Stimulation

Jul. 18th, 2017 10:22 pm
tealin: (think)
[personal profile] tealin
I have pretty much always drawn while listening to the radio. From my first Harry Potter drawings, done behind the counter of a rarely-visited gift shop with mandatory country music playing, through a few years of film and musical soundtracks and half the Vancouver Public Library's collection of audiobooks, to the discovery of Radio 4 and all that. I need a chew toy to distract the verbal half of my brain and let the bit doing the spatial/fine motor work get on with it.

Once before I've had to make do without much to listen to: In 2007, long after I'd got used to having a computer at my desk with all its streaming and/or distracting opportunities, I interned at James Baxter's studio, the upper floor of an old warehouse and last preserve of analogue animation desks in LA. The other interns had laptops, but I only had my tiny iPod Nano, and after a week or two I'd memorised pretty much everything on it. But an odd thing happened when I ran out of external stimulation, and my Left Brain's clamour for distraction was perforce denied long enough: it shut up and went away to do its own thing, and good lord did I ever get a lot done.

I've been in the same position the last couple of days. I'm in Bristol doing a few days on-site at the studio for which I've been freelancing, doing rotations, the sort of work on which I most "need" something to listen to, and during which I get most of my radio listening done. I do have my laptop with me, just in case, but have not turned it on yet, nevermind accessed the WiFi. And my brain is doing the same thing. It's a little bit miraculous: I thought I was another casualty of our hyper-distracted age, yet here I am, doing relatively tedious work in a silent room, perfectly content.

It's made me resolve to turn off as much as I can when I get back home. I can't imagine going fully without the radio, as it does help to keep me on task when the infinite distractions of working from home (snacks, chores, errands, etc) come knocking, but I need to budget other distractions much more strictly. They aren't doing me much good, anyway – certainly less than what I'd gain with improved concentration and productivity.

Funny how these lessons keep coming back around every few years until you learn them ...

Silas Wright

Jul. 15th, 2017 08:46 am
tealin: (terranova)
[personal profile] tealin
To my surprise, this blog missed out on the Silas love on Canada Day ... so here's making up lost time. Longtime followers may remember him as the snarky bespectacled guy in a nightcap, who I drew a lot when Worst Journey was my escapism at Disney; now that I'm doing all this For Real I needed to sit down and work out a proper design for him.


Charles Seymour 'Silas' Wright was the physicist and glaciologist on the Terra Nova Expedition – and Canadian! As such, naturally, he was constantly being ribbed for being 'American'; even his nickname 'Silas' comes from a joke of Birdie's:

Silas struck me one day on the ship as a typical Yankee name and in a happy moment I called him Mr Silas P. Wright of the Philadelphia Educational Seminary. Since then he has never been called anything but Cousin Silas or Silas.

(from a letter home, quoted in Silas: The Antarctic Diaries and Memoir of Charles S. Wright p. 28)


More drawings and anecdotes below... )

There are so many more anecdotes – like about how Silas was notorious for his prolific and varied swearing, and how he almost invented the Geiger counter, and the time they were sledging across new ice that was still so rubbery the sledge made a bow-wake, and getting carbon monoxide poisoning the second winter, and how he was almost the one to go to One Ton instead of Cherry, and – and – and –

But I've gone on quite long enough already, so those will have to wait for another day.

Some Fanworks

Jul. 13th, 2017 09:58 am
laceblade: Chibi Tomoyo blushing with eyes downcast, hands clutching face (CCS: Tomoyo overcome)
[personal profile] laceblade
Halfway Away, a vid for Yuri!!! on Ice by [personal profile] starlady
This is just such sweet vid, and makes me feel overcome by all the feelings I had when watching the show as it aired. That it's an excellent song choice doesn't hurt, either.

Field Work, a vid for the Indiana Jones series by [personal profile] eruthros
I will never look at Indiana Jones the same way again.


For the first time this year at WisCon, there was a drabble challenge, with results posted in a collection at the AO3: WisCon 41 Drabbles.
I particularly enjoyed the drabbles by [archiveofourown.org profile] j00j and [archiveofourown.org profile] TheAndy, but am probably biased because they are friends.

It's a small collection, but one of high quality, and I hope that they do it again next year. The idea of collecting works created in the same physical location, over a specific period of time, is pretty cool. Also, I was at the Best Superpowers for Banging panel, which inspired the "Lube Jets" drabble. To say that the panel was hilarious feels like an understatement.

Sweet Sweet Vindication

Jul. 12th, 2017 05:19 pm
tealin: (Default)
[personal profile] tealin
I still haven't finished that essay series, but it didn't stop my heart singing when listening to the Q&A at the end of Hilary Mantel's last Reith Lecture:
SUE LAWLEY: Now on the front row here, we have Peter Kosminsky, who directed the television adaptations of Wolf Hall and Bring Up The Bodies. Famously Peter, and somewhat controversially, you lit them – because we were talking about lighting – by candlelight. I mean, did you two agree that? Was that collusion or did he rush off and – or did you approve, Hilary?

HILARY MANTEL: When Peter and I first met, what I said to him is, “When I imagine this book ..." I didn’t really have to say about lights and shades, candlelight. I think he just knew that, but I remember saying to Peter, “In every frame of the book, on every page in every transaction I see the wobble of the handheld camera, which brings me back to witnessing and reliability.” And I think your face illuminated my sitting room at that point, because I think it was catching onto your thought about what the mode of the drama should be.

and later ...

Anne Holland, retired Head Teacher and Volunteer at Chastleton National Trust House, which of course, part of Wolf Hall was filmed in. It’s a very naïve question. I’m a Catholic, and to me, the character of Thomas Cromwell was portrayed as a great hero. And of course, like everything, nobody’s black or white, but it intrigues me to see how strongly the views were both within the book, the film and the TV.

HILARY MANTEL: I hope to produce a nuanced portrait of Thomas Cromwell, as of Thomas More, of Henry VIII and all my characters, but good writers need good readers. The reader has to be prepared to lay aside their prejudices and read the nuances and interrogate every line asking how reliable is this person as witness to his story or someone else’s story. The texts of Wolf Hall and Bring Up The Bodies ripple with doubt. My aim is to keep the text alive. It’s all about, as it were, putting the past back into process. So, what I’m trying to do ... if I had written my books at, say, from the point of view of Ann Boleyn, or I had chosen Thomas More as my lead character, then you would have a very, very different text but it doesn't mean that I am insincere or that text contains lies. The novel cannot, I think, be a neutral text but it can be a nuanced one.

I Know You Love Me Today.

Jul. 10th, 2017 09:25 am
theferrett: (Meazel)
[personal profile] theferrett

Dear Lover:

Sometimes, you’ll see me flinch when you say “I love you.” It’s not a bad thing. I’m startled.

I forget you love me a lot.

And the sad thing is, it’s nothing you did. I’m a depressive. That’s my disease. No matter how much adoration has flowed between us, no matter what grand gestures you make to prove your affection to me, I forget. I’m like an emotional amnesiac, my good feelings forever being erased to leave me with shadows of doubt and terror. Sometimes I read old texts of yours to try to remember what it felt like being loved, and all I come away with is cruel reinterpretations of how those kind words didn’t really mean what I thought they did.

I don’t want this. I merely survive with it.

And I know my inability to remember consistently costs me. My past is strewn with exes who exhausted themselves through increasingly grander gestures, convinced that if they kissed me the right way then all this depression would vanish like dew in the summer sun. And when it didn’t, they decided I was being stubborn, and left.

You haven’t. Not yet.

Don’t think I’m not grateful. Don’t think my endless, shivering fear that today you’ve stopped loving me means that I don’t love you – why would I be afraid of you going unless you meant something to me?

And don’t think I’m not trying. Like I said, I reread your old texts, I recall your warm embraces, I recount all the lovely things you’ve done for me, all in an imperfect attempt to transform cold memories into some flickering ember of love to warm myself by. I will flinch sometimes, and be shocked, and yes, sometimes be the pain in the ass who asks “You love me, right?” at the worst times – but I am trying, oh so trying, to retain what emotional memories I can.

Then there are the days when you ask the right question at the right time. A simple text: “Do you know I love you today?”

That “today” makes all the difference.

That “today” lets me know that I might forget tomorrow, and you’ll be here to remind me.

That “today” tells me you understand my illness in all the ways I need you to.

And yes. Yes, I know today. I know today, and it is wonderful because for a brief moment I can feel that love flowing between us like a river, and maybe I’ll forget the warmth of water tomorrow but for right now I know it yes I know it.

I love you.

That’s something I never forget.

Cross-posted from Ferrett's Real Blog.

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