Austin Kleon – Page 549

My favorite chapter so far in Marshall McLuhan’s Understanding Media is called “The Print: How to Dig It.” Not sure how legal it is, but you can read the chapter online, as well as the whole book. Here are some choice excerpts which really hit me:

It is relevant to consider that the old prints and woodcuts, like the modern comic strip and comic book, provide very little data about any particular moment in time, or aspect in space, of an object. The viewer, or reader, is compelled to participate in completing and interpreting the few hints provided by the bounding lines.

AND:

In the low definition world of the medieval woodcut, each object created its own space, and there was no rational connected space into which it must fit. As the retinal impression is intensified, objects cease to cohere in a space of their own making, and, instead, become “contained” in a uniform, continuous, and “rational” space. Relativity theory in 1905 announced the dissolution of uniform Newtonian space as an illusion or fiction, however useful. Einstein pronounced the doom of continuous or “rational” space, and the way was made clear for Picasso and the Marx brothers and MAD.

I’m plowing through this book the way I plowed through Ulysses back in the day: full steam ahead, take what you can where you can.

NEW SIDEBAR JUNK

Monday, February 5, 2007

I’m trying to make this thing as much like a virtual sketchbook/scrapbook/notebook as I can, and avoid the regular trappings of blogging, like long link rolls and book reviews. (Even though I like those trappings on other blogs.) However, if you want that stuff, check out the del.icio.us and LibraryThing feeds on the sidebar.

LETTERS

Friday, February 2, 2007

Ever think about how weird it is that we use the phrase “keep in touch” when “keeping in touch” never really means touching?

When I spent six months in England without Meg, we spent a lot of time “keeping in touch.” Lots of e-mail and instant messenger. But the best thing we did was write letters. Real letters, handwritten, with ink and fancy stationary. Envelopes and stamps and waiting. Waiting was what the whole period was about. Waiting.

Nobody waits anymore. It’s the electric age. It can be some comfort, I suppose, not having to wait for word from your loved one, but it takes a lot of the poetry out of it, for sure.

Those letters we wrote to each other would make you bawl. But think back: any letter written to you can make you bawl. Because every letter sent is a little organic piece of the person who wrote it. You can pick up the paper and smell the person. Maybe they smudged the ink and you can see a fingerprint.

And the greatest part is that you can keep them around. You can hang them on your wall, or put them under your pillow. You can hold them in your fingers. Touch them.

We have our old letters in a box in the closet. Many of them have little doodles of the parks in which we wrote them. Many of them became quite elaborate in design. With each one, we would try to trump the other, to see just how beautiful we could make them.

I have typed maybe one or two beautiful e-mails in my life. But every letter I took the time to write was beautiful.

So the other day I was playing with my watercolors and decided to write a letter in comics/watercolor. It was beautiful, spontaneous, and straightforward. I was so pleased with myself that I wanted to hang it on the wall.

But I didn’t. I scanned it in Photoshop (better than carbon copy paper), put it in an envelope, and sent it into the world.

PEOPLE OF COLOR

Wednesday, January 31, 2007

“…the more ethnic it is, the more universal it is….The whiter the Beach Boys are, the better they are. I know a lot of people don’t like the Beach Boys because they say they are too white. I say, that’s what’s good about them. That’s one of the main ingredients. Joni Mitchell, the Beach Boys, Buddy Holly are really great artists because they are as white as they can get.”

—Gilbert Hernandez, interview

I don’t know how, but I’ve so far ignored the Hernandez Brothers’ Love & Rockets. I read some of Jaime’s work when it ran in the Nytimes Funny Pages, but that was it. Now, I’m dipping into Gil Hernandez’s Palomar: The Heartbreak Soup Stories. I’m really intrigued by the idea of comic stories set in the same fictional town (very much like Marquez or Faulkner), and Gil’s crazy telescoping (?) in between panels: in some of the comics, he’ll tell a whole story within one panel, then move on to the next.

Anyways, it’s great to “discover” someone who already has such an output.