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APPRECIATIVE LISTENING: watchful feelingness

APPRECIATIVE LISTENING: watchful feelingness

Which way are you listing?

open, sourced?

foundation: sharing.

––––––––––––––––
Vince — good question last night, listening into our meeting; “how does a meeting with people that you’ve never met becomes a familial love / hug fest?”

Silence — and observative, feelingness –– listening. The way that you hear is by being quiet and watching the person that you’re paying attention to. And connecting with them. Bringing them into yourself. You’re holding them. That hug starts at the beginning.

Someone just said —

“I will give you my full attention.”

Really, what’s that mean?

That’s hard, since it means being wholly present — and attached to the person, listener to actor — appreciately, intuitively and empathically — it’s about holding; I’ve seen it only rarely in another. It is a presence of astonishing serenity — it is a calming listening that is profoundly quieting. Or disquieting.

Have you had someone listen to you in a way that is nearly “disquieting?”
It’s probably because it is uncommon. And unfamiliar.
Whole listening.

Watching a person wholly, to see WHAT THEY’RE DOING with their body — the hands, the arms, the legs, the faces — and feeling the what, and the why, they’re feeling.

that will be appreciative listening. feelingness. Empathic entanglement.

e m b r a c e m e n t . . .

Bodies, faces, tell us a lot — about connection or disconnection. What that means is “the lean.” Or — “the list.” Where are you, or they, leaning – towards you, or away. Leaning in, leaning out — leaning forward, leaning back.

The brand could be about listening, as well — leaning in, leaning out. Holding, or not holding — is there something to be, or could be, carried away, onwards — outwards?

Someone said — “for me, this brand is something for me — really, just for me. That’s what I’m thinking about — how this is: for me”

Did you know that listening links to “list?” Lean in, get closer, empathize:

list (v.1)

“tilt, lean,” especially of a ship, 1880, earlier (1626) lust, of unknown origin, perhaps an unexplained spelling variant of M.E. lysten “to please, desire, wish, like” (see listless) with a sense development on the notion of “leaning” toward what one desires (cf. incline).

It’s your language, it’s the listening language — of the empath, or the appreciative listener. The appreciative sensor.

Intrigued, list in, dispelled, leaning out?

tim
—-

Girvin Cloudmind | http://bit.ly/eToSYp
TEAM-BUILT STRATEGIC INNOVATION WORKSHOPS
Twitter: http://twitter.com/tgirvin

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My house, held. And the work in it.

My house, held. And the work in it.

Thinking about the iconography of place, what’s made in it. What are the talismans of your place?

A person stopped by my condominium, asking to borrow a can opener.

Peering into my place, she said — “are you moving?” As I looked back, there were piles of books, clothes, luggage, presentation tubes, folders and project envelopes (and lots of power cords). And I realized, in 2011, that if I wasn’t going somewhere one day, I probably would shortly thereafter — so I was always leaving my luggage out, partially filled with clothing and stuff that I’d likely have, to wear, the next trip.

Like the one that I’m on.

And what I’m wearing.

One trip, another.

I realized that being there — one thing that I hadn’t really done much of, was re-organizing and cleaning up. I was always in transit — the thing that I attended to, more than anything, was to care for was the orchids. They last and last — telling their story as I return home, after another sojourn. I keep them in one place, that’s relatively dark and prone to the possibility of misted moisture — they survive the longest, flowering there, in that place. Where the shower is — they thrive.

My places are two fold [one, the image above] — and both are more to studios than conventional living places — books ascend in towering colums; they lean in stacked arrays, there are altars of talismans, artifacts and mementos from travels to sacred points around the world; there are vast collections of perfumes; small prints of crows, of paintings from Mughal India, Russian icons, boxed insects, cricket cages from China, old signage from Japan, masks and puppets from Bali, old posters, Javanese keris knives range the wall, statues and amulets from Tibet, Bhutan, Mongolia, collections of old log books, manuscripts and sacred nomadic Tibetan and Sanskrit texts lie stacked in dark and quiet places. Skulls loom out from Mexico — grinning. There are stones piled in cairns, on the carpet.

My house, held. And the work in it.

These are the same in both studios — the island studio, the old schoolhouse in Queen Anne. Light dominates. Still, these are confusing working places — there are dozens of things that fill out the places. To that end, it looks like I might be moving.

My house, held. And the work in it.

Organization, one day. But the nature of creative involvement presumes chaos — that work can’t be organized.

But being organized might have another value.

That reminded me — of the hidden work.

Household Work Is a Large Hidden Part of GDP
In Europe, unpaid family domestic work and child care, most of it performed by women, has a value that amounts to between 17% and 32% of the region’s GDP, according to a team led by Gianna C. Giannelli of the University of Florence. As a result of their household labor, European women work an average of 460 minutes per day, compared with 424 minutes for men.
Source: GDP and the value of family caretaking: how much does
Europe care?

TIM | white plains, NY

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Focused attention. Seeing in-to things.

Focused attention.  Seeing in-to things.

When you’re looking at something, how closely are you tuned?

I was watching people watch. This is a habit.

That is, studying people as they “study” — watching to see how people are paying attention. This couldn’t be any more in-depth or capable interpretation of the ongoing analysis of watchful friend, Linda Stone, and her studies of “attention.”

But it’s more to an inherent curiosity that I’ve got about people and how they see things, and what they do when they see them. How they do, or do not, pay attention. With people that I work with, clients, those that I observe on the subway, walking the street, studying their eyes, for what they see, and what they do not.

That lead me to think about context in connection — how people sense things in relationship to design. Sitting through hundreds of hours of focus sessions — or dozens of anthropological visits, you begin to get a sense of what to “look for.” The whole body is a sensing organ — watching the eyes is one channel of consideration; but what about everything else. What are the degrees of engagement, alertness, fascination, deep gaze, dream sight, disconnected focus, continuous sight? Working on launch programs — building a story, a product, a place — and watching it go live, linking into the observation of visitors, guests, audience — I ponder the question: who’s synced into the “real time” of the moment — and who is just “passing by”?

When you really get into watching people watching people [or things], you begin to study how other creatures examine. Spiders, for example — try getting close enough to a spider that you can track the movements of that body, sensing yours. Dragonflies. Lizards. Hummingbirds. How deep, the dog’s study? The cat? But being a student of raptors, corvids and other larger intelligent birds, I cast my gaze there.

Pondering the focused link, the attention of one engaged, what would be the most powerful visible parable? One, to note, the owl. Get close enough to watch a raptor watch — and you realize there are layers to seeing in to things. The attached imagery is incredible to watch — the liquidity, the fluency, the grace. http://www.dogwork.com/owfo8 But more so, the focus.

And the design, of how it works…Owl coming in — from one hundred feet, one thousand frames a second — for the strike right at the camera, only a minute long. The head, the gaze never moves — and the last two or three seconds are amazing, watching the feathers ruffle and the wings swell. This is taken at 1000 frames per second.

The idea of looking, a metaphor of seeing — when you look at something, how far do you look in? Looking out, is looking in — even etymologically, to look is the modern turn on an old, perhaps first millennium expression of a German dialect, lugen “to look out.”

In my earlier days as a falconer’s “valet,” I recall looking into the eyes of the raptors that I hand-roosted (and that’s all that I was entitled to do — being a carrier of these birds. They looked out, through me, to the far lands, and to the mammals that scurried in the grass fields beyond where I stood, holding them.

Look out. Look in. Look beyond.

tsg | NYC

G I R V I N | INNOVATION WORKSHOPS
CREATING STRATEGIES, PRODUCTS, IDEAS FOR CHANGE.
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Tumble

Tumble

I was thinking about the right ideas, that come from the tumble of those that try, but fail. Those that stumble, and find. These that jumble and arrive at the new.

There is tumble, stumble, jumble — and topple.

They’re interrelated.

Long back, working with a team of scientists, they’d offered that the ideas come when teams of investigators are continuing rattling and railing at the same challenge — yet, perhaps, they’re coming at that challenge in the same forum, over and over. There’s something right there, but it needs to be pushed over the top.

Then there’s one, or a series of minds, that somehow pop past the challenge or evolve and tinker against the notion of disrupted solution finding to another tier, another plateau of evolution. That evolution becomes something else.

In the patterning of the work that you’re doing, you might find a thread that relates to how you’re moving through the plaited knotwork of being. There are threads — but, like the knots [the complications] of challenge, they will entangle and flip the movements; sights and insights are tumbled. The wrong string, crossed, wire tripped, balancing thread lost — and you [or your team, your enterprise, your brand] are stumbling, tumbled — toppled.

First, it’s right to recognize the thread of being in the who that you are — pardon the personal allegory — but these questions might be asked in a far bigger way to the nature of brand. That threading is the string of the patterning of what’s important and what will be held by you, your team, others that embrace the challenges that you face and the solutions that you offer.

But the journey of the knot-tied, the string laid, the stumble of the tumble, the staggered jumble — there are two things to contemplate.

One:
It’s in the railing towards the solution that the knot work — the tumbling and un-stumbling that will be the making of the next stride — moving into the new day, the new year — it will be about the stumble, the tumble, the surprised jumble. A good start is a tumble.

Two:
In the tumble, there’s something about being turned upside down, jumbled in the new seeing, that allows for one to perceive answers in a new way. Ever answer is a question turned upside down — it’s a jumble of the query.

It’s worth mentioning, in the beginning of anything, that the word start comes from an aligned etymology — to “fall.”

(s)Tumble, to the new — 2012.

TSG | PALM DESERT, CA
…..

G I R V I N | INNOVATION WORKSHOPS
CREATING STRATEGIES, PRODUCTS, IDEAS FOR CHANGE.
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THE LONG ROAD

THE LONG ROAD

While you’re looking out, traveling the distant vista — a long road, the living running — the journey shall continue.

And who said it would be easy?

Craft, in the making of anything, building the outbound relationships to people, in the truth of it, will be fraught with failure. Tries and trials, and circumstances wrestle what was once a straight path into something of a twisted labyrinth of knotted wanders.

Stick to it, the trials, the trying.

Thinking about the story of living, it can be about the struggle in finding the right solution; but that challenge will be in a set of failures, in getting to the next bend in the path.

Meeting with a friend of mine, Creative Director John Jay — one of the power drivers of Weiden + Kennedy, Portland, Oregon — gave me a tour during the overview meeting at their offices.

There’s a big sign there. Fail harder. It’s made of several hundred thousand clear push pins. And a couple of hundred hours of pin pushing…

the sign+the pins
>THE LONG ROAD
photo by dac

As Barrett Rossie, marketing strategist notes, failing harder is a bigger win.
To the notion of the journey and the journal of the daily creative explorations of making this living matter, you’ve got to fail harder. As I contemplate the challenges of my own running — now, 35 years in the sprint of that long road, it’s still right there — the perspective of the distant longitude, the sequencing of the stride: fail big, risk, leap, roll and bolt hard onwards. Speaking to some of the other creative directors at W+K — failure is common; it’s not celebrated, but it’s never considered anything but a learning against the curve of creative exploration.

The point will be the nature of the experiment.

As a person that’s perpetually putting a positioning between people that make things and people that need them, I ponder the three key words.

FAIL. From a Latin word for falling.
TRY. From the Old French — trier — to pick out or cull.
EXPERIMENT. From the Latin, experiri: to test, to try. (experience)

It might be in the last word that the risk is summed up — one to the nature of experience, there is a journey there.

Your journeying.
Experience comes from the most ancient of all, the PIE etymologyex, from the Latin, and *per from the PIE base “to lead or to pass over” — founding the same word as peril. The trial of any effort will play to the action of risk — and the danger of striding one place that will remain unattempted by others. Trusting the maturation of instinct, the pleasure of the heart, and the fitness to leap — there, you go.

There is a long road, and failure will be right there, in the laying of the journey, stone on stone, stride on stride.

In risking the harder failure, the willingness to imperil — the outcomes will be more profound. And isn’t that what it’s all about, making the pathway more unforgettable?

TIM | NYC
––––
WAY MAKING | THE JOURNEY

Girvin+People+Brand: http://bit.ly/sxa1C5

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THE COILS OF DANGER, THE CURLS OF FEAR

THE COILS OF DANGER, THE CURLS OF FEAR
sean freeman

Last night, I was talking to some people about surfing with sharks, at night. Dark passage, swirling masses, in the luminous sea — or seeing the sharks run the breaking waves, as I’m heading to shore, as I’m flapping like a fish with silvered bracelets — flickering — on each wrist, pretending I’m the coursing center of a shoal of fish on the run.

That what the sharks think, I’m told — as I reach the shore.
Shipwreck, Kaua’i, Hawai’i.

Then we started talking about snakes — and I recall: walking the woods, just after the winter thaws, in a canyon locked in the ice of its higher reaches. And there, a colony — rattlers — coiling and uncoiling, sinuous and gorgeously glossy — but the warning hackles emerge; and while there’s beauty, your sensing suggests, something else.
Cottonwood Canyon, off Storm Mountain, Utah — a winter run.

Moments, these discovered.

Like surfing with sharks, waves glowing in the movement of the ancient fish; rattlers warming, roiling and coiling, the crinkling sound of leaves turning and crunching; night — and desert, there are scorpions scuttling.

Seeing Sean Freeman, his renderings. I can recall the scent, scene, seen — just to that moment. Sound unfurling in the bright light of uncovering.

And to that, the other experiences jostle for a spot in the reckoning of fear.
Fear not, now — in wonderment.

Sense, and seize, the moment(um).

TIM
…..
GIRVIN | IMAGINATIONS
http://bit.ly/i7b7EN

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THE LONG WALK | THE PROCESSION | GALLERY IV

THE STATE OF WOWNESS*

THE LONG WALK | THE PROCESSION | GALLERY IV

IF I’M THINKING ABOUT THE WAY,
THE WALKING ROUTE — IT’S LIKE A LONG STRIDE TO THE SOMETHING THAT LIES AT THE END. THERE’S A RHYTHM, A SEQUENCING OF PILLARS THAT MARK THE TIME.

THE LONG WALK | THE PROCESSION | GALLERY IV

STEP BY STEP.

THE LONG WALK | THE PROCESSION | GALLERY IV

LOOKING UP, IT’S STEEP, THE RISE TO THE LIGHT THAT COULD BE THE START TO A NEW ROAD, ANOTHER PATH.

THE LONG WALK | THE PROCESSION | GALLERY IV

OR IT COULD BE THE BEGINNING OF ANOTHER MEANDER IN THE JOURNEYING THAT HAS NO END, YET ANOTHER BEGINNING.

THE LONG WALK | THE PROCESSION | GALLERY IV

START AGAIN, TO SEE WHERE YOU ARE.

THE LONG WALK | THE PROCESSION | GALLERY IV

AND IN THAT SEEING, THERE’S A CHANCE TO SEE BEYOND.

THE LONG WALK | THE PROCESSION | GALLERY IV

BEYOND SEEING.

THE LONG WALK | THE PROCESSION | GALLERY IV

AND THEN, THERE — THE ROAD WILL START AGAIN.

THE LONG WALK | THE PROCESSION | GALLERY IV

HERE’S THE NEW PATH.

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

Tim
–––
MONSTER STRATEGY + MASSIVE ENTERTAINMENT=
ENCHANTMENT: BRAND STORYTELLING

http://bit.ly/fJaECg

*I think about wow[ness] as a state of exhalation, that moment when something is seen, discovered, in scene sensed, that demands surprise, alarm, captivation in beauty. The shock of the beauty full, newly discovered — that is wowness.

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LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS | GALLERY III
THE STATE OF WOWNESS*

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

IN THE NATURE OF SEEING, THERE ARE DIRECTIONS – THE VECTORING OF PLACE AND SITE, SIGHT SEEN AND UNSEEN. BUT IT DOES COME DOWN TO THE LOOKING – AND THE LISTENING IN THE LOOK.

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

AS ONE STUDIES ANYTHING, THERE IS THE REACH BACK TO THE SENSE OF SENSING IN THAT SIGHT, THE INSIGHT IN THE BEAUTY OF WHAT HAS BEEN MADE. THE PROFUNDITY OF SOME PLACES — IS THAT THERE IS A BRIDGE TO THE SIGHS OF SIZE — MAGNITUDE.

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

THE POETRY OF THESE MASONIC STROKES, THEY CURVE AND CURL UP INTO THE LIGHT — LIKE, LYING IN SOME SAND BUILT CHAMBER, FAR BACK IN THE EARTH, WHILE THESE GRASSY FURLING BEAMS OF ROCK REACH UP, HOLD EACH OTHER.

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

IT DOES COME TO THAT, THE HOLDING OF PERSON PLACE. ARE YOU AWED?
OR IS THERE A MIX BETWEEN THE AWE, THE AH?

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

PATTERNING THAT LAYERS IN STORY ON STORY ON STORY — UNTIL, ONCE AGAIN, YOU MOVE BACK INTO THE LABYRINTH OF THE LIBRARY AT BABEL — AND THE ALEPH EMERGES, AS YOU REST ON THE FLOOR, LOOKING BACK INTO THE DEEPEST RECESSES OF YOUR MIND IN MEMORY.

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

BACK THERE, AT THE END OF THE ARRAY OF CURVES AND ARCS — ARCHES REVEAL A DOORWAY TO SOMETHING BEYOND — WHICH IS HERE, BUT IT’S ALSO:

OUT
THERE.

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

UP THERE.

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

AND SEE INFINITY.

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

WOW.

Tim
….
GIRVIN | WEAVING BRANDSTORIES
CROWD MIND | EXPERIENCE DESIGN | MEMORY STRATEGY
http://bit.ly/ev7AYx

*I think about wow[ness] as a state of exhalation, that moment when something is seen, discovered, in scene sensed, that demands surprise, alarm, captivation in beauty. The shock of the beauty full, newly discovered — that is wowness.

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THE SEARCH FOR LIGHT | GALLERY II

THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

In the exploration of design, organizing information, considering presentations and context, emotional relatedness, there are two elements that I look for in the conjunction of creative intelligence and communications to community.
Content and beauty.

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

I’m rarely interested in the mere documentation, but more to what I’m feeling in the exploration of what can be found beneath, above, out there — the emerging and the next horizon. Because around any corner, next moment, what might that be?

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

Long back, I shot with multiple cameras, including video. Now I shoot mostly with one — the iPhone, as well as iPad. I gather, sort, delete and add, duplicate, filter and adjust till I’m at the best grouping of selections. Then I shift them all further — till what I’m seeing is what I’m feeling.

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

But in everything — all the work, all the living — that I’m doing, I am really looking for light — even in the darkest places. In all the storm-crossed voyages and the rifts of challenges that I’ve experienced, I’m still looking for what light could be found in the glinting range of darkness — the shadow, the greying moment — just before the crossing of the illuminated beam.

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

TIM | CARDONA
––––
THE STRATEGY OF

STORY, THE LAYERING OF SCENT + EXPERIENCE
GIRVIN STUDIES:
Perfume & Place Making
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THE MYSTERY OF PLACE | GALLERY I

THE STATE OF WOWNESS

THE MYSTERY OF PLACE | THE STATE OF WOWNESS

This is the first in a series of impressions — a gathering of images exploring interpretations of place, way-finding, presence and historical context; none of these images are raw — rather, each one has been tuned to emotional impressionism to what I’ve experienced, in traveling Spain.

I have always been a mystery seeker — I’d far rather strive past the beaten path to see something in a different way; I shun the crowded sunlight and look for the shadowed entrance. I believe in aloneness; I’d rather to wait till no one is there, than to shoot when the vista is packed with documentarians. I’d rather break into a forbidden hallway, a locked room, a cordoned corridor, a secret chamber, a blocked entrance, than to not see that space.

For me, the mysterious, the misted, the shadowed and hallowed — the darker side of things — is perhaps the most compelling and afflicting addiction I have — never still, since childhood.

THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS

Tim
….
GIRVIN | WEAVING THE SOUL,
STORIES TOLD

CROWD MIND | EXPERIENCE DESIGN | MEMORY STRATEGY
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