Time to reconsider how we look at work. Holley's deep dive into this area highly resonates to that of my own path and questions I pose around what it means to feel fulfilled and authentic in the work that we do. She has come to know work as: "A lifelong devotion, to deliberation and transcendence of myself, my family and community, and society at large. What that contribution looks like shifts over time, and the action or inaction within that contribution can be grand gestures or small simple deeds - that's the beauty of it." She describes her current work resembling a manifesto: To honor self-acceptance as the antidote to the allure of external validation. To cherish and express my uninhibited creative expression and honour my weirdness, whether it makes me money or not. To share the unfolding of my story, the triumphs, the falls, the lifts, the climbs in artful, honest ways that challenge people to not turn away from themselves.

A short story by Salvador Dalí and Walt Disney.

Conceived 58 years, in 1945, close to 60 years before it was released. It tells a story of a haunting romance between Dahlia, a mortal woman struggling to find love, and Chronos, an all-powerful titan and the personification of time itself. The story is set to a love ballad composed by Fantasia composer Armando Dominguez.

I like the contrast between Dalí and Disney’s reflections on the story:

As Dalí explained to the press at the time, the animation was “a magical exposition of the problem of life in the labyrinth of time”, while Disney attempted to tone down his art-speak, describing it as “just a simple story of a girl in search of her real love.”

“I’m very concerned that our society is much more interested in information, than wonder. In noise, rather than silence. How do we do that? In our business, yours and mine, how do we encourage reflection?”

really cool edit of G.G.’s career evolution. Some fave lines: 

it’s time to jump kid 

coming of age happens over and over again in our lives 

sometimes u just gotta jump and hope there’s parachute attached 

fascinated by the process of change that takes place when you do something that seems impossible 

you don’t really know if it works until you’re on the other side 
really interested in women 

Berger examines the impact of photography and reproduction on our appreciation of art. 

Some highlights: 

Manipulation by sound, movement, context

Reproductions have allowed images to come to us, vs us going to them. There is no longer one unique position an image belongs to. They are seen through millions of reproductions, in millions of contexts - e.g. through your screen, surrounded by your own furniture etc. 

Paitings modified by movement and sound 

Meaning is liable to be manipulated and transformed. no longer a constant 

Silence and Stillness

The images in paitings are silent, still 

the lines on your screen, even pages of a book are ever moving, never still. 

But paitings demonstrate silence.

Occasionally, this uninterrupted silence and the stillness of a painting can be very striking. 

Corridoors through time 

The paiting, absolutely still, soundless becomes a corridoor, connecting the moment it represents, with the moment at which you’re looking at it. Something travels through that corridoor at a speed greater than light - throws in thw question of the way of measuring time itself 

Unfolding of time 

In a film sequence, the details are selected and re-arranged into a narrative, which depends on unfolding time. In paitings, there is no unfolding time as all elements are present simultaneously. 

Accessibility of meaning 

While reproductions make paitings accessible, the text (usually by experts) begins to make them inaccessible to our own interpretations. Kids interpret images directly as they are. 

Reproduction as a languge beyond images

Using the means of reproduction as though they offered a language, as though pictures were like words rather than holy relics 

A need for dialogue 

He finishes off saying the images may be like words, but there is no dialogue yet - limiting the possibility of active interperation - he calls out the need for 

‘access to tv to be extended beyond its present narrow limits’ for this to be born (1972) and invites the watcher to stay skeptical of the arranged programme he just presented.