Brain Pickings

Posts Tagged ‘books’

24 AUGUST, 2012

How to Be an Explorer of the World

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“Every morning when we wake up, we have twenty-four brand-new hours to live. What a precious gift!”

As a longtime fan of guerrilla artist and illustrator Keri Smith’s Wreck This Box set of interactive journals, part of these 7 favorite activity books for grown-ups, I was delighted to discover her How to Be an Explorer of the World: Portable Life Museum (public library) — a wonderful compendium of 59 ideas for how to get creatively unstuck by engaging with everyday objects and your surroundings in novel ways. From mapping found sounds to learning the language of trees to turning time observation into art, these playful and poetic micro-projects aren’t just a simple creativity booster — they’re potent training for what Buddhism would call “living from presence” and inhabiting your life more fully.

It all began with this simple list, which Smith scribbled on a piece of paper in the middle a sleepless night in 2007:

Eventually, it became the book.

Smith says of the book’s curious choice of subtitle:

I am interested in the idea of taking art (or museum shows/collections) out of the realm of ‘institution’ and into the hands of the individual, one does not need a formal space to put things in, in order for it to be valid. A museum is what YOU make it. You decide what goes in it, what is interesting, why it is interesting, how it could be displayed. It gives the reader permission to create their own portable (or not portable) show. It doesn’t have to be a public show either, it could just be your own private collections of whatever YOU find interesting. Think of it as a kind of “Sim Museum”, except in the real world. The book begins with ideas about what and how to collect things you find in the world (found objects, thoughts, ideas, stories, things from nature, etc.), a section on various ways of displaying the things you collect, and how to set up a showing.

Especially delightful — and not only because of the Anaïs Nin reference — is this author’s note in the preface, a nod to Mark Twain’s conviction that “all ideas are second-hand” and Henry Miller’s contention that most of what we create is composed of “hand-me-down ideas”:

Alongside the micro-projects are hand-written quotes by great creative minds of yore, including Brain Pickings favorites Italo Calvino, Thich Nhat Hanh, and Corita Kent:

Both daring and meditative, How to Be an Explorer of the World is part Maira Kalman, part Wendy MacNaughton, part its very own kind of whimsy, delivering — beautifully — exactly what it says on the tin, with an invitation to be just a little bit more alive each day.

Spread photos via Geek Dad

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24 AUGUST, 2012

Tchaikovsky on the Paradox of Patronage and Creative Purpose vs. Commissioned Work

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“I should be guilty of artistic dishonesty were I to abuse my technical skill and give you false coin in exchange for true only with a view to improving my pecuniary situation.”

The origin of altruism has long intrigued scientists and philosophers alike, and one of its most enduring manifestations is the practice of patronage, from the Medici to Kickstarter. From The Life & Letters of Pete Ilich Tchaikovsky (public domain), the same 1905 tome that gave us Tchaikovsky’s priceless insight on work ethic vs. inspiration, comes the celebrated composer’s meditation on the paradoxes of patronage and the timeless tension between creative purpose and commissioned work.

On May 1st, 1877, he sent his lifelong benefactress, Nadezhda von Meck, the following letter, bespeaking so many of the modern-day maladies of work-for-hire, the flawed on-demand paradigm of inspiration, and the enormous psychological barriers many of us erect against accepting financial help:

HONOURED NADEJDA FILARETOVNA,

In spite of obstinate denials on the part of a friend who is well known to both of us, I have good reason to suppose that your letter, which I received early this morning, is due to a well-intentioned ruse on his part. Even your earlier commissions awoke in me a suspicion that you had more than one reason for suggesting them: on the one hand, you really wished to possess arrangements of some of my works; on the other knowing my material difficulties you desired to help me through them. The very high fees you sent me for my easy tasks forced me to this conclusion. This time I am convinced that the second reason is almost wholly answerable for your latest commission. Between the lines of your letter I read your delicacy of feeling and your kindness, and was touched by your way of approaching me. At the same time, in the depths of my heart, I felt such an intense unwillingness to comply with your request that I cannot answer you in the affirmative. I could not bear any insincerity or falsehood to creep into our mutual relations. This would undoubtedly have been the case had I disregarded my inward promptings, manufactured a composition for you without pleasure or inspiration, and received from you an unsuitable fee in return. Would not the thought have passed through your mind that I was ready to undertake any kind of musical work provided the fee was high enough? Would you not have had some grounds for supposing that, had you been poor, I should not have complied with your requests?

Finally, our intercourse is marred by one painful circumstance in almost all our letters the question of money crops up. Of course it is not a degradation for an artist to accept money for his trouble; but, besides labour, a work such as you now wish me to undertake demands a certain degree of what is called inspiration, and at the present moment this is not at my disposal. I should be guilty of artistic dishonesty were I to abuse my technical skill and give you false coin in exchange for true only with a view to improving my pecuniary situation.

But Von Meek’s response, exuding the poetic faux-solipsism of altruism, reveals that the paradox of patronage is no paradox at all — what’s at stake is not a transaction but, as Henry Miller has eloquently argued, an exchange of mutual gratification:

I am looking after you for my own sake. My most precious beliefs and sympathies are in your keeping; your very existence gives me so much enjoyment, for life is the better for your letters and your music; finally, I want to keep you for the service of the art I adore, so that it may have no better or worthier acolyte than yourself. So, you see, my thought for your welfare is purely egotistical and, so long as I can satisfy this wish, I am happy and grateful to you for accepting my help.

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23 AUGUST, 2012

What Makes a Great City: Anaïs Nin on the Poetics of New York

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“Just bring your own contents, and you create a sparkle of the highest power.”

Recently, in preparing for a talk and pondering the question of what makes for a thriving city brimming with robust public life, I was reminded of a passage from a letter Anaïs Nin wrote to her lover Henry Miller, found in the sublime A Literate Passion: Letters of Anaïs Nin & Henry Miller, 1932-1953 (public library) — a tome you might recall from recent literary jukebox installments.

Dated December 3, 1934, this letter stands in stark contrast to Nin’s grim take on New York in comparison to Paris some five years later, but it bespeaks the same exhilarating enthusiasm for the city that Jan Morris captured a decade later and that New Yorkers and visitors of all eras have been — sometimes reluctantly, sometimes wholeheartedly, always inevitably — infected with:

I’m in love with N.Y. It matches my mood. I’m not overwhelmed. It is the suitable scene for my ever ever heightened life. I love the proportions, the amplitude, the brilliance, the polish, the solidity. I look up at Radio City insolently and love it. It is all great, and Babylonian. Broadway at night. Cellophane. The newness. The vitality. True, it is only physical. But it’s inspiring. Just bring your own contents, and you create a sparkle of the highest power. I’m not moved, not speechless. I stand straight, tough, and I meet the impact. I feel the glow and the dancing in everything. The radio music in the taxis, scientific magic, which can all be used lyrically. That’s my last word. Give New York to a poet. He can use it. It can be poetized. Or maybe that’s a mania of mine, to poetize. I live lightly, smoothly, actively, ears and eyes wide open, alert, oiled! I feel a kind of exhilaration and the tempo is like that of my blood. I’m at once beyond, over and in New York, tasting it fully.

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