may be easy on ears.
In the long run, "teach them how to fish" kind usually wins. I value these advice highly, even if they sound tough now.
One way or another, advice are spoken with love. Where the love is pointing toward, the recipient or the speaker, is the key to distinguish self-serving agendas and sincere advice.
Emotions do not recognize time or logic. Emotions only know present. That is why you can jump on to any advice when you are emotional. You don't meet an emotional and wise man.
Listen to sincere advice that serve you in the long run. Such sincere advice can serve you like a beacon in the dark ocean.
**********************************************
There are Self-serving agendas and sincere advice. They are everywhere in the web and in real life.
How do you distinguish them, and listen only to sincere advice?
First, I'll check who is speaking, then simulate what happens if I listen to him and his advice. Is he going to benefit from the advice?
If he does, I'll proceed with caution, or at least keep it in mind. If he does not directly benefit from it, the advice may not directly be "self-serving", at least.
Second, I'll simulate the consequences. If I listen to the advice, will it benefit me in the long run?
By definition, sincere advice aim at serving and benefiting the recipient of the advice.
Here I added another layer of judgement; Time. In many cases, advice with short term scope, "Give them fish"-kind of advice, do not benefit the recipient well. Short term scope advice often keep the recipient weak and dependent, although they may be easy on ears.
In the long run, "teach them how to fish" kind usually wins. I value these advice highly, even if they sound tough now.
One way or another, advice are spoken with love. Where the love is pointing toward, the recipient or the speaker, is the key to distinguish self-serving agendas and sincere advice.
Emotions do not recognize time or logic. Emotions only know present. That is why you can jump on to any advice when you are emotional. You don't meet an emotional and wise man.
Listen to sincere advice that serve you in the long run. Such sincere advice can serve you like a beacon in the dark ocean.
October 5, 2013
Dance: Advanced Tango Fever, the Symptoms and Prescription
Last night at a milonga (social Argentine Tango party), we were talking about Tango song lyrics.
Many Tango songs sing about yearning, loss, lament, broken heart､frustration, resentment, .....
Much of them are negative feelings associated with lost or unfulfilled love, or frustration of being in a weaker side and possible resentment against the strong that is often imaginary.
Philosophers called it the "Ressentiment" in French.
http://en.wikipedia.org/wiki/Ressentiment
So, what would happen if someone catches the Tango Fever, becomes a Tango addict and lets these songs flow in to his head without regard?
Assuming he/she understands the lyrics, it would be like letting simulated emotions pouring in his head. It would affect his/her heart.
The person would become emotional and irrational, possibly even unreasonable. Some mood swings may be observed. It's not unlike being in love, but he/she may not know it was caused by Tango song overdose rather than real love. The person might act like a creep or a stalker. He/she might start acting like crazy.
Does that sound familiar? If so, you may be overdosing yourself with Tango, letting Tango dictate you, and losing your mind.
It is not a healthy state. You may be a nuisance to others already.
These are symptoms of advanced Tango Fever. Like any other disease, awareness, recognition and proper diagnosis are critical for initiating the treatments.
Prescription is a gradual reduction of Tango songs with lyrics. Lyrics is a main component of emotions-inciting effect of the music. Replace songs with lyrics with instrumental Tango songs.
Or if possible, with songs in different categories.
Going cold turkey is ineffective against the music taken root in your head. You have to aim at gradually replacing it.
However, it may be difficult to immediately come back to, say, Bach or Mozart.
Tango fever works like an infectious disease similar to viral infection. There are acute phase and latent phase, as well as occasional re-flaming. Addictive personality may provide a preferable host environment. You may not be able to eradicate it, but controlling it is the key to have a healthy mental and social life.
Note 1: Tango Fever is contagious, and often the partner is infected as well. In the case, both may need treatments.
Note 2: One thing about the advanced Tango Fever is that the patients may not want to be cured and refuse treatments.
Many Tango songs sing about yearning, loss, lament, broken heart､frustration, resentment, .....
Much of them are negative feelings associated with lost or unfulfilled love, or frustration of being in a weaker side and possible resentment against the strong that is often imaginary.
Philosophers called it the "Ressentiment" in French.
http://en.wikipedia.org/wiki/Ressentiment
So, what would happen if someone catches the Tango Fever, becomes a Tango addict and lets these songs flow in to his head without regard?
Assuming he/she understands the lyrics, it would be like letting simulated emotions pouring in his head. It would affect his/her heart.
The person would become emotional and irrational, possibly even unreasonable. Some mood swings may be observed. It's not unlike being in love, but he/she may not know it was caused by Tango song overdose rather than real love. The person might act like a creep or a stalker. He/she might start acting like crazy.
Does that sound familiar? If so, you may be overdosing yourself with Tango, letting Tango dictate you, and losing your mind.
It is not a healthy state. You may be a nuisance to others already.
These are symptoms of advanced Tango Fever. Like any other disease, awareness, recognition and proper diagnosis are critical for initiating the treatments.
Prescription is a gradual reduction of Tango songs with lyrics. Lyrics is a main component of emotions-inciting effect of the music. Replace songs with lyrics with instrumental Tango songs.
Or if possible, with songs in different categories.
Going cold turkey is ineffective against the music taken root in your head. You have to aim at gradually replacing it.
However, it may be difficult to immediately come back to, say, Bach or Mozart.
Note 1: Tango Fever is contagious, and often the partner is infected as well. In the case, both may need treatments.
Note 2: One thing about the advanced Tango Fever is that the patients may not want to be cured and refuse treatments.
October 1, 2013
Dance: Performance Strategies
Last Saturday (9/28) we attended my friend's wedding at a Catholic Church in Yukon, OK. The ceremony was very Catholic- and fancy. It should be memorable. I hope they will do well together.
We performed a Tango for their reception. Since Cora has been working on something fast and acrobatic with Jose, I wanted to do something different.
To look like a show, small salon style doesn't cut it. The dance has to be big.
Any partner Dancing has a set of basics. Argentine Tango is no exception.
If you want to differentiate yourself in a performance, there are a few paths you can try. You could go for something difficult or acrobatic, change the appearance of your set pattern, or refine your moves to a point that they just stand out. I wanted to do the second option. The third option wouldn't come in a short time.
So we chose a slow Tango, a violin version of "Por Una Cabeza." I asked her to stretch her motions, do the moves slowly, and show off her legs. I was aiming at something like a mix of contemporary ballet, Tai chi and Tango. If we do not consciously try something new, dance can go stale. After all, dancing is repetitive.
The dance was nice from our standpoint. They seemed to like it, and we were glad.
Later, for the after party we went to iDance studio, where we can dance Latin (Salsa, bachata etc), West Coast Swing, and Ballroom in three different floors.
On the Salsa floor, there was a visiting professional couple.
One thing about dancing is that good ones relentlessly stand out. Among 20 couples on the floor, the pros stood out. It was another example of the difference in execution of the basics.
If you watch Pros perform, some aim at differentiating themselves. They are more interesting, given the level of dancing is high. Others are more on the teaching-Pro's side, aiming at demonstrating clean basics. They should do well in competitions.
It is fun to watch different strategies dancers take.
Today was day One for the US government shutdown; the first in 17 years. Apart from receiving a few emails about the influence on us from NIH and the University, I have not seen much difference here at a state University. But last time it was sequestration, this time shutdown. The government does not seem to be afraid of going overboard to dysfunctional. Congress people are not going to be held accountable for this?
We performed a Tango for their reception. Since Cora has been working on something fast and acrobatic with Jose, I wanted to do something different.
To look like a show, small salon style doesn't cut it. The dance has to be big.
Any partner Dancing has a set of basics. Argentine Tango is no exception.
If you want to differentiate yourself in a performance, there are a few paths you can try. You could go for something difficult or acrobatic, change the appearance of your set pattern, or refine your moves to a point that they just stand out. I wanted to do the second option. The third option wouldn't come in a short time.
So we chose a slow Tango, a violin version of "Por Una Cabeza." I asked her to stretch her motions, do the moves slowly, and show off her legs. I was aiming at something like a mix of contemporary ballet, Tai chi and Tango. If we do not consciously try something new, dance can go stale. After all, dancing is repetitive.
The dance was nice from our standpoint. They seemed to like it, and we were glad.
Later, for the after party we went to iDance studio, where we can dance Latin (Salsa, bachata etc), West Coast Swing, and Ballroom in three different floors.
On the Salsa floor, there was a visiting professional couple.
One thing about dancing is that good ones relentlessly stand out. Among 20 couples on the floor, the pros stood out. It was another example of the difference in execution of the basics.
If you watch Pros perform, some aim at differentiating themselves. They are more interesting, given the level of dancing is high. Others are more on the teaching-Pro's side, aiming at demonstrating clean basics. They should do well in competitions.
It is fun to watch different strategies dancers take.
Today was day One for the US government shutdown; the first in 17 years. Apart from receiving a few emails about the influence on us from NIH and the University, I have not seen much difference here at a state University. But last time it was sequestration, this time shutdown. The government does not seem to be afraid of going overboard to dysfunctional. Congress people are not going to be held accountable for this?
September 24, 2013
Dance: Dance and Theory
We went to Tulsa for the monthly milonga last Friday. They reported that there were 32 people for the party. Way to go, Tulsa.
We were watching Bill Nye The Science Guy dancing on Dancing With The
Stars. That reminded me of the following thread in Facebook with my friend D.H.
*********************************************************************************************
'Hiro' In dancing it is painfully clear whether he knows
what he is talking about.
September 10 at 6:09pm · Like · 1
DH Painful
lengthwise, or knowledge-wise?
September 10 at 6:16pm · Like
'Hiro' How you dance
IS the physical presentation of what you know about the dance. It doesn't
matter how much you think you know about the dance theoretically if you can
dance only poorly. In dance you show what you got. If the show is poor, I'll
discount whatever you say.
September 10 at 7:22pm · Like
DH That sounds
plausible to me, but it leaves me without a way to evaluate potential
information without having personal, physical access to the results. How did
you figure everything out?
September 11 at 7:18am · Like
'Hiro' Theories for
dancing are like scientific theories. Meaning the event comes first, then
people make theories about it. You watch good dancing first, then figure out
whether the theories hold out. If what the writing says does not explain or
isn't applicable to good dancing, the writing has less meaning. You got to
watch good dancing, then read about it. Not the other way around.
September 11 at 8:51am · Like
'Hiro' This particular writing is pretty good,
though. [Note: we started this thread from an article about dancing]
September 11 at 9:00am · Like
DH Ah - I think I
see. I don't have to watch the author's dancing. I do have to watch good
dancing and see if the author's writing can explain it. Right?
September 11 at 4:09pm · Like
'Hiro' Right. Dancing
is something to be done primarily. It helps if you can see the author dance,
though. If I can see the author's dancing, and if the author's dancing is
pretty good, I tend to pay more respect to his writing, assuming that he has a
higher level of understanding of the dance that makes it possible for him to dance
well. But these two abilities, dancing and writing, are different domains of
skills after all. There are cases theoretical understanding and execution are
not in the same level. And as I wrote in previous comment, I base my judgement
on his execution (=dancing) rather than his talk/writing.
September 11 at 4:38pm · Like
DH Ah, I think I see
the grammar of your original comment now. So by "in dancing, it is
painfully clear..." you mean in actually watching him dance. This is one
of the reasons you encouraged me to go to Dallas - so I could see a lot of
dancing and have a reference point for understanding what is going on.
September 11 at 4:43pm · Like
'Hiro' Yup.
September 17, 2013
Dance: Tango del Sol milonga in Dallas
This September has been quite eventful. In addition I have been doing some professional reading (something about colon and liver cancer), a lot of it. A blog entry can be delayed too easily.
Last Sunday (9/15), we (Jose, Cora and I) went to Dallas to give some gifts from the Oklahoma Tango Festival attendants to the instructor/performer couple Hugo and Celina, who were leaving to Argentina to get married. We also attended the Sunday daytime milonga, "Milonga Del Sol," which is held monthly on the third (or second) Sundays at Studio 22, and hosted by Jairelbhi and George Furlong.
We met Hugo and Celina at the Furlong residence, where they were staying. Jairelbhi and George turned out to be very nice people. I'm glad we met them. After they set off to set up the milonga, we waited until Hugo and Celina finished a private lesson, then went to Studio 22.
The milonga was packed with about 75 people. George said usually it's around 50 people, and this time they got more dancers. Argentine Tango is somewhat of a specialty dance, and popularity-wise Salsa dancers would outnumber Argentine Tango dancers by 5-1 or maybe more. Despite the odds, the Dallas Tango community has grown to this size successfully, and I am very happy to see that.
Speaking of popularity, on the way (a 3.5 hour boring drive from OKC to Dallas) we had a discussion about the topic. Jose thought Argentine Tango is less popular than Salsa because it's more difficult and/or intimidating than Salsa. Sure, it could be one of the reasons. The entry barrier is higher for Tango.
In addition, there are many funny antics in the current Tango culture in the US that might be serving as a part of the reason for keeping Tango as a specialty, cult-ish dance. In YouTube, the Tangocynic guys are making hilarious videos about these antics.
Many professionals are aware of these reasons. If you see the Tango as a business of sorts, addressing each of the reasons, like making efforts to correct the imbalance of the number of the leaders and the followers, would be the equivalent of listening to the customers, and should be necessary. The question is, should it be done? Or leave it as it is?
When writing this blog entry, I was asking myself whether I want Argentine Tango to be more popular. To my surprise, I found myself somewhat split (so much for a how-to book writer). I want to write about this split feeling some time later.
Last but not least, Congratulations, Hugo and Celina! See you later, Hasta luego, Mata Aimashou!
Last Sunday (9/15), we (Jose, Cora and I) went to Dallas to give some gifts from the Oklahoma Tango Festival attendants to the instructor/performer couple Hugo and Celina, who were leaving to Argentina to get married. We also attended the Sunday daytime milonga, "Milonga Del Sol," which is held monthly on the third (or second) Sundays at Studio 22, and hosted by Jairelbhi and George Furlong.
We met Hugo and Celina at the Furlong residence, where they were staying. Jairelbhi and George turned out to be very nice people. I'm glad we met them. After they set off to set up the milonga, we waited until Hugo and Celina finished a private lesson, then went to Studio 22.
The milonga was packed with about 75 people. George said usually it's around 50 people, and this time they got more dancers. Argentine Tango is somewhat of a specialty dance, and popularity-wise Salsa dancers would outnumber Argentine Tango dancers by 5-1 or maybe more. Despite the odds, the Dallas Tango community has grown to this size successfully, and I am very happy to see that.
Speaking of popularity, on the way (a 3.5 hour boring drive from OKC to Dallas) we had a discussion about the topic. Jose thought Argentine Tango is less popular than Salsa because it's more difficult and/or intimidating than Salsa. Sure, it could be one of the reasons. The entry barrier is higher for Tango.
In addition, there are many funny antics in the current Tango culture in the US that might be serving as a part of the reason for keeping Tango as a specialty, cult-ish dance. In YouTube, the Tangocynic guys are making hilarious videos about these antics.
Many professionals are aware of these reasons. If you see the Tango as a business of sorts, addressing each of the reasons, like making efforts to correct the imbalance of the number of the leaders and the followers, would be the equivalent of listening to the customers, and should be necessary. The question is, should it be done? Or leave it as it is?
When writing this blog entry, I was asking myself whether I want Argentine Tango to be more popular. To my surprise, I found myself somewhat split (so much for a how-to book writer). I want to write about this split feeling some time later.
Last but not least, Congratulations, Hugo and Celina! See you later, Hasta luego, Mata Aimashou!
September 2, 2013
Dance: Dallas Dance 2013
Dallas Dance is the 27th annual West Coast Swing dance event held over Labor Day weekend. It is my annual vacation, and we just got back from the event. We had fun dancing with friends and watching shows. Somehow every time I go to a big event, I feel my dancing is improved. Concentrated efforts do help, I suppose. Also it was interesting to watch some of the "cliches" in the dance in the area. A particular style of body roll and wiggling was common there, like it or not.
Boasting 1500 dancers, it was a pretty big event. But one thing I noticed this year was that the event seemed to have shrank, at least in some major contest categories. There were no contestants for the Showcase category, and only four couples competed for the Classic category. Except for a champion couple from France, most Champion Jack and Jill contestants were familiar faces from Texas, Louisiana and Missouri. The lack of contestants from other areas in the US was noticeable. It was like the event turned back the clock to years ago, when it was more regional than national.
That reminded me of a rumor of feud between a Texas-based top dancer/instructor and some California-based superstars over judging in the contests. I read about it some time ago and forgot about it. But if (and only if) the feud is casting a shadow over this event in the form of a decrease in professionals from other areas in the US, it really is a shame.
Of course I may be wrong. It may have been just a coincidence. Or, there are many new events popping up in other cities, and if they have to take care of their local business, it is a different story. I do think the event management was great and very smooth, and the party and the music were great, too.
Since I am not involved in the dynamics of national-level contests, I don't have a solution for the shrinking of the contests. However, the "regionalization" may be a good thing. A dance can evolve faster overall with a diversity among regions. A champion breeds copycats. Many champions from many regions will result in many styles of the same dance. And I'd like to see many varieties of West Coast Swing dance. It's more interesting that way.
Boasting 1500 dancers, it was a pretty big event. But one thing I noticed this year was that the event seemed to have shrank, at least in some major contest categories. There were no contestants for the Showcase category, and only four couples competed for the Classic category. Except for a champion couple from France, most Champion Jack and Jill contestants were familiar faces from Texas, Louisiana and Missouri. The lack of contestants from other areas in the US was noticeable. It was like the event turned back the clock to years ago, when it was more regional than national.
That reminded me of a rumor of feud between a Texas-based top dancer/instructor and some California-based superstars over judging in the contests. I read about it some time ago and forgot about it. But if (and only if) the feud is casting a shadow over this event in the form of a decrease in professionals from other areas in the US, it really is a shame.
Of course I may be wrong. It may have been just a coincidence. Or, there are many new events popping up in other cities, and if they have to take care of their local business, it is a different story. I do think the event management was great and very smooth, and the party and the music were great, too.
Since I am not involved in the dynamics of national-level contests, I don't have a solution for the shrinking of the contests. However, the "regionalization" may be a good thing. A dance can evolve faster overall with a diversity among regions. A champion breeds copycats. Many champions from many regions will result in many styles of the same dance. And I'd like to see many varieties of West Coast Swing dance. It's more interesting that way.
August 26, 2013
Dance: Oklahoma Tango Festival 2013 Report
We had the Oklahoma Tango Festival last weekend. There I met my hero who inspired me to start learning Argentine Tango 14 years ago.
In the introduction of my book "Beginning Argentine Tango," I wrote how I got interested in Argentine Tango. Basically I was inspired by the Broadway show during 1999 in New York.
We invited Hugo Patyn and Celina Rotundo. And it turned out Hugo was among the dancers on the stage in the performance in 1999.
They were the major components of this event. I will summarize what impressed me with three aspects.
(i) Their performance in the show. It was superb.
Their dance was Show Tango, a different breed of Tango from what we see in a milonga (social Tango party). They danced four songs, and all were amazing. I can be a hard-to-please spectator, but they were great.
(ii) Their classes. They were very well designed. Argentine Tango looks complex, because the dance is not about remembering patterns, but about combining small basic units. You can have infinite combinations of the units. That makes Argentine Tango look very complex.
From the standpoint of a leader, learning the dance is like learning driving. Just like set patterns don't cut it in real street driving, the leader needs to learn how to drive.
In the workshops they effectively broke down the patterns to units, had the learners practice the units, then re-combined them. If you use the units well, instead of memorizing a pattern, it would be a faster way to master Argentine Tango. A participant said that after traveling to many festivals, their workshops were one of the best she ever took, because they really broke things down. I agree.
Also, their dance was very dynamic. It emphasizes the flow of motion, and results in a very smooth and comfortable Tango. Certainly it was different dance from the style that emphasizes small-and-subtle Tango.
(iii) Their Body usage.
Advanced followers are dancers, not just followers. Meaning that they will DANCE what is led by the leader. A beginner can follow and do a simple back ocho. Advanced follower will follow and DANCE the back ocho. That is the difference you can feel immediately.
As a result, the advanced dancer's dance can feel like an entirely different game. She knows what she is supposed to do, and she will dance it. She can feel like a sport car with a revving engine that will respond to the lead sharply. A sloppy lead/driving would wreck the precious car.
Less advanced dancers are weaker in that aspect. A body not dancing feels somewhat unstructured in the motion, and ironically more difficult to read and lead. Even if they say Tango is a conversation, it helps to be articulate and clear with your words.
Usually when I dance with someone for the first time, I dance cautiously to figure out the partner's habit. I danced with Celina for just one song. It was refreshing to dance with someone with that fluid, yet well-structured response.
From my standpoint, that event was a very memorable one.
There is one thing I regret, though. Hugo and Celina are top-of-the-game dancers who have danced in Broadway and on world tour. They are the strongest Argentine Tango dancers to have ever visited, performed and taught in this state of Oklahoma. I do not feel our promotion did them justice. We focused our ads toward the Tango/dance community, but it should have been organized better, and more toward a broader general audience, so that more people could watch the Broadway level Argentine Tango. Some of the audience might have gone home with a lasting impression, like I did 14 years ago. In other words, there is much we can still improve on as event organizers. We will fix these regrets next time.
In the introduction of my book "Beginning Argentine Tango," I wrote how I got interested in Argentine Tango. Basically I was inspired by the Broadway show during 1999 in New York.
We invited Hugo Patyn and Celina Rotundo. And it turned out Hugo was among the dancers on the stage in the performance in 1999.
They were the major components of this event. I will summarize what impressed me with three aspects.
(i) Their performance in the show. It was superb.
Their dance was Show Tango, a different breed of Tango from what we see in a milonga (social Tango party). They danced four songs, and all were amazing. I can be a hard-to-please spectator, but they were great.
(ii) Their classes. They were very well designed. Argentine Tango looks complex, because the dance is not about remembering patterns, but about combining small basic units. You can have infinite combinations of the units. That makes Argentine Tango look very complex.
From the standpoint of a leader, learning the dance is like learning driving. Just like set patterns don't cut it in real street driving, the leader needs to learn how to drive.
In the workshops they effectively broke down the patterns to units, had the learners practice the units, then re-combined them. If you use the units well, instead of memorizing a pattern, it would be a faster way to master Argentine Tango. A participant said that after traveling to many festivals, their workshops were one of the best she ever took, because they really broke things down. I agree.
Also, their dance was very dynamic. It emphasizes the flow of motion, and results in a very smooth and comfortable Tango. Certainly it was different dance from the style that emphasizes small-and-subtle Tango.
(iii) Their Body usage.
Advanced followers are dancers, not just followers. Meaning that they will DANCE what is led by the leader. A beginner can follow and do a simple back ocho. Advanced follower will follow and DANCE the back ocho. That is the difference you can feel immediately.
As a result, the advanced dancer's dance can feel like an entirely different game. She knows what she is supposed to do, and she will dance it. She can feel like a sport car with a revving engine that will respond to the lead sharply. A sloppy lead/driving would wreck the precious car.
Less advanced dancers are weaker in that aspect. A body not dancing feels somewhat unstructured in the motion, and ironically more difficult to read and lead. Even if they say Tango is a conversation, it helps to be articulate and clear with your words.
Usually when I dance with someone for the first time, I dance cautiously to figure out the partner's habit. I danced with Celina for just one song. It was refreshing to dance with someone with that fluid, yet well-structured response.
From my standpoint, that event was a very memorable one.
There is one thing I regret, though. Hugo and Celina are top-of-the-game dancers who have danced in Broadway and on world tour. They are the strongest Argentine Tango dancers to have ever visited, performed and taught in this state of Oklahoma. I do not feel our promotion did them justice. We focused our ads toward the Tango/dance community, but it should have been organized better, and more toward a broader general audience, so that more people could watch the Broadway level Argentine Tango. Some of the audience might have gone home with a lasting impression, like I did 14 years ago. In other words, there is much we can still improve on as event organizers. We will fix these regrets next time.
August 21, 2013
Event, Oklahoma Tango Festival in OKC, Aug 23-25, 2013
Jose is our friend from Argentina. He teaches Argentine Tango here in OKC. This summer my wife Cora and Jose got some time to work together (more time than I did, I'd say), and they came up with a couple of performance routines.
This weekend, Jose invited his personal friend and famous Argentine Tango instructor Hugo Patyn to have an Argentine Tango event, the Oklahoma Tango Festival in OKC, a series of workshops, milongas and a show night. Cora has been helping with the administrative work for the event, and also will be performing with Jose.
Hugo and his partner Celina seem to have a very playful and dynamic style of Tango when performing. I like it. They know what showmanship means to professionals. The Salon style is fun to do, but from a spectator's standpoint it is no match for the Show Tango (oops, did I say that? These two styles are different businesses, you know).
This video was taken last week when they were in Dallas, by our another friend Jasmine. It shows their playful dance.
Hugo & Celina Dallas, TX performance video by Jasmine S. Williams
https://www.facebook.com/photo.php?v=10200319996429883
As in the testimonials, they got reputation not only as
performers but also as instructors as well. Effective teaching develops through
experience, and they got that. The classes should be good.
This weekend, Jose invited his personal friend and famous Argentine Tango instructor Hugo Patyn to have an Argentine Tango event, the Oklahoma Tango Festival in OKC, a series of workshops, milongas and a show night. Cora has been helping with the administrative work for the event, and also will be performing with Jose.
Hugo and his partner Celina seem to have a very playful and dynamic style of Tango when performing. I like it. They know what showmanship means to professionals. The Salon style is fun to do, but from a spectator's standpoint it is no match for the Show Tango (oops, did I say that? These two styles are different businesses, you know).
This video was taken last week when they were in Dallas, by our another friend Jasmine. It shows their playful dance.
Hugo & Celina Dallas, TX performance video by Jasmine S. Williams
https://www.facebook.com/photo.php?v=10200319996429883
(Video is personal property of Jasmine S Williams)
Of course I'll be attending the event. This is going to be
fun.
August 18, 2013
Dance: Dance Nicely with lots of "Reserve"
Yesterday West Coast Swing dance champion Barry Jones came to the OKC Swing Dance Club and had workshops, followed by our monthly club Birthday party. During such a time, the party tends to attract dancers from neighboring cities and tends to be big.
There were many good dancers. Some were up-and-coming active competitors. Some were established dancers and instructors with known names. Many others were social, fun and recreational dancers. Looking at the crowd was interesting.
I'll share one thing I noticed on the floor. You should be able to tell the same thing when you go to a big WCS contest/party. I am going Dallas Dance on labor day weekend, and I expect to see it there as well.
That is, when the Champions dance socially, they dance nicely.
"Dance nicely" means that the leader-champion pays attention to and takes care of his partner so she can dance her best, and that the follower-champion does what she can to make the overall dance pretty and fun, adding technical and moral support and compensating some shortcomings of the leader if necessary.
Social dance is not exactly a time for training. Yet a few dancers with intermediate or even advanced titles dance like they have to prove something. How fast they can be, how many patterns they can show, or how outstanding they can be. The dances can be intriguing if they have an equal match, but occasionally the dances reek of a hint of desperation. I hope to see less desperate dancers, and hope to see more dancers dance nicely, like Champions do.
The Champion's niceness may be coming from their mental attitude. They know they are champions, and they know that the joy of dancing is not necessarily about showing off.
The niceness is coming from their physical ability, too. They have had their body well-trained so that they don't have to make extra effort to spin and position themselves in the right place on time, for example.
The nice dance, as a result, serves best to everyone involved; The leader, the follower, and the audience. I am not a fan of watching abuse anyway.
The Champions are rich enough to give, so to speak. Hungry up-and-coming dancers do look hungry.
I started to think why I dislike desperate dances. I came up with my answer. Because I like to watch the "reserve" in the dancers.
What is the "reserve?" I have been telling my wife to train to have a "reserve" in her dance for a while.
In a partner dance, we basically do the same thing as others. Same steps, same patterns. A trendy pattern may have differentiation power for a short while. But what really counts and what the factor is for differentiating yourself is the amount of "reserve."
Let's say you do what you do with only 50% of your best. The remaining 50% is the "reserve." You can use the extra "reserve" for adding expression to the dance, flirting with the audience, supporting the partner, talking and smiling, etc.
In contrast, if you are doing what you do with 100% of what you got, you have zero reserve.
With lots of reserve, your execution of the pattern looks easy, because it IS easy for you.
With lots of reserve, what you "show off" is not the pattern itself, but how easy it is for you. And that tells how good you are. Barely doing a pattern with all your effort is not attractive.
Dance is not a speed contest. Even if you are dancing fast, you can enjoy the view, feel the partner, take a breath, and enjoy the time. That is a good dance to me. And the "Reserve" make these possible.
This concept may be for dancers rather than for beginners. I'd like to see dancers working on developing more "reserve" in their dance.
"Birthday" people of August
There were many good dancers. Some were up-and-coming active competitors. Some were established dancers and instructors with known names. Many others were social, fun and recreational dancers. Looking at the crowd was interesting.
I'll share one thing I noticed on the floor. You should be able to tell the same thing when you go to a big WCS contest/party. I am going Dallas Dance on labor day weekend, and I expect to see it there as well.
That is, when the Champions dance socially, they dance nicely.
"Dance nicely" means that the leader-champion pays attention to and takes care of his partner so she can dance her best, and that the follower-champion does what she can to make the overall dance pretty and fun, adding technical and moral support and compensating some shortcomings of the leader if necessary.
Social dance is not exactly a time for training. Yet a few dancers with intermediate or even advanced titles dance like they have to prove something. How fast they can be, how many patterns they can show, or how outstanding they can be. The dances can be intriguing if they have an equal match, but occasionally the dances reek of a hint of desperation. I hope to see less desperate dancers, and hope to see more dancers dance nicely, like Champions do.
The Champion's niceness may be coming from their mental attitude. They know they are champions, and they know that the joy of dancing is not necessarily about showing off.
The niceness is coming from their physical ability, too. They have had their body well-trained so that they don't have to make extra effort to spin and position themselves in the right place on time, for example.
The nice dance, as a result, serves best to everyone involved; The leader, the follower, and the audience. I am not a fan of watching abuse anyway.
The Champions are rich enough to give, so to speak. Hungry up-and-coming dancers do look hungry.
I started to think why I dislike desperate dances. I came up with my answer. Because I like to watch the "reserve" in the dancers.
What is the "reserve?" I have been telling my wife to train to have a "reserve" in her dance for a while.
In a partner dance, we basically do the same thing as others. Same steps, same patterns. A trendy pattern may have differentiation power for a short while. But what really counts and what the factor is for differentiating yourself is the amount of "reserve."
Let's say you do what you do with only 50% of your best. The remaining 50% is the "reserve." You can use the extra "reserve" for adding expression to the dance, flirting with the audience, supporting the partner, talking and smiling, etc.
In contrast, if you are doing what you do with 100% of what you got, you have zero reserve.
With lots of reserve, your execution of the pattern looks easy, because it IS easy for you.
With lots of reserve, what you "show off" is not the pattern itself, but how easy it is for you. And that tells how good you are. Barely doing a pattern with all your effort is not attractive.
Dance is not a speed contest. Even if you are dancing fast, you can enjoy the view, feel the partner, take a breath, and enjoy the time. That is a good dance to me. And the "Reserve" make these possible.
This concept may be for dancers rather than for beginners. I'd like to see dancers working on developing more "reserve" in their dance.
"Birthday" people of August
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