A new shape
This idea of progress acknowledges that as soon as we have something, however well it meets our original desires, we see its flaws. ‘Form follows failure’, in the words of civil engineering professor Henry Petroski. Dissatisfaction drives progress. ‘Since nothing is perfect’, writes Petroski, ‘and, indeed, since even our ideas of perfection are not... See more
The world of tomorrow - Works in Progress
I am sensitive, finely attuned, and as soon as I experience suffering, I have to pivot. I have no ability to stick it out. A quitter, you might call me. Undisciplined, Lazy, Child like, Weak, You might call me.
I certainly called myself those things.
I now realise that my intolerance for suffering is one of my greatest gifts.
I watch people who have a... See more
I certainly called myself those things.
I now realise that my intolerance for suffering is one of my greatest gifts.
I watch people who have a... See more
“But,” I said, “when I see my work I take for granted what other people value in it. I see only its ineptitude, inorganic flaws, and crudities. I am not pleased or satisfied.”
“No artist is pleased.”
“But then there is no satisfaction?”
“No satisfaction whatever at any time,” she cried out passionately. “There is only a queer divine dissatisfaction, a... See more
“No artist is pleased.”
“But then there is no satisfaction?”
“No satisfaction whatever at any time,” she cried out passionately. “There is only a queer divine dissatisfaction, a... See more
Choreographer Agnes de Mille
This week’s podcast and substack have the same message—hang on to the thread! It’s a metaphor that’s bringing me freedom and peace here at the top of this tumultuous year. I hope you’ll give it a read (or listen, I embedded the audio right into the post this time!) By the way, I’m experimenting with work flow and content creation as I write my next book. If you have thoughts about how you like to receive your content—substack, podcast, audio embed in the substack app—I’d love to hear them via DM or in the comments! Either way, I’m so glad you’re here! 💜
instagram.com
In Pasadena, California, photographer Gregg Segal embarked on a project capturing individuals from diverse backgrounds and ages within his garden. Utilizing three distinct settings - water, beach, and forest - Segal juxtaposed each subject amidst a week’s accumulation of their waste. Participants were tasked with gathering and preserving all their refuse, including recyclable materials, for the duration of a week. Through this unique approach, Segal’s project not only highlights the intimate connection between individuals and their waste but also prompts reflection on consumption habits and environmental impact in a localized context. “The idea was to make the problem of consumption and waste difficult to ignore by personalizing it. I just started with friends, neighbors, relatives, and anyone else I could convince to save their garbage for one week. They would lie down in it and be photographed so you can see their garbage really clearly. We’ve become so immune to the products we consume that it felt like something that I needed to do. And I photograph my own family as well, because I didn’t want to come off as if I am pointing my finger at everyone else. I think of the consumer as both victim and perpetrator; we are victims of the whole system in a way that we are also contributing to that very same problem.” - Gregg Segal #greggsegal #waste #overconsumption
instagram.com“The word glamour originally meant a literal magic spell that made people see things that weren’t really there. In its contemporary sense, glamour still contains an illusion. It obscures difficulties, flaws, and costs. It hides boredom and pain. It seems effortless. The beach holiday entails no delayed flights, the electric car charges instantly, t
... See more
The subtitle of James Pethokoukis’s recent book The Conservative Futurist is ‘How to create the sci-fi world we were promised’. Like Peter Thiel’s famous complaint that ‘we wanted flying cars, instead we got 140 characters’, the phrase captures a sense of betrayal. Today’s techno-optimism is infused with nostalgia for the retro future.
Can you afford to break down any barriers between your work and the audience? (monetary, language, accessibility, etc.)
What can you gain, that is not money, from the work?
Who, that is not you, can gain from the work?
Can you remove yourself from the center of the work?
Does the work consider its impact on our planet?
Does the work consider your politi
— Cortney Cassidy: “These principles act as a soft manifesto for myself, and for anyone else who wants to be an artist practicing for softer reasons at softer paces in softer spaces.”