Venkatesh Rao on Dan Pink's book Drive about Extrinsic vs Intrinsic Motivation. I do wish though, that the book had dived into the why more deeply. The “Seven Deadly Flaws,” like I said, are merely a succinct restatement of the empirical results. They do not constitute an analysis. Neither does the SDT (Self Determination Theory) idea (which seems vaguely like Maslow in a new package). The book moves a little too rapidly from diagnosis to prescription. The prescription is based on an extrapolation from “carrots and sticks are bad” to “goals are bad,” a stronger assertion that I happen to agree with. But the incomplete diagnosis leads to problems at this point: we get a prescription based on the idea of “PurPose,” a close cousin of “goal” which I don’t think gets us anywhere. Purposes are merely somewhat softer and more abstract goals that sound more lofty and noble and suggest a hint of religion (as in the Christian bestseller, “The PurposeDrivenLife”). It’s just holy carrots and sticks or “mission statements” and “values.”... My theory is that adult drive is nothing more than comprehensively hooked childish curiosity that has led play down an interesting rabbit hole (or a virtuous spiral), so we end up putting in Ten K Hours of Ericssonian Deliberate Practice and turning into driven adults, Passionate about chemistry or steam engines or whatever. This argument is present in the book, but buried and lost among many other narrative threads. It should have been front-and-center. (more)
In film criticism, auteur theory holds that a film reflects the director's personal Creative Vision, as if they were the primary "auteur" (the French word for "author"). In spite of—and sometimes even because of—the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through studio interference and the collective process... Starting in the 1960s, some film critics began criticising auteur theory's focus on the authorial role of the director. Pauline Kael and Sarris feuded in the pages of The New Yorker and various film magazines. One reason for the backlash is the collaborative aspect of shooting a film, and in the theory's privileging of the role of the director (whose name, at times, has become more important than the movie itself). In Kael's review of Citizen Kane, a classic film for the auteur model, she points out how the film made extensive use of the distinctive talents of co-writer Herman J. Mankiewicz and cinematographer Gregg Toland... In 2006, David Kipen coined the term Schreiber Theory to refer to the theory of the screenwriter as the principal author of a film. https://en.wikipedia.org/wiki/Auteur_theory (more)
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