Bookmarked Toolographies — the new essential ingredient of student research? by Matthew Esterman (Medium)
Perhaps we need to have students include a toolography, a list — perhaps annotated — of the tools they used to source, to organise and to present their information.
This is an interesting ideas in regards to the evolving place of research and libraries.
Replied to The myths we live by, limitless tools & silent study by Oliver Quinlan (Quinlearning)
Faced with limitless possibilities, creativity can really struggle. But there's no reason why we have to use all these possibilities. In fact, a lot of what I learned about visual artists when I was at school was how they often seek to restrict themselves. The George Fitzgerald interview linked above really got me thinking, as rather than just showing off all his music equipment, he really gets into why he uses a room full of ageing 70s and 80s electronics when he could emulate it all in a laptop. It all comes down to restrictions. He takes each limited piece of equipment and finds the few ways in which it can do something special, then repeatedly uses these to create music that sounds unique.
It has been interesting to see the transition in soft synths Oliver. The interview with George FitzGerald reminded me a short clip involving Jack Antonoff. He too restricts himself to original equipment:

Antonoff condenses months of creativity into eight minutes. It left me think about how much learning is assumed to get to a point of understanding the technology to get to a point of control. I remember when I was young, I had a Roland G707. I would use a cassette player to record tape after tape of tweeking with the various sounds. There was something about the physicality of it that was never matched when I moved onto Fruity Loops.

Bookmarked The tools matter and the tools don’t matter (austinkleon.com)
You have to find the right tools to help your voice sing.
Austin Kleon reflects on the pride and place of the tool for the artist. Although he suggests that it does not necessarily matter, he also argues that we need to find the right tool that helps us sing. So often we talk about transformation or redefinition, but how often do we consider that the tool for each student ‘sing’ maybe different?