🧭 craft

In our society, the spaces for adults to play are mostly constrained, for example, to sports, or going to the pub. And opportunities to live a life of imagination are reserved for exceptionally privileged people, like designers, actors, artists and film directors. This lack of imagination in our lives is an existential risk for society and... See more

Medium • Rewilding the Imagination

Increasingly, the work that stand out will be more raw and incomplete (because — by definition — new ideas haven’t been optimized because…they are new).

Eno explains:

"[On one end, you have] auto-tune that perfectly puts music into tune…which is sort of flawless and faultless. [In contrast, the other side] is clumsy, awkward, crude and unfinished... See more

From George Saunders, on nuance and embracing complexity:

the writer doesn't have to have a fixed firm idea, but has to be able to take the reader on a journey to remind her that the world is complicated. From the very beginning, I understood writing to be about some kind of moral or ethical imperative. Absent that, I'm not that interested in it,

"I cannot find any patience for those people who believe that you start writing when you sit down at your desk and pick up your pen and finish writing when you put down your pen again; a writer is always writing, seeing everything through a thin mist of words, fitting swift little descriptions to everything he sees, always noticing.

Just as I... See more

But I don’t think obsessive hustling makes good literature, or good writers, because writing is only the second part of the work. Most of the work is just existing. Writing, like, I suspect, any creative art, is just an attempt to transcribe infinity. And you have to sink into infinity slowly.

Daniel Southwell • The Art of Writing a Novel Slowly

There’s also something to be said about collating and curating in the slow writing process—facts, knowledge, smells, descriptions, stories, passport stamps, headlines—until the collection becomes part of the transformation process. Through acute and critical attention, away from the drive of production, toward the singularity of studying a branch,... See more

Melissa Matthewson • A Revolution in Creativity: On Slow Writing

Cameraperson by Kirsten Johnson

AN INCOMPLETE LIST OF WHAT THE CAMERAPERSON ENABLES For the cameraperson: —Access and a reason to stay in worlds not of one’s own —Permission to behave, ask, do in ways that are transgressive/ outside social norms —Complete distraction from one’s own life —The creation of evidence of experience —The chance to be

Learning how to think really means learning how to exercise some control over how and what you think. It means being conscious and aware enough to choose what you pay attention to and to choose how you construct meaning from experience. Because if you cannot exercise this kind of choice in adult life, you will be totally hosed.

David Foster Wallace,

Nix 🕊 • carry yourself lightly

loving the process

Natalie Audelo and • 147 cards