Author: Paul Greer
Animated Journal No.1 030709
Still not sure about the name, but anyhow.
I’ve always like the picture a day format, video diaries etc, and wanted to loosen my fixation that animation is a long drawn out torture-fest.
So here I am making it about instincts, ephemera & brevity.
Hopefully weekly, probably more like monthly.
There is no quality guarantee.
Headphones on.
Word to describe animated journally type thing I’m starting: animomento or momentation?
(T)
Roald Dahl (and Hemingway) on writing.
“One of the vital things for a writer who’s writing a book, which is a lengthy project and is going to take about a year, is how to keep the momentum going. It is the same with a young person writing an essay. They have got to write four or five or six pages. But when you are writing for a year, you go away and have to come back. I never come back to a blank page; I always finish about halfway through. To be confronted with a blank page is not very nice.
“But Hemingway, a great American writer, taught me the finest trick when doing a long book, which is, he simply said in his own words, “When you are going good, stop writing.” And that means that if everything’s going well and you know exactly where the end of the chapter’s going to go and you know just what the people are going to do, you don’t go on writing and writing until you come to the end of it, because when you do, then you say, well, where am I going to go next? And you get up and you walk away and you don’t want to come back because you don’t know where you want to go.
“But if you stop when you’re going good, as Hemingway said…then you know what you are going to say next. You make yourself stop, put your pencil down and everything, and you walk away. And you can’t wait to get back because you know what you want to say next and that’s lovely and you have to try and do that. Every time, every day all the way through the year. If you stop when you are stuck, then you are in trouble!”
Edit 2018: I revisited this post to find the source of this quote as I did not originally provide a link. Consequently I found this post on SilverBirch Press which describes a bit more about the relationship between the two writers (there’s a phot too>).
Rhyme my 5 year old taught me this morning.
“
As I walked out
The other day
My head fell off
And rolled away.When I noticed
It had gone
I picked it up
And put it on.”
Glastonphant
Had excellent time watching Glastonbury footage over the weekend, although the beeb were a bit stingey with new acts on freeview.
Cried about 5 times.
Would like to post some YouTubes, but they’ve all been taken down. The Curious can go and check out the online stuff here. Its very incomplete, but better than nothing.
Highlights were Bruce singing “The River” (he was actually visibley steaming like a horse, ffs (47:30)), The Specials, Yeah Yeah Yeahs (obviously), La Roux, Metronomy, Blurs comeback (very emotional), Neil Young showing everyone how to play guitar, watching Madness with the kiddies (eldest made everyone flags (including important toys) to wave, Bon Iver, Bat for Lashes (she is from outerspace), Lady Gaga (two words: firework tits), Nick Cave and more other stuff than I care to mention.
And one day I will manage to go again, ideally in the form of provider rather than punter, so maybe see you there.
Warren Ellis on the above mentioned Springsteen MOMENT:
“And he’s just blown the authenticity
thing and gone into supermystification, because it
looks like he’s got an electromagnetic halo, curls of
glowing, pearly white light rising up from and playing
around his head and shoulders while he stands there
in near-silhouette…. He looks like he’s The Last Rock Star, the Ascended
Master who glows in the dark.”
“Reckoner” by Radiohead (2007)
Score for prepared piano by John Cage
“The phrase prepared piano is also sometimes applied to other kinds of preparations. Lou Harrison, for example, used something he called the tack piano, a piano with small nails stuck in the hammers to produce a more percussive sound. Conlon Nancarrow adapted his player pianos in a similar way, covering the hammers with metal and leather.”
“‘ARCHITECTURE IS FROZEN MUSIC.’ (This is, I think, the aesthetic key to the development of cartoons as an art form.)”
“What you do with comics, essentially, is take pieces of experience and freeze them in time,” Ware says. “The moments are inert, lying there on the page in the same way that sheet music lies on the printed page. In music you breathe life into the composition by playing it. In comics you make the strip come alive by reading it, by experiencing it beat by beat as you would playing music…”
