FOOD FOR THOUGHT

…some random quotes from recent readings

"Artists are people who are not at all interested in the facts - only the truth. You get the facts from the outside. The truth you get from inside."

"For an artist, there are just two ways to go: to push toward the limit of your capacity, or to sit back and emit garbage."

-"The Language of the Night" by Ursula le Guin

"Raymond Gastil has looked at Cultural Regions of the United States and suggested, 'The greatest self-confidence and loyalty are inspired in those who see what they do locally in universal terms.' 

Of course. Such a viewpoint is difficult to achieve if you have been brought to believe, either explicitly or by the power of suggestion, that the place where you live is inferior, out of the mainstream. How to be neither defensive nor offensive about the region where we live?

Gastil spoke to this dilemma. 'As long as artists or businessmen or professors in the regional centers of the country see success as achievable only outside their region, there will be no great regional cultures. On the other hand, as long as those who remain in the 'boondocks' see their task as the glorification of whatever characteristics their regions happen to possess, they will build little that is enduring. The Iranian poet Hafez was asked many times to leave Shiraz for India, where the big money was in the fifteenth-century Islamic world; but he stayed behind, where his life was. He has come down to us as a model creator of sheer beauty in poetry, while the poets who went to India are forgotten. Perhaps the greatest creativity comes from remaining at a creative distance from both great population centers and local surroundings and building a universe of one's own.'

Wherever your universe may be it will be unworthy if it is ignorant or indifferent or contemptuous of other places."

-"Explorations" by Wilma Dykeman

"In his essay 'Art as Device,' the Russian formalist critic Viktor Shklovsky argues that we perpetually grow habituated to everything around us— 'Habituation devours work, clothes, furniture, ones wife, and the fear of war.' And that the job of art is to make the world strange so that we might see it again rather than simply recognizing it out of habit. The way art does this is through a process he calls остранение, transliterated as 'ostranenie' and translated as 'defamiliarization' or, neologistically, as 'enstrangement' (i.e., enchantment + estrangement). 'Art exists that one may recover the sensation of life,' he writes, 'It exists to make one feel things, to make the stone stony.'"

"One of the advantages to being a novelist is removing oneself from the chatter of the fray and trying to get a read and a historical context on what’s happening in one’s own time. I see that as a responsibility both artistic and ethical."

-Rachel Kushner

"Right now I’m writing something, and people are asking, 'Is it fiction or is it real?' I was like: 'Well, I’m really not sure where that line goes.' And I’m really not. And, being an artist is what? Real or fantasy or…? Even when I’ve tried to work in the real world, it seems more deeply fantastical than anything I could make up. The fact that it happened, does it make it less fictional than if it never happened?"

- Laurie Anderson

"There is a prevailing sense among hauntologists that culture has lost its momentum and that we are all stuck at the 'end of history.' Meanwhile, new technologies are dislocating more traditional notions of time and place. Smartphones, for instance, encourage us never to fully commit to the here and now, fostering a ghostly presence-absence. Internet time (which is increasingly replacing clock time) results in a kind of "non-time" that goes hand in hand with Marc Augé's non-places. Perhaps even more crucially, the web has brought about a 'crisis of over-availability' that, in effect, signifies the 'loss of loss itself': nothing dies any more, everything 'comes back on YouTube or as a box set retrospective' like the looping, repetitive time of trauma (Fisher). Hauntology is not just a symptom of the times, though: it is itself haunted by a nostalgia for all our lost futures. 'So what would it mean, then, to look for the future's remnants?'"
- The Guardian

The Magic of Imagination and Storytelling: Lessons from "A Way of Being Free"

A deep dive into Ben Okri’s insights on imagination, creativity, and the role of storytelling in shaping personal and collective realities. The following are my personal book notes from reading A Way of Being Free.

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Ben Okri, a British-Nigerian poet and novelist, is celebrated for his lyrical work that seamlessly blends the real with the surreal. A Way of Being Free, a collection of essays, offers meditations on the nature of creativity, imagination, and storytelling. Okri advocates for the power of stories and the uncharted realms of the imagination to shape human consciousness and challenge societal norms. His reflections are both philosophical and personal, shedding light on the artist's role in society. 

Imagination as the Ultimate Frontier

"The problem is with those who are frightened of the rather limitless validity of the imagination, frightened of people who continually extend the boundaries of the possible."

Okri opens the book by exploring the immense potential of human imagination. He notes that the issue lies not in a lack of imagination, but in the fear that stems from its vast, boundless nature. Those who "ceaselessly re-dream the world" are the ones who challenge convention and push humanity towards new possibilities. Okri views imagination as the driving force behind progress, creativity, and the expansion of human consciousness. His emphasis on the "frontiers people of the unknown and the uncharted" speaks to the need for a boldness of spirit in a world that often clings to the familiar. (Page 2)

 The Power of Mystery and Wonder

"The dreams of the people are beyond them, and would trouble them."

For Okri, there is an essential conflict between the world of poets and dreamers and the world of legislators and policy-makers. The latter are often uncomfortable with mystery and wonder because these cannot be quantified, measured, or legislated. Okri points out that mystery and dreams are central to human experience, and to deny them is to limit the scope of our existence. It’s the poets and artists who keep alive the yearning for the unknown and the unexplainable, challenging societal boundaries and inviting us to imagine more than what seems possible. (Page 3)

Embracing Challenges Through Creativity

"It is from the strength of your antagonist that you derive your greater authority."

Okri speaks to the power of adversity in shaping the artist’s voice. He suggests that challenges, whether external or internal, are essential for the artist's growth. The enemies that breed distractions and opposition are what push creators to be more than themselves. Rather than being disheartened by antagonists or challenges, Okri argues that they serve as a vital source of strength, compelling artists to transcend their limitations and dig deeper into their creative reservoirs. (Page 12)

 The Playfulness of Creation

"The artist should never lose the spirit of play."

Okri advocates for a playful approach to creativity. While hard work and seriousness are invaluable, Okri emphasizes the power of playfulness in artistic creation. By embracing a "smile in the soul," artists can approach daunting tasks with lightness and joy. This spirit of play, he suggests, allows the divided self to function as one, elevating the artist to a state of pure creativity where the ego dissolves, and the soul finds peace.

He observes that writing, at its best, is almost a blessed activity. When a writer is truly immersed in the creative process, it’s as if the mood or atmosphere they wish to convey finds the words on its own. (Page 18-19)

 The Tranquility of True Creation

"For me, tranquility is the sign of the invisible presence of grace."

In Okri’s reflections on the act of creation, he highlights the importance of serenity and calm in the creative process. He believes that true creativity arises when an artist is able to connect with a deeper sense of grace and inner peace. Tranquility, concentration, and meditation become the tools through which an artist can access the collective wisdom of humanity. This serene state of mind allows the artist to explore and solve even the most complex creative and human problems. (Page 23)

The Power of Storytelling in a Fractured World

"It may seem that because we live in a fractured world the art of storytelling is dead."

Okri acknowledges that in a world full of fragmented beliefs and competing realities, storytelling might seem like a lost art. However, he pushes back against this idea, insisting that storytelling remains one of the most vital ways of connecting people. Despite the fractured nature of the modern world, storytelling provides a continuous thread that links the human experience across time and space. Okri believes that through storytelling, we can reawaken a sense of wonder, mystery, and shared humanity. (Page 24)

The Subversive Nature of Storytelling

"Storytelling is always, quietly, subversive. It is a double-headed axe."

Storytelling, according to Okri, is not just an act of creation but also an act of quiet rebellion. He writes that stories lie silently in our brains, waiting to challenge us when we least expect it. They subvert complacency and offer alternative ways of seeing and being in the world. This double-headed axe cuts both ways: it challenges the listener or reader but also the storyteller. Stories have the power to shake foundations and disrupt established truths, making them one of the most potent tools for transformation and change. (Page 35)

Changing Lives Through Stories

"We live by stories, we also live in them."

Okri takes this idea further by asserting that stories are not just something we consume—they are the very fabric of our lives. Whether consciously or unconsciously, the stories we tell ourselves shape our identities, beliefs, and actions. Okri suggests that by changing the stories we live by, we can also change our lives. This notion ties into his belief in the transformative power of storytelling and its ability to rewrite personal and collective histories. (Page 37)

Certainty: The Enemy of Creativity

"Certainty has always been the enemy of art and creativity."

In Okri's view, rigid certainty limits the scope of human possibility and narrows our understanding of the world. He argues that when individuals, nations, or ideologies embrace certainty they lose the ability to imagine alternate realities or appreciate the marvelous variety of human experience. Creativity thrives in uncertainty, in the willingness to explore the unknown without needing definitive answers. Certainty, in contrast, stifles growth and leads to destructive violence and division. (Page 25)

The Storyteller as Guardian of Wisdom

"The storyteller's art changed throughout the ages."

Okri traces the evolution of storytellers from their ancient role as protectors of the tribe, fending off fear and dread with words and incantations, to their current position as the living memory of a people. Storytellers preserve the dreams, wisdom, and tragedies of their communities, keeping them alive for future generations. In this sense, they become more than entertainers—they are the keepers of history and the interpreters of the collective unconscious. (Page 30)

 Hope and Striving: The Magic of Transformation

"Hope and striving have magic in them."

Okri concludes his reflections by celebrating the power of hope and the beauty of struggle. He speaks of those who embark on monumental journeys to overcome their predicaments, suggesting that these individuals are luckier than they might think. There is something "awesomely beautiful" about the human spirit's determination to strive for a better future, even in the face of seemingly insurmountable odds. Okri captures this sentiment in his observation that "struggle is life," and it is through this struggle that individuals and societies can climb the metaphorical mountains toward new destinies. (Page 108)

The Power of Redreaming the World

"The only hope is in daring to redream one's place in the world."

At the heart of Okri’s philosophy is the belief that humanity’s greatest potential lies in its ability to imagine new realities. It is only through the act of “redreaming” the world that we can break free from the limitations of the past and move toward a better future. (Page 45)

The Sacredness of Life and Stories

"We are part human, part stories."

Okri’s A Way of Being Free is an invitation to embrace the boundless nature of imagination, to value the magic of storytelling, and to engage with the world in a spirit of playful yet profound creativity. It is a call to dream, to challenge certainty, and to dare to imagine a new world. Ultimately, Okri reminds us that storytelling is not just a form of art—it is the very essence of life. Through stories, we discover who we are, who we can become, and how we are all connected. (Page 92)

Mastering Cinematic Language: Timeless Filmmaking Lessons from Maya Deren

Below is a post based on my book notes (with page number references) after reading the essays in the collection “Essential Deren: Collected Writings on Film.” I highly recommend you get your hands on a copy.

Deren’s films were a source of inspiration for me when I was making KING COAL. From editing techniques to the use of choreography, I was often referencing her film “At Land.” Below are some of the practical insights I drew from Deren’s films and theories, which can serve as guidance for filmmakers who wish to explore cinema as an art form.

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BIO:
Maya Deren was an influential filmmaker, choreographer, and theorist who played a pivotal role in shaping American avant-garde cinema in the 1940s and 1950s. Born in Ukraine in 1917, Deren moved to the United States as a child and grew up to become one of the most innovative filmmakers of her time. Her work combined surrealism, psychology, mythology, and experimental techniques, and she is often regarded as the mother of American experimental film.

Her films, such as Meshes of the Afternoon (1943), At Land (1944), and Ritual in Transfigured Time (1946), challenged conventional narrative filmmaking by employing dreamlike imagery, nonlinear storytelling, and innovative use of camera techniques. Deren’s films did not rely on traditional plot structures but instead sought to explore inner realities, emotions, and abstract concepts through movement, visual metaphors, and surreal sequences.

FILMS:

Meshes of the Afternoon (1943): This short film is one of her most famous works and is known for its dreamlike atmosphere, symbolic imagery, and exploration of the subconscious mind. In this film, Deren plays a woman who experiences a series of repetitive, surreal events. The film’s non-linear narrative and use of multiple versions of the same character make it a touchstone for understanding how cinema can function as a tool for exploring subjective experience rather than just recording objective reality.

At Land (1944): Deren further pushed the boundaries of film with At Land, where she explored the fluidity of time and space. In the film, a woman (played by Deren) is washed up on a beach and moves through various locations in a seamless, surreal journey. The film uses techniques like continuous movement from one setting to another to create a sense of dreamlike transitions. It’s a great example of how Deren manipulated time and space, turning cinema into an almost mythological voyage.

Ritual in Transfigured Time (1946): This film takes Deren’s interest in movement to a new level by focusing on the ritualistic nature of human actions. It blends choreography, visual poetry, and psychological tension, transforming everyday gestures into a dance-like sequence that elevates the mundane into something symbolic and timeless.

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Embrace Film’s Unique Nature

“Cinema can compose rhythms, juxtapose images, and encompass the abstractions of language.”

Deren argued that cinema should not simply imitate other art forms but embrace its distinct capabilities as a medium that combines visual art, movement, and rhythm (p. 113). In her films, she experimented with narrative structures, avoiding conventional storytelling in favor of exploring inner worlds and subjective experiences.

Takeaway: Think of film as an art form that combines movement, time, and space in ways that no other medium can.

Balance Control and Spontaneity

Deren introduced the concept of the “controlled accident,” where filmmakers maintain a balance between orchestrated elements and natural, spontaneous occurrences (p. 118-119). She allowed natural forces like wind and light to influence her films, blending them with intentional artistic choices.

Takeaway: Embrace the unpredictability of the world around you. Let natural elements—such as weather or the movements of non-professional actors—enhance the realism and texture of your film. In At Land, Deren uses the sea and the movement of the tide as part of the narrative, making nature a character in its own right.

Manipulate Time and Space

One of Deren’s most notable contributions to film is her exploration of time and space manipulation. In At Land (p. 121-126), she seamlessly transitions between locations, creating a fluid movement that blurs the lines between different settings. This allowed her to create surreal, dreamlike sequences that expanded the viewer's sense of reality.

Takeaway: Use editing and camera techniques to create fluidity between disparate places and times. This can evoke a dreamlike or mythological quality in your work. For instance, like we did in King Coal, you might explore the passage of time by juxtaposing historical footage with present-day images, creating continuity between the past and present.

Explore the Language of Movement

Deren viewed movement as central to the language of cinema, transforming ordinary gestures into poetic expressions (p. 125). “In Ritual in Transfigured Time,” everyday actions become part of a larger, ritualistic choreography, elevating them beyond their functional purpose.

Takeaway: Focus on the inherent beauty and rhythm of movement within your film. By highlighting movement, even in mundane actions, you can turn them into a visual metaphor.

INSERT VIDEO OF CELIA AND I TALKING ABOUT CHOREOGRAPHY

Create New Realities with Editing

For Deren, editing was not merely a way to assemble shots but a means of creating entirely new realities (p. 137-139). In Meshes of the Afternoon, she uses repetition and looping to convey the experience of being trapped in a dream, making editing a tool for constructing the narrative rather than just organizing it.

Takeaway: Use editing to shape and transform the viewer’s perception of time, space, and narrative. Through techniques like repetition, jump cuts, or visual metaphors, you can create new layers of meaning that wouldn’t exist without the filmic medium.

Harness the Magic of Cinema

Deren believed that cinema’s magic lay in its ability to make the fantastical seem real (p. 202). She often created new worlds or realities in her films by manipulating simple cinematic elements. This magical quality is present in works like Meshes of the Afternoon, where dream logic governs the film’s structure.

Takeaway: Use simple yet imaginative techniques to transform the mundane into the magical. Experiment with visual effects or editing techniques that create a sense of wonder or surrealism. In a project like King Coal, you might enhance the emotional power of a scene through surreal, symbolic visuals that depict the landscape as more than just a setting—it becomes a character, filled with meaning.

Plan Your Film with a Visual Eye

Deren planned her films visually (see below for an example of her film A Study In Choreography For Camera), ensuring that each shot could communicate her ideas without relying on abstract or unfilmable concepts (p. 153). She emphasized the importance of thinking visually, avoiding the trap of trying to represent abstract ideas like “never” or “forever” through purely narrative means.

storyboards from “A Study in Choreography for Camera”

Takeaway: Focus on how you can visually express the central ideas of your film. Instead of relying on dialogue or narration to communicate abstract concepts, find ways to show them visually. For example, rather than explaining the decline of the coal industry, King Coal might use visual metaphors like crumbling buildings or overgrown landscapes to evoke loss and transition.

Understand the Power of Duration

Deren’s films often use extended or slowed-down shots to create tension and draw attention to moments that would otherwise go unnoticed (p. 141). In “At Land,” her use of slow motion emphasizes the protagonist's journey in a way that heightens the viewer’s emotional investment.

Takeaway: Play with the pacing of your shots to create moments of tension or reflection. Extend certain scenes to allow the audience to fully absorb their significance.

Film as a Poetic Experience

Deren compared filmmaking to poetry, where the logic is not narrative but emotional and rhythmic (p. 211). She argued that films should not be bound by conventional narrative structures but should follow their own internal rhythm and logic, much like a musical composition.

Takeaway: Approach filmmaking as a poetic medium. Rather than being confined to traditional storytelling techniques, let your film evolve organically, with a focus on mood, atmosphere, and emotion. You might create sequences that focus on the sensory experience of the landscape or the rhythmic patterns of work, allowing the viewer to engage with the film as they would with a poem or piece of music.

Maya Deren’s films remind us that cinema can transcend mere narrative, focusing instead on the power of movement, time, and visual poetry.