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Gail Mooney and Tom Kelly document a group of students retracing the steps of the Freedom Riders of the early sixties. The students will never forget this event. After seeing this documentarty, neither will I.

Gail and Tom know that I am a long time fan. A trailer for Open Your Eyes. Gail ‘s nine month adventure with her daughter Erin may be seen Gail’s blog. . It is superb and proves that anything may be done when it comes from the heart.

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I have been following Lou Beach’s work since the 70s. He is a master illustrator. This book of marks his mastery of words. Each story is told in 420 characters or less and is every bit as vivid as his artwork. These are word pictures and I doubt that any two people would see the story the same way in their mind’s eye. Each story was posted as a status update on Facebook. Each entry is a short story in its own right.

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You may peek inside of this book on Amazon.com or read excerpts at 420characters.com While at the website you may listen to readings by Jeff Bridges, Ian McShane, and Dave Alvin.

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Amazon.com Review
Amazon Best Books of the Month, December 2011: Lou Beach takes the prize for best Facebook status update on nearly every page of 420 Characters. Most of us find it difficult to reduce the day’s events or our current emotional state to just 420 characters with spaces and punctuation, yet Beach manages to tell entire stories within these strict confines without losing anything you’d expect from a story with no character limit. These micro-stories range from funny to tragic to absurd, illustrated by Beach’s original artwork and collages. Taken separately, they’re the stories of dreams, both broken and realized; of relationships healthy and strange; of disillusionment and contentment. Taken together, they’re the story of life–or lives. Though there aren’t any overtly recurring characters, the stories still combine into a powerful cohesive whole that’s just as fun to read straight through as it is to read in chunks of 420 characters or less. –Malissa Kent

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This collection of beautifully printed work predates Photoshop and has a richness that will excite your eyes and your heart. Buy this book.

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Kickstarter, A Place where people support creators of all kinds of projects. Heartstormer Thomas Lee, photographer and Alan Kesselheim, essayist have until December 22nd to meet their goal of $3500. They have about a thousand dollars to go. Kickstarter is an all or nothing at all proposition. I invite you all to see this video and to contribute whatever you can to help bring this venture into being. Click below f to see the video then click the link below the frame for more information and to make your pledge at Kickstarter.

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Coke bottle bottom eyeglasses coupled with a gray whispy Fu Manchu beard accented Lester del Rey’s persona. He was wearing Crayola burnt sienna Haband ban- rolled polyester slacks and a lime–green permanent–press leisure suit jacket. Around his neck was a bolo tie which fastened with a fixture that lit up mysteriously like a window to the cosmos. This package suggested a contemporary version of Tolkien’s wizard Gandolf. When he spoke, he blustered.

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.Judy Lynn and Lester del Rey

Circa 1974

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Lester had been appointed fantasy editor of del Rey Books, a division of Ballantine Books which was a division of Random House, to complement his wife Judy Lynn Benjamin del Rey. Judy Lynn founded the del Rey imprint and was a highly respected science fiction editor turning obscure authors into giants in spite of the fact that she was a dwarf. It was she who had presented Lester with a box of freshly printed business cards which read, Lester del Rey, Expert. And he was. I was the new Art Director. It was the mid-seventies.

Lester intimidated guests regularly on one of the first all night radio talk shows hosted by Long John Nebel and his wife Candy Jones during the fifties. I would listen on my pocket sized red transistor radio with a tiny ear piece when I should have been doing my algebra homework. Lester was a science fiction writer for more years than I was alive. His first short story was published in Astounding Science Fiction in the mid-thirties. He was a frequent contributor during the Golden Age of Science Fiction. I remember seeing the credits scroll by on Captain Video, the first of televisions space odysseys about 1949. Lester del Rey was the science advisor.

A quarter century later, I stood before this great man in awe holding his business card and accepting an invitation to a meeting of the Trap Door Spider’s Society. Lester explained that the Spiders were a men’s eating. drinking and arguing club made up of thirteen old friends. A significant number, I thought. The Spiders were formed in response to one of his friends being henpecked. The men invented the club to get him out of the house once a month. Meetings were hosted in rotation. The host would select the restaurant, wine, and menu. He also had the privilege of inviting one or two guests whom he thought might be interesting to his colleagues. I was flattered and accepted.

During the next three weeks, while I waited for the event, Lester and Judy Lynn initiated me into a fantastic world of science fiction and fantasy — a world I abandoned when I was thirteen. Later we would collaborate on hundreds of science fiction paperback covers and the number one world’s best-selling calendar based upon the works of J.R. Tolkien and illustrated by Tim and Greg Hildebrandt.

My taxi pulled up in front of an unsuspecting Spanish restaurant on West Seventy-second Street. An seemingly obsequious uniformed doorman fawned over other guests while judging me for my long hair, beard, bandanna, black T-shirt , love beads, and safari jacket – the uniform of the art director. A more considerate Maitre D’ escorted me to a private dining room lit by a Marie Theresa chandelier. Waiters carried trays of hors d’oervres and drinks in Baccarat crystal.

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Copytight James Randi

The James Randi Foundation

www.randi.com

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Del Rey, still dressed in stretch knit, enthusiastically introduced me to the other spiders. “Ian Summers. Issac Asimov. Ian Summers. L. Sprague Ducamp. Ian Summers. Martin Gardner.” Ian Summers met eight other luminaries consisting of more writers, editors and the Director of the Hayden Planetarium. I took a drink. Lester introduced me to another guest. “Ian Summers. Jim Randi. The Amazing Randi.” I took another drink. I met Truman Capote the day before. I met Gore Vidal that very afternoon. But these men were heroes from my childhood. Terror welled while I wondered what Lester thought might be interesting about me to this august assembly of luminaries.

Upon conclusion of dessert the waiter gracefully removed the china, poured vintage port, and lit thirteen black candles now dancing in sterling silver candelabra. The formal proceedings commenced. Amazing and I were toasted. Then Issac Asimov explained it was a Spider’s tradition to interrogate their guests. The great man leaned across the table. Bushy mutton chops illuminated by candle light framed him in his own aura. I wanted to run. I tried to make myself small, a skill developed in junior high school.  Surely he would start with Jim Randi. Asimov boomed, “Ian Summers. Why do you exist?”

I took a gulp of sipping port. I was silent. I had not given the question a moments thought in my first thirty-five years. I filibustered for over thirty minutes fearing another question. I felt unworthy to be in the company of such great men. I remember thinking, “Oh my God. Issac Asimov knows my name.” I judged myself for not having the right answers — for not being good enough. I vaguely remember presenting my credentials, my accomplishments, my family and work histories. I worked hard to hold back tears.

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And then, Asimov said, “Thank you Ian. That is enough. Lester will you escort Mr. Summers to the door.”

I realized I had spent most of my life as a human doing; not a human being. I did not know the difference. I tried to do exactly what well-meaning caretakers expected. I guessed at what they wanted. I guessed at what normal was and rebelled against it. I became the son I thought my parents wanted. I failed at becoming the good husband without knowing what that meant. I achieved other people’s goals and consequently I was empty. I was fear based. I would do anything to be seen. I had no idea why I existed or who I was. I kept it all to myself.

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What’s Your Story?

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Many years ago, when the Earth was still young and we were crawling out of the primordial sludge, I was a high school art teacher. That was my first adult job. But that is another story. I had a student who always used the expression ‘What’s the story?’ as a kind of greeting. I thought he was interested in hearing my story, so I usually made some time to share stories that were sometimes real and sometimes fiction. ‘What’s the story?’ means ‘Wassup?’ in today’s vernacular.

I have written many articles about the value of storytelling in the creative process.

With the impending death of interruption advertising, consumers will be choosing when and how they receive information.Storytelling will help brands stand out and differentiate products and services to specific prospects. Agencies such as http://storyworldwide.com are hip to this and are helping their clients tell their brands’ stories.

Sometimes stories are found in our early childhood experiences. These stories often herald the person we have become. This story by the great writer Stephen King is such a story.

I invite all of my readers to contribute stories and.or photographs that represent how your earliest childhood experience may enhance an understanding of who you are and what makes you different. Your brand.

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How to Tell A Story

Mark Twain.

The humorous story is American, the comic story is English, the witty

story is French. The humorous story depends upon the manner of the

telling; the comic story and the witty story upon the matter… the humorous

story is strictly a work of art — high and delicate art — and only an artist can

tell it… the humorous story is told gravely; the teller does his best to conceal

the fact that he dimly suspects there is something funny about it.

Multimedia is Not a Panacea!

My concern is that so many still photographers believe they ‘should’ learn multimedia as a survival action rather than having heard the calling.

Vision is a calling. A calling is an inner urge or a strong impulse, a passion, some believe a calling may be divinely inspired. How will the world

be a different place as a result of your visit on the planet? What is your calling? What is it that you feel the urge and passion to bring into being no matter what?

Stalking in Camden ME

We might have been arrested for this, but it built character.

William Kentridge – Storyteller

Artist’s Statement and Autobiographical Animated Video

Idea Stimulator – How to Tell an Infinite Number of Stories

I invented a device that force fits story elements through juxtapositions that invite innovative storytelling. This tool is revealed in its entirety. Feel free to use it whenever you desire.
Graphic Novels:

The Power of Words and Pictures

Isness – The Making of a Photographic Novel

How Stavit Allweis used Kickstarter to fund her photographic novel

How Messing with Mr. In-Between Makes Gutter Talk More Interesting

How to structure a graphic novel

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A picture is worth a thousand words and Hermann Hesse said it in one hundred five. I found this quote today and thought all photographers and seekers of the sweet light would appreciate it. What photographers come to mind after reading this quote? What is it like to catch the sweet light just right in that precious moment with or without a camera?

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.It was that glorious hour, with the daylight still glowing everywhere, but the moon already gleaming and the first bats dipping in the green, shimmering air. On the edge of the woods stood dissolving in the last light, bright chestnut trunks against black shadows. A yellow cottage softly radiated the daylight it had absorbed, glowing gently like a topaz. The small paths pink and violet, led through meadows, vineyards and woods. The western sky hung golden and green above the velvet blue mountains. Oh, to be able to work now, in the last enchanted quarter hour of ripe summer’s day which would never come again!

Hermann Hesse

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(July 2, 1877 – August 9, 1962) was a German-Swiss poet, novelist, and painter. In 1946, he received the Nobel Prize in Literature. His best-known works include Steppenwolf, Siddhartha, and The Glass Bead Game (also known as Magister Ludi), each of which explores an individual’s search for authenticity, self-knowledge and spirituality.

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From 1001 More Quotes Collected, Questioned and Pondered

by Ian Summers

Mihály Csíkszentmihályi

(MEE-hy CHEEK-sent-me-HY-ee)

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“We grow up believing that what counts most in our lives is that which will occur in the future. Parents teach children that if they learn good habits now, they will be better off as adults. Teachers assure pupils that the boring classes will benefit them later, when the students are going to be looking for jobs. The company vice president tells junior employees to have patience and work hard, because one of these days they will be promoted to the executive ranks.”

From Flow: The Psychology of Optimal Experiences, 1990

Mihaly Csikszentmihalyi (b. 1934 Hungarian emigrated to United States in 1956)

Professor Csikszanmihalyi believes creativity is a central source of meaning in our lives. A leading researcher in positive psychology, he has devoted his life to studying what makes people truly happy: “When we are involved in [creativity], we feel that we are living more fully than during the rest of life.” He is the architect of the notion of “flow” — the creative moment when a person is completely involved in an activity for its own sake.

Csikszentmihalyi teaches psychology and management at Claremont Graduate University, focusing on human strengths such as optimism, motivation and responsibility. He’s the director the the Quality of Life Research Center there. He has written numerous books and papers about the search for joy and fulfillment.

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See Csikszentmihaly’s TED presentation

Recent article in Fast Company

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Q & A

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Csikszentmihaly says,  “Practically every desire that has become part of human nature, from sexuality to aggression, from a longing for security to a receptivity to change, has been exploited as a source of social control by politicians, churches, corporations, and advertisers.”

In what ways are you shackled to social controls? Is it possible to find rewards in the events of each moment?  What keeps you from living totally in the present?

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This is one of a series of animations by Ken Robinson and produced by RSA Animate. You may see more of these brilliant pieces on YouTube.

Please comment on any of Heartstorming Redirection Workshops’ posts. It is important to dialogue about who we are, where we are going, and how we are going to get there. This blog is about creating significant change in ourselves and the world.

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Today’s post contains a discussion on why multimedia is not likely to save the commercial photography industry and what may.

In a previous post, I wrote about the 70,000 or so advertising agency people who are out of work and do not know what to do. Many are spending buckets of energy to get jobs similar to those they left and have discovered those jobs no longer exist. So if that affects you or someone you know, it is time to take different actions.

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Change everything, except your passions.

Voltaire

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The use of the term art medium is , to say the least. misleading,

for it is the artist that creates a work of art not the medium.

It is the artist in photography that gives form to content by a distillation of

ideas, thought, experience, insight, and understanding.

Edward Steichen

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Multimedia is not a Panacea

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Photographers frequently ask me what I think of the multimedia market?

Some photography pundits emphasize multimedia as being the savior of the commercial photography business. Photographers are encouraged to get into the multimedia markets.

Multimedia is not a market. It is a medium in the same ways that the Internet, magazines, newspapers, movies, poor old television, etc. are media. Media are ‘devices’ for disseminating information, culture, news, entertainment, sales messages, and much more.

Multimedia has been around for at least forty years. It simply means using two or more combinations of media to tell a story. When I first entered the business, the technology consisted of nothing more than racks of carousel projectors, dissolve units programmed with tape, some footage, a script, a narrator, live actors, a script, perhaps some live entertainers or speakers. The applications were for sales meetings, new product introductions, motivation, public relations, etc.

As a young producer/director I was responsible for new business, client contact, proposal writing, sussing out a story, hiring scriptwriters, still photographers, cameramen, editors, choreographers, recording studios, sound engineering, and an array of other technicians. The producer/director was the orchestrator. Being a producer/director opened the door for me to the advertising world.

It is not enough to learn multimedia technology. In fact, it is probably mandatory. However, if a photographer is only a technician, s/he will be competing with thousands of people who have already entered the field and the tens of thousands about to arrive believing it is a panacea. The competition will be keen. It is unknown how much work will be available. Technical expertise is important but it is only part of the picture.

Those who will offer multimedia assignments, include art buyers and others who assign still photography and those learning new media themselves .Television commercials, sales meetings, trainings, in-store promos, etc. may be media or applications themselves. I believe a large part of the market will come from corporate direct.

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Multimedia Requires Storytelling

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Still photographers need to learn a very different way of storytelling. They need to learn how to direct and to produce multimedia. They need to think sequentially. According to Albert Maysles one of the greatest and most original American documentarians, “A documentarian finds stories where none seemed to exist.”

My concern is that so many still photographers believe they ‘should’ learn multimedia as a survival action rather than having heard the calling.

Vision is a calling. A calling is an inner urge or a strong impulse, a passion, some believe a calling may be divinely inspired. How will the world be a different place as a result of your visit on the planet? What is your calling? What is it that you feel the urge and passion to bring into being no matter what?

Do you have a natural marked innate urge for artistic accomplishment? That is a definition of talent. Talent and calling must be present to sustain a career as a professional artist.

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Some Storytelling Essentials

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The graphic novel as a model for multimedia storytelling

The following excerpt is from Will Eisner’s classic book Graphic Storytelling and Visual Narrative

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Will Eisner 1946

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The telling of a story lies deep in the social behavior of human groups — ancient and modern. Stories are used to teach behavior with the community, to discuss morals and values, or to satisfy curiosity. They dramatize social relations and the problems of living, convey ideas or act our fantasies. The telling of a story requires skill.

In primitive times, the teller of stories in a clan or tribe served as entertainer, teacher and historian. Storytelling preserved knowledge by passing it from generation to generation. This mission has continued into modern times. The storyteller must first have something to tell, and then must be able to master the tools to relay it.

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The Story Itself Abides

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…A story is the narration of a sequence of events deliberately arranged for telling. It is kind of like reporting an event except that the storyteller controls the events. All stories have a structure. A story has a beginning, an end,and a thread of events laid upon a framework that holds it together. Whether the medium is text, film, comics, or any combination of these elements, the skeleton is the same. The style and manner of its telling may be influenced by the medium, but the story itself abides.

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Basic Principles of Storytelling

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…A story may begin as an abstraction. At this point, it is still a lot of thoughts, memories, fantasies, ideas, floating around in one’s head waiting for it to find structure. It becomes a story when told in an arranged and purposeful order. The basic principles of narration are the same whether told orally or visually or both.

The story form is a vehicle for conveying information in an easily absorbed manner. It can relate very abstract ideas, or unfamiliar analogous use of familiar forms of phenomena.

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A Good Place to Begin: Tell Your Own Story

Themata

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How Your Earliest Childhood Memory May Forecast a Life Theme

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I am a reader of autobiographies, journals and letters between people who interest me. I recognized a phenomenon while reading the Letters of Georgia O’Keefe. There she described her earliest childhood memory. She recalled being kept in her dark bedroom before the age of two. Her mother would bring her outdoors on sunny days and place her on a patchwork quilt. Young O’Keefe remembered the great joy of watching the ways the light changed the colors of the quilt. This triggered something in me and I ran to my library and started pulling books off the shelf.

I found an interview with Mike Tyson. He said, “The first thing I remember is being a naughty little boy of two. My father threw me into my crib. I pulled the arms and legs off all of my dolls. It was orgasmic.”

Next I found a letter by young Albert Einstein to a colleague. He wrote about his earliest childhood memory. Albert had no clear memory of his father before the age of five. He caught some childhood disease. His father took the day off from work and spent the entire day with him. Father Einstein brought his son a compass. They spent the day trying to figure out why the needle always pointed in the same direction.

O’Keefe, Einstein, and Tyson remembered incidents which forecast their life themes. Since then, I have found dozens of examples.Hundreds of my clients

I recall my own memories. I see a corner of a room in a house I moved from just before I turned two. There was a Victorian painted porcelain light switch on the school green painted wall. I saw a table which held a Tiffany lamp and an upright telephone. The interpretation was fast. My life is about communications and turning on lights. My early childhood memory confirmed my life purpose. I am a compassionate teacher who helps others turn on the lights.

What is your earliest childhood memory and how does it forecast your life theme? How might you turn your life adventure into a multimedia presentation?

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Watch Examples from a Variety of Non-Fiction Storytellers (Each Image is a Link)

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Capturing Reality A National Film Board of Canada presentation of brief interviews with 33 documentarians

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An Interview with Albert Maysles

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Salesman – a 1968 documentary classic by Albert and David Maysles (Here is 9 minute segment)

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Help Gail Mooney and her Daughter Erin Kelly Open Your Eyes 2010

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Stavit Allweis’ Photographic Novel in Progress was funded through Kickstarter

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