Tag: sketchnotes

Brain Food, Watching

“All right, then, annihilate me”

Caught an excellent, all-too-brief conversation between Austin Kleon and Sarah Ruhl on YouTube earlier today and took some sketchnotes:

A gold and black page of handwritten notes from a conversation between Sarah Ruhl and Austin Kleon. A drawing of Ruhl, in cat-eye glasses with long hair, sits page right. Various headers like What tastes good? and Imperfection is a portal dominate the page. Doodles mingle with notes.

I particularly love seeing this emergent theme of authors and creators starting to meld their own weird secular practices with ideas of the sacred. Sometimes it’s stuff they were raised with and other times it’s new systems they’re exploring. All of it fascinates me.

I came to Sarah’s work in high school via her play Eurydice. I’ve managed to see it performed a couple times over the years, but it was the written stage directions I first fell in love with, so the real joy has been knowing they’re there, unspoken, in any mounted production.

(They put on a whole season of her work in Portland one year and I somehow only managed to catch one play! I have a hard time getting over that. But it was In the Next Room, Or The Vibrator Play and it was stellar.)

Since 2016 I’ve found that she’s actually leaping between all sorts of spaces, writing essays and poetry and now a memoir and also a collection of correspondence called Letters from Max which was one of my favorite things I read in 2020. I even drew it as part of a year-end round up, but never actually wrote the blog post. Oops. Here, look, my favorite reads from two years ago:

An illustrated selection of six books: Syllabus by Lynda Barry, Beowulf by Maria Dahvana Headley, Letters from Tove by Tove Jansson, Letters from Max by Sarah Ruhl and Max Ritvo, Attrib. by Ely Williams, and How to Be Both by Ali Smith.

(I still stand by all of these. God, 2020 was good for reading.)

There’s a tenderness and a generosity and an absurdism to Sarah’s work that I adore. Nice when you finally get to see an author you’ve long admired speak and they reflect those qualities in conversation.

Fun Postscript: Apple now does this text recognition thing in photos that can be very helpful for generating accurate alt text. Unfortunately it’s more of a challenge when dealing with something as complex as a page of illustrated notes. Here’s how much it managed to find in this photo:

A screenshot of Lucy's phone showing a photograph of her sketchnotes with little blue highlight bars over a great deal of the text.

And here’s what it looks like pasted into a text document:

A screenshot of Lucy's text editor full of misunderstood transcription. It reads: Tibetan Buddhism from feir babysitter. "I'll have Whal-she's having. A service to the invisible world Esther Perel, you knaw That lore lady at and guess core of your 20s. I Want something more. WHAT TASTES GOOD? One haile. a day to mark-she passage of time " Internal truth ofer Next boole Asymmetry Lets fue spint into flie archi The line

I actually love this? Doesn’t help with alt text, but it does make a cool new artifact.

FUE SPINT INTO FLIE, Y’ALL.

Blog, Brain Food

Pay to Play

Austin shared some lovely sketchnotes from a talk on writing as a form of prayer yesterday, and this bit really leapt out at me:

Out of all the interesting subjects they discussed, I think I was most taken by Father Martin’s explanation of how his vow of poverty affects his writing. Martin is “editor at large” at America Magazine, and as he explained it, he basically has the freedom to write about whatever he wants. The same goes for his books: All of his royalties go to the magazine, so he’s mostly unconcerned about sales. […] Writing, for him, is never a struggle.

Absence of pressure as a prerequisite for pleasure. I love this.

I’ve still got Luke’s phrase “financial profit is not possible here” reverberating around my skull from the launch of GOES yesterday, which has me wondering:

What happens to a creative practice when you proactively divorce it from capitalism? (And what form does that divorce need to take in order to be an effective means of culture-shift for the individual and their wider community?)

I think of this as the inverse of those well-meaning friends and relatives whose first words after seeing something you’ve made is “You could sell these on Etsy!” You might as well say “You could siphon all the joy out of this practice and replace it with crippling performance anxiety!”

Who are the people in my life whose response to any nascent creative work is: “Have you considered trying to make this as un-commercially-viable as possible?”

And more importantly: what allows someone to follow that instinct?

Shing and I have talked a little lately about feeling the hustle go out of us in our 30s, and how following the course of that ebb is a privilege earned by hustling a lot in our earlier career days (alongside other factors, of course). Overfunding a Kickstarter or landing an unexpectedly lucrative illustration gig—or even, on a more sustainable scale, running a Patreon—is a means of buying your own creative freedom for a spell, but all of these still involve an initial influx of cash. You have to pay to play.

(The string layer is back on.)

Brain Food

Authenticity: Interintellect Salon Notes

A good thing: I’ve started wandering into more and stranger corners of the internet in the past year. Weird legacy sites documenting English heirloom potatoes. Minimalist archives of Japanese woodworking techniques. A blog in the form of a text-based game. So it doesn’t surprise me that much (except it kind of does) to have stumbled onto The Interintellect (often rendered as “ii”) via something Brendan shared in relation to Hyperlink Academy a couple weeks ago.

I attended my first Salon of theirs this past weekend—a three-hour freeform discussion called “Just Be Yourself: Questioning the Value of Authenticity” facilitated by Linus Lu. Twenty-odd folks called in from around the globe to share perspectives on authenticity, vulnerability, compassion, and selfhood. I didn’t intend to share these notes, but by the time we’d finished talking I thought “What the hell, this could be blog fodder,” so here we are!

(A note on alt text: the gallery plugin I’m running on this site is behaving abominably, so for now I’ve just linked the alt text for all these images here.)

As always, I’m increasingly hung up on who has the privilege—time and money, mostly—to engage in these kinds of discussions. High-level overviews of culture and selfhood absolutely get me going, but I also know that I don’t have the bandwidth for them when I’m scrambling to put food on the table or make sure I can pay my rent.

How can we make more room for folks outside academia and well-paid industries (and the odd self-employed interloper like myself) to interrogate this stuff?