weekly Go Flip Yourself

Objects that expose their “marks of making”, or artifacts of how they were constructed, are a reminder that everything is made. Nothing simply appears. In a time when most people are wholly detached from making anything they consume, it’s easy to lose sight of that fact. I’m not necessarily lamenting this disconnect, but I appreciate any design which reminds us (whether intentionally or not) that it was made.

Rolf Haubl, sociologist and psychoanalyst, insists that the role of objects is to carry memories. The real meaning of the thing then is within its mnemonic value. In a way, the chair becomes a sort of transformational object, gaining more significance after the passing of its owner. Granny Puckett’s essence and memory have been absorbed into it, especially for those left in her wake, who recognize the chair as an experience of remembrance.

We depend on the chair to bring back memories of Granny Puckett. Those who knew or heard stories of her experience the chair in different ways that deepen our connection to her. These stories create a history around the object, signifying the biography of the object itself, which “is no longer simply a dead or inanimate thing,” as Clive Dilnot proposes. “It possesses—or we attribute to it in our imaginations—sentience and power.”

By their nature, heirlooms tend to carry extra significance. The chair as a family heirloom is now a device that conjures memory and connection across time.

The biography of an object should not be restricted to an historical reconstruction of its birth, life and death. Biography is relational and an object biography is comprised of the sum of the relationships that constitute it.

Imagining such a scene made me laugh:

Why does it bother adults so much when kids do things reserved for adults? The idea of a foul-mouthed, cynical 10 year old leaning against a lamppost with a cigarette hanging out of the corner of his mouth is very disconcerting. But why?

In my past experiences publishing, I sought public success assuming it would lead to feelings of private satisfaction. It’s only now, observing this expectation clearly for the first time, that I can see how misguided this was.

In this experiment I took the agency and time to define success. It wasn't an open-ended search for approval. The goal was to express an idea, its full context, and for them to be seen and understood. That has happened, adding up to maybe the most enjoyable publishing experience of my writing life to date. Those 250 collectors satisfied my entire Maslow’s hierarchy of writerly needs with their support.

Reflecting on these historical events and predictions, I am reminded of the importance of envisioning a future — preferably a hopeful one. However, accurately predicting the timeline and eventual impact of these innovations is challenging. This perspective has consistently nurtured my optimism in science and technology.

• the royal society impact

• long lasting cultural impact

An ode to magazines:

• you're entering a universe that's only there

• convey a feeling, an amplitude, a point of view

• it's an opportunity for meaning-making

• what if Taylor Swift has a magazine?

• all this is hard (an essay, a song) it takes time

• the inward search for emotional truth; connecting with the source -- it's not about the money

• doing it for yourself is underrated these days

• celebrate the source, the art

• a deeper definition of music journalism: to do that well means: really caring; be in it; in that scene