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Archive for the ‘creativity’ Category

Glasgow City Council has made a great images and sound display to celebrate Robert Burns. They project images up onto the City Chambers in George Square and have a PA system playing a soundtrack to accompany them. I went along and filmed it with my Flip Ultra. Take a look. I think you’ll enjoy it. (The programme runs for 15 minutes)

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I watched a documentary about “prog rock”  on BBC Four the other weekend. If you don’t know what “prog rock” is, you’re probably significantly younger than me! That genre of music of one was one of my favourite genres in my teens – bands like Caravan, Soft Machine, Genesis, Yes and Pink Floyd. I really enjoyed it, not least because of all the memories it brought back. In fact, it stimulated an exploration of a deep cupboard in my house, digging out some LPs (that’s large, black vinyl discs!), and setting up a USB turntable with Audiohijack software on my iMac to record some of those old tracks as MP3 files and syncing them onto my iPod! Oh the joy! One of the musicians on the programme (I think it might have been Rick Wakeman actually), said one of the things which was important amongst those bands was that they were given recording contracts without any great commitments. They were encouraged to play and see what emerged. Well, how different is that from the factory-style production of contemporary pop!?

It was the statement about “play” that stuck. I need to play more. Even if it doesn’t stimulate my creativity it’ll be fun!

While I’m on the subject I thought I’d share something playful with you. I got this camera for Christmas –

Lomo Fisheye2

It’s a Lomo Fisheye 2. Lomo cameras use film. Remember film? There are a number of different Lomo cameras and each has its distinct characteristics. In fact “Lomography” is a bit of a cult. In the box with the camera comes a number of booklets, posters and leaflets about using the camera. But the big difference is that none of the material is serious. It’s all presented in a fun way and it’s all focused on persuading you to just go and “play” with the camera. So I did. Here are some examples from the first roll of film I shot –
The first two are of a ring of standing stones up by Aberfeldy.

reflected circle
stone circle

A Highland road…..
Highland road

And a double exposure – standing stones and a forest….
double exposed standing stones

This last one, hints at one of the things I’m going to explore with this camera – you can take as many exposures as you want on any frame. It’s an interesting and somewhat spooky effect, isn’t it?

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I recently came across this quotation from Martha Graham

“There is a vitality, a life force, a quickening that is translated through you into action, and there is only one of you in all time, this expression is unique, and if you block it, it will never exist through any other medium; and be lost. The world will not have it. It is not your business to determine how good it is, not how it compares with other expression. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you. Keep the channel open. No artist is pleased. There is no satisfaction whatever at any time. There is on a queer, divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”

I think this is SO good! From my perspective as a medical doctor, I, too, see that in each of us there is a unique vitality. It’s not an entity but it’s certainly a reality. It energises us; it organises us; protects us and maintains our health. And on top of all that it’s the source of our growth. In times gone by people have considered this phenomenon to be some kind of entity and have named it either the “vital principle”, or the “vital force”. The most modern scientific understanding would be that it’s probably better understood as simply a characteristic of a complex organism. But this quote from Martha Graham is much more poetic than that!

It’s inspirational!

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Is every day the same?

When I recently made myself a visual diary, I explored the origins of the names of the days of the week. In fact, a while ago, when I went to Japanese language evening class, I was struck by how the days of the week in Japanese were named after certain planets, and knowing a bit of French I was struck by the fact that the French too named the days of the week after the same planets. It’s not so clear in English because we’ve swapped the Greek and Roman Gods for Norse ones – like Woden and Thor, but in fact, these Gods are associated with exactly the same planets for each of the days as we find in the Japanese and French traditions.

One of the things which makes human beings unique is our ability to handle and play with metaphors and symbols. We are great at both applying and discovering meanings. Absolutely everything can be considered to be a representation of something else. This allows us to experience life in a rich variety of ways. So I got to wondering about the Classical myths associated with each of the planets and their associated gods. How would a Monday feel if I was more aware of its association with the Moon? Any different? How about a Friday and its association with Venus? Would the week develop a different rhythm if I reflected on each day and the different qualities related to the myths and stories we’ve associated with each of the planets? Let me be clear, I’m not talking about astrology, I’m talking about myth, narrative and symbolism……the way we use these ways of colouring and even creating our experiences.

I’m still working on this but before I say more about it, there’s another factor affecting my thoughts about it. I’ve just finished reading “La sagesse des jours”, by Andre Guigot. The translation of the book’s title would be “The Wisdom of the Days”, and in it, this French philosopher considers how each day has its own unique qualities which can stimulate our thoughts about different aspects of life and living depending on which particular issues are predominant on specific days of the week. In fact, it wouldn’t be possible to write a book like this in English, certainly not for a UK audience (and probably not for a US audience either), because we’ve lost the kinds of rhythms to life which the French still enjoy. To give you a flavour of his book, he identifies Saturday as market day for example, (I don’t know any towns in France which don’t have a market on a Saturday!) and he identifies Tuesday as the first day of commerce in the week (many shops in France, in fact most shops in smaller towns, close on a Monday) It’s an inspiring little book but translating it into a UK context isn’t very easy.

So I’m wondering how to ascribe certain qualities to particular days of the week. And I’ve come up with a few ideas already. For example, the moon is usually associated with feelings and with reflection. Could Mondays be days to be more aware of what’s going on inside? To be more aware of my emotional reactions throughout the day? Then, Tuesday is Mars day. Themes associated with Mars are themes of physical strength and fitness, and themes of the urge to distinguish oneself as a unique individual. This contrasts a lot with Friday which is associated with Venus. Whilst Mars is associated with maleness, or with yang energy, Venus is associated with femaleness, or yin energy. Whilst Mars is associated with distinguishing ourselves as individuals, Venus is associated with togetherness, with love, relationships and belonging. Wednesday’s name comes from Mercury, the “winged messenger”, a day to play with words and symbols, to be linguistically creative….hey, maybe a day for writing poetry, or for communicating. Thursday is named after Thor, or Jupiter, associated with expansion, of reaching out, of empathy and the understanding of others which comes with travel. Whilst Saturday is associated with Saturn and themes of conservation, of strengthening and consolidating. Which leaves Sunday as a day to celebrate Life and being alive.

You get the idea? This is just a brief outline, but I hope you can see the germ of an idea here. I hope you can see a way of creating your own personal rhythm to the week. I’ll work on this and return to it, but meantime, I’d be really interested to hear your own take on this. How do you distinguish the days of the week from each other? What qualities or characteristics would you ascribe to particular days?

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It’s come to that time of year when I’m needing to put some events, meetings, trips and so on into a 2009 diary. For the last couple of years I’ve been using a small moleskine week over two pages diary but I’ve grown disenchanted with the linearity of such diaries. They are all divided up into sections (either per day, or per week, or month) and all the sections are of the same size but because days are all different (well, they are in my life anyway!) I find that some days the entries are spilling over into surrounding days and other days are virtually blank. This all comes down to how you use a diary. I’m pretty minimalist. Key points only for me.

So, having looked around in the stationery stores I decided to MAKE a diary which was better suited to my purposes. I won’t lay out here all the steps involved in the creative process but I thought I’d share the result. Maybe you’ll be inspired by some element of this, make your own, or borrow some of the ideas I’ve used.

I decided to stick with Moleskine, but to use what they call a “Japanese fold” notebook – like this –
Japanese fold moleskine
This is a continuous single sheet of paper which is folded instead of cut to make the separate pages. I wanted to use a double page spread for each week. I mark the top right hand corner of the right hand page with the starting and ending dates of that week (my week starts on Monday and ends on the Sunday).
I want to use the whole spread to lay out my commitments and information in a kind of “mind map” style, so I thought I’d put the days of the week down the middle of the spread. That looked pretty ugly and I am a very visual person (which you’ll have realised from all the photography on this blog!), so I decided instead to use a symbol for each day of the week. Well, it turns out that in many languages of the world the names of the days are related to the names of the sun, the moon and five planets – the same ones in many, many languages.
Sunday = Sun
Monday (French; Lundi) = Moon
Tuesday (French; Mardi) = Mars
Wednesday (French; Mercredi) = Mercury
Thursday (French; Jeudi) = Jupiter
Friday (French; Vendredi) = Venus
Saturday = Saturn
I didn’t want to draw all the symbols every week so I made a jpeg of the symbols and uploaded it to moo.com to get stickers made. Here they are –
moo stickers days of the week
I place one sticker just to the left of the centrefold (I have more entries usually on Monday, Tuesday, Wednesday, than I do on Thursday, Friday and Saturday). You’ll see I’ve got the Sun in the middle (it’s not a day I usually enter any commitments). There are Monday, Tuesday and Wednesday on the right, and Thursday, Friday and Saturday on the left, and they follow the sequence like a clock face (time goes clockwise in my life! 🙂 )
one week spread

To enter a new piece of info I draw a pencil line out from the day of the week and enter the details. I can follow this item out with branching lines, mindmap style, if necessary. (I’ve found it useful to put the actual date (numerical day of the month) at the root of the line.)
That’s it really.
I’m enjoying it. It’s aesthetically pleasing and it suits the way I think and I organise.
I’ve added two additional features to make it more functional. In the pocket at the back of the moleskine I put 3 x 5 index cards, one for each month ahead (carrying only 3 or 4 at a time). This gives me a kind of planner overview.
monthly index cards

And I’ve attached two small post-it pads inside the back cover, to write details of any dates not covered by the existing spreads or cards.
post-its

I’ve been using this new diary for about a month now and I’m finding it’s sparking off a whole chain of thought I hadn’t predicted. But I’ll tell you about that in a separate post!

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One of greatest joys of blogging is how it facilitates the discovery, and creation, of connections. My daughter, Amy, who writes the wonderful lessordinary, has developed a whole online network of friends through her blog. She’s a great networker and deliberately creates her blog to make and develop connections with others. Let me tell you a little story which will illustrate how this is such a core quality of hers. When she left school, she was accepted for an English Literature course at Stirling University. We drove her to the halls of residence in the grounds of the university at the start of the first semester and helped her unpack her small collection of belongings from the boot of the car and pile them in bags and cardboard boxes into her small room. If you’ve ever been to a student hall of residence you’ll have an idea of what they are like. This one was typical in my experience – a series of corridors full of identical box like rooms each with the same furniture (most of it custom built to fit the room exactly and screwed to the floor or the walls). At first sight its a bit bleak and very impersonal. It wasn’t easy to leave her there. I shouldn’t have worried though because the very next day she phoned and said when the door closed behind her and she sat in that bleak room alone she cried. Then she thought, well, everyone else in this corridor is in the same boat as me, I’ll go and say hello. So she set off down the corridor, knocking on all the doors, introducing herself and inviting the “freshers” down to the pub for a drink and a chat. She never looked back.

It strikes me that blogging can be a bit like that. Each of these posts is like a little room, something to be discovered, a door to knock on. I’ve been blogging for about 18 months now and there have been over 55,000 visitors in that time. Almost 2000 comments have been left and every one of those comments is like a little knock on the door.

I hope that some of the posts you read here will be like little discoveries for you, that you’ll hear that knock on the door, and that you’ll find new connections and new possibilities in your life. But let me tell you of a recent experience where it’s happened the other way around for me.

A couple of weeks ago a new commenter, Ian, came along and left comments on a few different posts. At the same time he emailed me and introduced himself. In his introduction he described the trail which led to our connection. Ian said he’d been in Ullapool recently and had picked up a copy of “Why do people get ill?”, completely resonated with it and decided to read some reviews online. One of those reviews was the one I wrote on this blog. He browsed my blog and discovered a like mind. He also recognised my name and remembered a poet friend of his mentioning me to him some time back – Larry Butler. Well, not only has Ian left some really interesting links other sites in his comments, but last week he emailed me and asked if I’d like to go to a traditional music concert at the Tolbooth in Stirling. It was an eye-opener for me. Or maybe, more accurately, and ear-opener. Too much to say about it here in this post but here’s the bit which is most relevant to this story. The three musicians, for some of their tunes, all played mandolins. I can’t say I’ve ever been attracted to the mandolin, but one of the people I’ve met through blogging is the wonderful Dr Tom Bibey. He plays mandolin in a bluegrass band and as I listened to the music I not only heard the mandolin differently from how I’ve heard it ever before but – and here’s my point – I heard it differently BECAUSE of the connection with Tom Bibey – and enjoyed it as never before, but the whole evening, and the people I met there, showed me another possibility – that of playing music. I listen to music all the time. But I haven’t played music since I was a teenager. I think it’s probably time to change that. That thought, the possibility of picking up a musical instrument again, is like a rediscovery of part of me. But several decades on, its a rediscovery of a different me, as I’m obviously much changed by my experiences and my connections of the last thirty years or so.

We are who we are because of the people we connect with. Human beings are highly social creatures. It’s impossible to know what a person is like by putting them into a room all by themselves. We reveal ourselves through our relationships. We create ourselves through our relationships. The patients I meet every day change me because they tell me their own, unique stories. Their stories are told from their own, unique perspectives. They are the heroes of their own stories. And in the telling of their stories they show me different ways of seeing and experiencing the world. The world is different after a story. I am different after a story.

Remember that a story has several components – a teller, a tale, something told about, and a recipient of the tale. Through the sharing of our stories we change each other. We create each other.

One of Ian’s links was to Roman Krznaric who has written a fabulous downloadable booklet called “Empathy and the Art of Living”. Go get it and read it. I highly recommend it. Here’s a key extract –

Most books or courses on the art of living focus on how we can
discover ways of improving our own lives. The emphasis is,
unashamedly, on what can be done to help me. I find this kind
of self-help approach too narrow, individualistic and narcissistic.
In my experience, those people who have lived the most joyful
and fulfilling lives have dedicated much of their time to thinking
about and helping others. It has given them not only personal
satisfaction but also a sense of meaning. They have, in effect,
lived a philosophy of ‘You are, therefore I am’.
Einstein recognised the need to move beyond self-help when
he said: ‘Strange is our situation here upon earth. Each of us
comes for a short visit, not knowing why, yet sometimes
seeming to divine a purpose. From the standpoint of daily life,
however, there is one thing we do know: that man is here for
the sake of other men.’ We will always feel something missing if
we attempt to live alone, hermetically sealed in an isolation of
our own making, thinking only of our own pleasures and pains.
The mystery of existence is constituted by our relations with
each other.
The twentieth century was an age of introspection, when
psychoanalysis impelled us to search for who we are by looking
inside our own heads. But the art of living involves escaping
from the prison of our own feelings and desires, and embracing
the lives of others. The twenty-first century should be the age of
outrospection, where we discover ourselves by learning about
other people, and finding out how they live, think and look at
the world.
Empathy is at the heart of how to live and what to do, and is
the ultimate art form for the age of outrospection.

Now I don’t know if Roman has invented that word – outrospection. But if he has then it’s hats off to him! This SO hits the spot! I find myself completely agreeing with this viewpoint. There’s way too much in the world of self-help which turns people in on themselves but most of what I’ve read about happiness includes an emphasis on the human need to connect to others, to connect to a sense of whatever is greater and more than ourselves, to be engaged with the world.

Who I am evolves and changes every day as I live in the world. I’m changed by my daily experiences, not least because of the other people I meet and connect with each day. This very fact brings back to my mind one of the books I have most enjoyed in recent months – Linked by Albert-Laszlo Barabasi.

Barabasi makes it crystal clear that to understand anything in this world we need to examine the connections, the links – how very Deleuzean!

I am because you are

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painting by numbers

I took this photo of a man standing painting the landscape. He had two or three completed canvases at his feet. All his paintings were watercolours and all were realistic representations of his surroundings as he saw them. This was on a sunday afternoon in the busy port area of Cassis but he was completely absorbed in his painting. I was taken by both his absorption in the middle of such busy-ness but also something which has struck me before about people who stand in busy public areas painting at their easels. It seems quite typical that the artist in question comes across as quiet and somewhat detached but surely it also takes a lot of self-confidence to stand in a crowd and exhibit your act of painting.

One more thing…..as is often the case with a photo, once you look at the photo you notice something you didn’t see at the time. Why’s that man got a number SEVEN on his back??

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theWarofArt

On the plane from Edinburgh to Tokyo I read theWarofArt by Steven Pressfield (ISBN 9 780446 691437). It’s subtitled “Break through the blocks and win your inner creative battles” and has a brilliant little Foreword by Robert McKee which really captures the essence and the scope of the book. It’s one of those books about creativity in general and writing in particular. There are no breakthrough insights here but it is a highly readable and very inspirational little book which is structured around three sections. The first is all about what stops us from actually creating – Resistance. This is a brilliant section. He describes Resistance as a force. A pretty malevolent force and one that can feel highly personal, but which, in fact, is an impersonal natural phenomenon. It’s what stops us from starting, what stops us from carrying on and what stops us from finishing. As he says right at the beginning –

It’s not the writing part that’s hard. What’s hard is sitting down to write.

Now there’s something you’ve heard before – that to write you need to turn up at the writing table, you need to sit down, stop sharpening the pencils, tidying the notebooks and post-its, stop browsing the web, and WRITE. It’s the getting started that’s hard.

Most of us have two lives. The life we live, and the unlived life within us. Between the two stands Resistance.

Isn’t that so true? There’s the things we want to do, the things we feel we should do, the things we feel we were even born to do, and then there’s what we actually do. And as we all know……..it’s what we actually do that matters. The commonest form of Resistance, of course, is procrastination, and he nicely captures its power –

The most pernicious aspect of procrastination is that it can become a habit. We don’t just put off our lives today; we put them off till our deathbed.

He reminds of the common stories of people who have been told they have cancer or some other serious disease and who change their lives from that day on; change their priorities; channel their energies somewhere else. And he reminds us how often these very same people end up surprising the doctors and everyone else by seriously overshooting their death sentence. Why, he asks, do we need to wait till Resistance faces us with disease and death before we pay attention and start to live the life we were born to live?

He’s great about the passive aggressiveness of victimhood. By victimhood he means that use of exterior loci of control so clearly described by William Glasser.

Casting yourself as a victim is the antithesis of doing your work. Don’t do it. If you’re doing it, stop.

There’s really a lot of refined gold in this tight publication. Let me finish telling you about the first section with a reference to his comments about criticism. I often think there are two common attitudes amongst people – the commonest one is to criticise and complain. On any train, in any cafe, in every work place, every day you’ll hear people expressing righteous indignation. It never makes life feel richer and it never seems to solve anything either. The less common attitude is DO, to be creative, to solve or to heal.

Individuals who are realised in their own lives almost never criticise others. If they speak at all, it is to offer encouragement. Watch yourself. Of all the manifestations of Resistance, most only harm ourselves. Criticism and cruelty harm others as well.

The second section of the book is entitled “Combating Resistance. Turning pro”. This contains his advice for beating the phenomenon of Resistance and here’s the secret – it’s to “turn pro”. By this he means living your vocation.

The professional loves it so much he dedicates his life to it. He commits full-time.

He cleverly takes everyday jobs as a model for becoming creatively professional. Here are ten characteristics or principles we can take from doing and everyday job and apply to the work of being creative –

  1. Show up every day
  2. Show up no matter what
  3. Stay on the job all day
  4. Commit over the long haul
  5. The stakes are high and real (it’s about survival, feeding our families, educating our children)
  6. Accept remuneration for your labour
  7. Don’t overidentify with your job
  8. Master the technique of your job
  9. Have a sense of humour about your job
  10. Receive praise or blame in the real world.

You’ll need to get the book to read the detail on those! But I’m sure you’ll agree they make sense.

The third and final section of the book is the one Robert McKee takes some issue with in the Foreword. It’s entitled “Beyond Resistance. Higher Realm” and in it Steven writes about Muses – the spiritual forces which bring us inspiration and which work with our genius. He describes them as Angelic forces but is very clear that you don’t have to believe in Angels to benefit from the work of the Muses. He makes the point that just as we can think of Resistance as an impersonal force, so can we think of the Muse as an opposite impersonal force and he describes how he begins every writing session with a prayer to the Muses. I liked this section at least as much as the rest of the book. However you want to conceive of the Muses, I think he is completely right about them.

Let me finish this little review with one of Goethe’s couplets which he quotes –

Whatever you can do, or dream you can, begin it. Boldness has genius, magic, and power in it. Begin it now.

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I stumbled upon this the other day – from the designer, Bruce Mau. There are 43 items on his list. Take a look, they’re inspiring. Here are three which jumped out at me –

Process is more important than outcome. When the outcome drives the process we will only ever go to where we’ve already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.This might be good advice for designers, but it’s even better advice for doctors! An awful lot of contemporary medical practice ignores this. In Medicine we seem to be obsessed with the idea of outcomes, yet life isn’t made up of end points, it’s a continuous flow right through to death. It’s better to focus on processes.

Collaborate. The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.

I know it’s often said that human beings are social animals and that we gain much more from working together than we do by trying to do things all by ourselves, but what I liked about this point, was that the recognition that working together isn’t always easy, and even when it isn’t, it still contains vast potential for creativity and solutions.

Coffee breaks, cab rides, green rooms. Real growth often happens outside of where we intend it to, in the interstitial spaces — what Dr. Seuss calls “the waiting place.” Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference — the parties, chats, lunches, airport arrivals — but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.

What a great idea! Holding a conference without any of the speeches, presentations or “plenaries”!


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I think poets have not only the keenest powers of observation but their words illuminate. The world looks different after reading poetry. I’m not referring to particular passages which have changed my perception or understanding of particular places or experiences. I’m referring to, well, what would you call it? The poetic stance? The poetic viewpoint? The poetic way of living maybe……

When I was a teenager (a LONG time ago) I bought a little book by the poet Stephen Spender. It was called “Life And the Poet”. It was a small paperback with a darkly yellowed cover. It was published in 1942 apparently. I’m sure I must have it somewhere but I can’t lay my hands on it right now and it’s almost 40 years since I opened it and read any of it. But I seem to remember two things he said. One was that he said poets should be like visitors from another planet. It was his way of saying a poet should approach the world with wonder and amazement (a bit like those French philosophers I read recently). I liked that a lot. It stuck. And he also said, I think (bare with me, this memory is a long way off!), that poetry taught us how to “make life anew” and that was a reason to live. That stuck too. (or maybe I’ve invented that for myself after all these years……I’ll need to find my old copy, or another one, and read it again)

I paid a visit recently to the lovely Watermill Bookshop in Aberfeldy
Watermill Bookshop Aberfeldy

As I browsed the shelves my eye was caught by a book entitled “Findings” by Kathleen Jamie (ISBN 978-0-954-22174-4). Never heard of the book before, and I’d never heard of the author either, but the back cover described her as an “award winning poet” who has an “eye and an ease with the nature and landscapes of Scotland”. I opened the book and the paper under my fingers made me stop and wonder. It felt lovely. A soft roughness if you can imagine such a thing. Immediately it felt natural, and special, and thrillingly sensuous. This feels like a lovely book, I thought. Now that doesn’t happen often. I can enjoy the weight, the feel, the scent of a real book (no, computers will never replace the book), but I can’t remember when I ever before picked up an unknown book like this and felt transfixed. It caught me. Physically. So I sat down in one of the many comfy, leather armchairs and I started to read. Did I have any doubts? From the moment I held it in my hand, did I have any sense that I’d put it back on the shelf? I don’t think so. I think I knew I’d relish, yes, that’s the right word, relish this book. I bought it of course.

Findings

It’s not a book of poetry, but a book of essays – a poet’s living.

Some of the subjects she writes about are familiar to me. Orkney, salmon ladders, prehistoric stone markings, the Surgeons’ Hall in Edinburgh and the Edinburgh skyline. But even the familiar seemed brand new in her eyes, in her words. She’s a keen observer of nature, especially birds, and in the essay entitled, “Peregrines, Ospreys, Cranes” she writes this…..

This is what I want to learn: to notice, but not to analyse. To still the part of the brain that’s yammering, “My God, what’s that? A stork, a crane, an ibis? – don’t be silly, its just a weird heron”. Sometimes we have to hush the frantic inner voice that says “Don’t be stupid” and learn again to look, to listen. You can do the organising and redrafting, the diagnosing and identifying later, but right now, just be open to it, see how it’s tilting nervously into the wind, try to see the colour, the unchancy shape – hold it in your head, bring it home intact.

That’s what I want to learn too – to notice, to look, to listen, without processing it all, but taking the experiences home and turning them over later. My camera helps me do that, but Kathleen Jamie’s words inspire me to write more down, to write it down as soon as possible……not the analysis, the experience, the perception, the observation. To relish the “emerveillement” of living.

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