A lot of this job is about learning how the inside of your own head works. You spend a lot of time alone, in small rooms, eyes closed or staring at the ceiling, poking around at the machinery and peering into all the nooks and crannies. Finding out how all the machines turn, and realising how little you really know about those machines. Picking through the litter of the culture that blows in through your ears and eyes and arranging it by date and colour and sound.
And sometimes you end up doing anything else possible to drown out the sound of the machines in your head, because you know too well how they grind.
- Warren Ellis, Learning How The Inside Of Your Head Works
On earth, the terrible things
and the beautiful things
continue to happen beside each other.
On the moon in the darkness, nothing.
On earth in the darkness, sometimes
rain swells like applause.
- Jeffrey Morgan, from “All Night No Sleep Now This” published in BOAAT (via pigmenting)
““A master in the art of living draws no sharp distinction between his work and his play,” the French writer Chateaubriand is credited with saying. “He simply pursues his vision of excellence through whatever he is doing, and leaves others to determine whether he is working or playing. To himself, he always appears to be doing both.””
- Ray Bradbury on Failure, Why We Hate Work, and the Importance of Love in Creative Endeavors | Brain Pickings
Currently alive to similes. (at Objectifs - Centre for Photography and Filmmaking)
For anyone who that might be interested: yes, I’m currently in Singapore… (at Singapore Zam Zam Restaurant)
“We like to test each other on who knows what a Blue is, and what a Joker is, but since nobody can memorize everything in the GigaUnknown, much less the YottaUnknown, we all pass some tests and fail many others.”
- Are You Smart? — Medium
“Others who have died have strengthened me in all kinds of strange ways. With their lips that had fallen silent, before the earth covered them for ever, they quickly spelled out to me what probably matters most as long as we’re breathing: that love is attention. That they are two words for the same thing. That it isn’t necessary to try to clear up every typo and obscure passage that we come across when we read the other person attentively—that a human being is difficult poetry, which you must be able to listen to without always demanding clarification”
- Edwin Mortier, Stammered Songbook (via alantrotter)
Today’s workshop: Ways of Seeing— writing with the photographer’s eye. @thewritingsquad Happening today, in Oxford Circus, Deptford and EC3…
“Anything we do with care, curiosity, and feeling will be good. Time spent working with words is never wasted.”
- Corita Kent and Jan Steward, Learning by Heart (via nicolefenton)
“First forget inspiration. Habit is more dependable. Habit will sustain you whether you’re inspired or not. Habit will help you finish and polish your stories. Inspiration won’t. Habit is persistence in practice.”
- Octavia E. Butler, “Furor Scribendi” in Bloodchild and Other Stories (via wordswilling)
“While the sharing economy offers workers the boon of flexibility, it does little to protect them if things go wrong—no unemployment benefits if the work dries up or workman’s compensation if they’re injured. Often, they pay higher taxes—both the employee’s and employer’s contributions to Medicare and Social Security. As for long-term security, forget about it.”
[The Insecure World of Freelancing - The Atlantic](http://www.theatlantic.com/business/archive/2015/07/building-social-safety-net-freelancers/399551/
Dear poet: you cannot live on words alone.
(via ▶ John Cleese on Creativity - YouTube)
This. So much to pick up on here.
“The absurdity of that is that a writer is always working as long as they’re awake. The mind is always spinning and looking for things to grab on to that it can make a story with. It spins and jumps and glares and claws. No peace for you, host creature.”
- Warren Ellis
“I call a theorist someone who constructs a general system, either deductive or analytical, and applies it to different fields in a uniform way. That isn’t my case. I’m an experimenter in the sense that I write in order to change myself and in order not to think the same thing as before.”
- Michel Foucault (via ubuwaits)
“Before I studied the art, a punch to me was just like a punch, a kick just like a kick. After I learned the art, a punch was no longer a punch, a kick no longer a kick. Now that I’ve understood the art, a punch is just like a punch, a kick just like a kick. The height of cultivation is really nothing special. It is merely simplicity; the ability to express the utmost with the minimum. It is the halfway cultivation that leads to ornamentation.”
Bruce Lee, via Refspace
Dear Poet— apply this thinking.
Does it bring joy (in the viewer as well as myself)
Is there a sense of wonder?
Is it unusual? (I want people to see things that they maybe haven’t seen before)
Bonus point: is it funny? (Not a gag; things that make you laugh without actually laughing out loud)
“What I’m really aiming for is a connection with the viewer on a level that is outside our regular … communication, outside the level of the message that one is trying to deliver.”
via [Design Matters](https://itunes.apple.com/gb/podcast/design-matters-debbie-millman/id328074695?mt=2&i=346995408)
“Another way to think of restlessness: as a form of ambition. Unsatisfied with the given—the usual explanations, the usual goals for and trappings of a life—there are those who push past the given, are willing to enter into uncertainty—to take a risk—in order to get something presumably superior and/or preferable to “the old life.” I don’t mean corporate ambitions, the kind that can lead to and increase in money and power and material possessions—I mean the quest for meaning, for heightened feeling, for expanded vision, even if that should mean that we arrive at what disturbs, leaving us more unsettled, less at rest than we had been. This, I would argue, is the artist’s sensibility. And I’ll point out that it’s not a perverse desire for being disturbed; it’s instead a recognition that growth can’t happen without disturbance, and a realistic understanding of the world as a place where pleasure and its opposite coexist—the artist refuses to ignore it, or perhaps more accurately the artist is incapable of ignoring it, because of a commitment to a knowledge that is absolute, entire, and at last elusive.”
- From Carl Phillips, The Art of Daring (via John Estes: Works & Days)