Keely Adler

According to the Oxford English Dictionary , the earliest known use of the word “sideways” in English is from 1572, appearing in Münster’s Briefe Collection & Compendious Extract Cosmography .

That full title: A briefe collection and compendious extract of the strau[n]ge and memorable things, gathered oute of the cosmographye.

Moving sideways is,... See more

The straight tree, Zhuangzi counsels, gets cut down and used for wood. Carpenters ignore the large, twisted tree because to them it is useless as supply, too difficult to work with. As a result, the unconventional, curved tree lives the long life.

The tree that grows sideways has longevity — and a story to tell.

Going linear, not pausing, not thinking about my needs, assuming what works for everyone else will and should work for me—that’s what hurts.

There is no straight line from point A to point B. We work in spirals and overlapping circles and detours. We work in exchange and relationality. Sideways is how we know ourselves, where we are. Drifts, rhizomes, and margins are processes and paths of knowing. Sideways is how we slow down and listen. We move forward again, but with better... See more

I’m tired of the propaganda of the linear. I have to rinse it from my thinking too often.

My best decisions have been so-called sideways decisions. Writing and making art are sideways pursuits. Collage is the method of sideways. The best days in the studio and at the writing desk are inevitably sideways days. That unexpected, a-ha connection. The pause you take so the quiet idea can step forward—that’s sideways. When we interrupt the... See more

A conversation between Alex Dobrenko and Douglas Rushkoff on the spiritual nature of awe, rescuing the human from the machine, and why the future depends on finding each other.

In addition to showing LSD-godfather Timothy Leary the world wide web for the first time (Leary’s response: “Oh my god, this is acid”), coining terms like “viral media” and

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Rebecca Solnit says, “I still think the [real] revolution is to make the world safe for poetry, meandering, for the frail and vulnerable, the rare and obscure, the impractical and local and small.”