Jim Valvano: Joyfulness (Sports Virtues Book 21)
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Dream of learning from conversations with Coach Krzyzewski and Coach Auriemma talking about the peak of their passion, their coaching philosophies, and theories on coaching and life. Perceive a coaching study that resembled both a college textbook and a fast paced sports film.
What would a 60 minute TV show on coaching in clutch moments look like? The Desire to Win has the potential to be the most dynamic study in the history of athletics. The theory can be applied to all sports. In the neck-and-neck games when the players and lifelong fans feel a sense of contagious euphoria in each and every last moment of play, it is the role of the transformative coach to endure composure, see the game a play ahead of the opponent, and grasp control within the moment.
There is no doubt that coaching is the best part of the game. The future of our time on Earth is driven by our practice of altruism. We will be measured by the means and ways we help others. Conceptualize the potential of summer programming to look forward to. Imagine with the funds raised that we hire and train high school students who are trained as coaches by mentoring year old kids in free summer programs in every large community. We must take action to define our own communities.
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Now is the moment. This is within our consciousness: a gym-by-gym network of coaching candidates to grow the game and sustains the game. Imagine partaking in a community where students put their best work in school and at work in the community. Intellectual and social justice programming elicits a new way of thinking, a call to action, and introspection to last a lifetime. Imagine the reach of more than coaches. The game is beautiful. Now is the time for the emulation by the next generation.
I grew up playing and watching basketball as if it was my religion. Before I turned to art, basketball was a key component of my youth. I played every day and I watched close to games a year. Instead, I build a one-page treatment focused on the theory, the application, and the potential impact on my community. The concepts always find their way into the office my University of Minnesota Cultural Studies professor, Robin Brown.
Often times, the ideas were cheap and not long lasting. His back jumped in his seat. This would make me want to coach. Co-creational in this context means that it would be built by a community of fans, coaches, players, and the media. I cared about the project so deeply, that I was willing to fail over and over again to prove my ambitions were authentic and virtuous.
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I produced work for meaning first rather than money. The purpose of an educational coaching platform energized and inspired me.
I still want to see it actualized. The most compelling component of college basketball is the coaching. They recruit bright-eyed kids and practice year round.
I would then lose money, sweat, and time on everything else. We all agreed that failure is documented with heart, passion, and optimism. Who is in need and who will benefit from my production the most? The dream was born again. The reading choices available to us are almost too broad to fathom. And so we pick here and there from the shelves, reading a book from centuries ago and then one that came out ten years ago. But with so many millions of books to choose from, where can we go to find what to read?
And what better way to end a long year than to sit virtually with a few dozen trusted fellow readers to hear about the very best book or books they read all year, regardless of publication date. And so we at The Millions are very pleased to bring you our Year in Reading , in which we offer just that. For the month of December, enjoy hearing about what a number of notable readers read and loved this year.
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The Year in Reading contributors are listed below. As we post their contributions, their names will turn into links, so you can bookmark this page to follow the series from here, or you can just load up the main page for more new Year in Reading posts appearing at the top every day. Stay tuned because additional names may be added to the list below. Bill Marsh. Perhaps you, like me, came across a delightfully elegant, delightfully lucid interactive chart of the European financial crisis in the online edition of The New York Times last fall.
Clicking through its various cataclysmic scenarios, watching the arrows shift and the pastel circles grow pregnant with debt, I was able to comprehend, for the first time, the convoluted and potentially toxic lending relationships between Greece, Italy, and the rest of Schengen Europe as well as the implications of this toxicity for the wider world. The reduction of such messiness into such neatness filled me with a familiar, slightly nauseating feeling of delight, a feeling I have since dubbed the infogasm.
This fleeting sense of the erotic occurs only when a graphic perfectly clarifies complex phenomena through the careful arrangement of its visual data sets. The infogasm is instantaneous, overwhelming, and usually transitory in nature, leaving you oddly exhausted. In , neuroscientist Douglas Nelson definitively described the cognitive potency of the image as the pictorial superiority effect. He and others have shown that our brains are essentially hard-wired for visuals—the very architecture of our visual cortex allows graphics a unique mainline into our consciousness.
We remember the girl with red geek-glasses who stooped down to give us back our pen outside of the LensCrafters on 81st St. We place our own mental pin on the map alongside the others.
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But what color do we choose? Are there different categories of missed connections? We turn back to the map, reexamining the city with a new filter. Were these all the same person, a missed encounter on repeat? And why so few W4Ws? Was she about to enter the museum, or was she already emerging—basking in the wondrous glow of science—when she spotted the other woman? Maybe the museum never entered into it. It is no surprise, then, that our media are now saturated with such infographics, both on-and off-line, as a host of publications such as The New York Times , Good , The Guardian , Wired , Time, The Economist, The Believer, and The Wall Street Journal all regularly depend on data visualizations to provide their readers with that on-the-spot, quasi-highbrow sociological analysis.
As one might expect, the output is decidedly mixed. Faced with a glut of mediocre charts and diagrams, there is now a backlash among designers and journalists against the overuse of meaningless infographics. And yet, as someone obsessed with the methodologies of storytelling, I cannot help but wonder about the hidden narrative mechanics behind the infographic. Perhaps my infogasm is not as superficial or ephemeral as it might first appear. Effectively pairing depth with breadth is not a new problem. In his sprawling history of information , James Gleick describes how the invention of the semaphore, telegraph, telephone, and the first digital computer all posed significant discursive dilemmas by offering a simultaneous increase in the ease of data delivery alongside a necessary contraction of the language around this data.
The more possibilities, the more uncertain the eventual outcome, the more bits are needed. In , Edward Tufte —considered by many to be the Godfather of information design—published his now-seminal The Visual Display of Quantitative Information , which began to articulate an ethos for what was then still a relatively nascent discipline.
Since then, much has changed in the field of data visualization, especially once the graphically flexible web page became the standard information carrier and the rise of Web 2. But as futurist George Dyson points out , while our access to raw information has grown exponentially, our time to process this information has declined rapidly, which has placed an unprecedented premium on the act of meaning-making. Sometimes design compendiums can come off as uneven affairs, but Visual Storytelling is a thoughtful, curated tour de force —it effectively encapsulates a watershed moment in information design while still managing to hold up as a standalone volume.
The book presents over designers from around the world not surprisingly, much of the best design work comes for Europe , gracefully organized across five chapters: Seeing the News , Viewing Science and Technology, Looking at Travel and Geography, The Modern World, and Observing Sports the active verbs are telling. Several of their sketches and drafts are also presented alongside their finished work and it was helpful for me to see their work in this kind of context. Pulling back the curtain on their process made the sometimes overly slick infographic feel like a very human creation.
These practitioners, like us, are constantly struggling with how to represent the world around us. Such an ambitious pursuit will always remain a work-in-progress. Most of the graphics in Visual Storytelling are terrific. Some of them are beautiful. Some of them are completely confusing. Taken in its entirety, the book feels like an honest, wide-reaching portrait of the field.