6 | {% set linkUrl = '/writing/' %}
7 | {% set linkText = 'Writing' %}
8 | {% set current = true %}
9 | {% include "components/nav-link.njk" %}{% if tag %} — {{ tag }}{% endif %}
10 |
11 |
12 |
13 |
29 |
30 |
--------------------------------------------------------------------------------
/src/posts/2019-11-01-mozfest-2019.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: What kind of Internet do you want to live in?
3 | displayTitle: true
4 | tags:
5 | - MozFest
6 | - internet health
7 | - open web
8 | - Common Knowledge
9 | ---
10 |
11 | Last weekend was [MozFest](https://www.mozillafestival.org/en/), which is easily my favourite tech event. This is the second year I've attended, and although it was different from last year's experience it was just as exciting. At the end of the festival I always feel so energised and inspired.
12 |
13 | As with last year, the most exciting part was the people I met and the conversations I had. As [Lai Yi](https://twitter.com/laiyiohlsen/status/1188749697550303241) mentions, it is so incredible to go to a conference about the Internet and speak to so many women. The direction that the Internet is heading these days can feel pretty bleak, so it is wonderful to spend a weekend with so many people who are trying their hardest to change its trajectory.
14 |
15 | I've written up some more thoughts as [Common Knowledge](http://commonknowledge.coop/) on our [blog](https://commonknowledge.coop/writing/notes-from-mozfest-2019).
16 |
--------------------------------------------------------------------------------
/src/_includes/components/footer.njk:
--------------------------------------------------------------------------------
1 | {# Get the profile content #}
2 | {% set profile = collections.profile.data %}
3 |
4 | {%- if profile.colleagues.length or profile.credits -%}
5 |
37 | {%- endif -%}
--------------------------------------------------------------------------------
/src/feed.njk:
--------------------------------------------------------------------------------
1 | ---json
2 | {
3 | "permalink": "feed.xml",
4 | "eleventyExcludeFromCollections": true
5 | }
6 | ---
7 | {% if collections.posts.length %}{% set posts = collections.posts | reverse %}
8 |
9 | {{ global.siteTitle }}
10 |
11 |
12 | {{ posts | rssLastUpdatedDate }}
13 | {{ global.url }}
14 | {% if global.author %}
15 |
16 | {{ global.author.name }}
17 | {{ global.author.email }}
18 |
19 | {% endif %}
20 | {%- for post in posts %}
21 | {% set absolutePostUrl %}{{ post.url | url | absoluteUrl(global.url) }}{% endset %}
22 |
23 | {{ post.data.title }}
24 |
25 | {{ post.date | rssDate }}
26 | {{ absolutePostUrl }}
27 | {{ post.templateContent | htmlToAbsoluteUrls(absolutePostUrl) }}
28 |
29 | {%- endfor %}
30 |
31 | {% endif %}
--------------------------------------------------------------------------------
/src/_includes/assets/css/components.pagination.css:
--------------------------------------------------------------------------------
1 | .pagination {
2 | padding: var(--gutter);
3 | position: relative;
4 | }
5 |
6 | .pagination--simple {
7 | padding: 0;
8 | }
9 |
10 | .pagination__simple {
11 | display: flex;
12 | font-size: 1.5rem;
13 | justify-content: space-evenly;
14 | }
15 |
16 | .pagination__list {
17 | color: var(--color-1);
18 | display: flex;
19 | flex-wrap: wrap;
20 | list-style: none;
21 | max-width: 40rem;
22 | width: calc(100vw - (var(--gutter) * 4) - 2rem);
23 | }
24 |
25 | .pagination a {
26 | color: var(--color-1);
27 | text-decoration: none;
28 | }
29 |
30 | .pagination a:hover,
31 | .pagination a:focus {
32 | color: var(--color-1);
33 | }
34 |
35 | .pagination__simple a,
36 | .pagination__top {
37 | padding: var(--gutter);
38 | }
39 |
40 | .pagination__simple a:hover,
41 | .pagination__top a:hover {
42 | color: var(--color-black);
43 | }
44 |
45 | .pagination__list a {
46 | color: var(--color-grey-dark);
47 | }
48 |
49 | .pagination__list li:not(:last-child) .pagination__page:after {
50 | content: ",";
51 | margin-right: 0.3rem;
52 | }
53 |
54 | .pagination__top {
55 | bottom: 0;
56 | font-size: 1.5rem;
57 | position: absolute;
58 | right: 0;
59 | }
60 |
--------------------------------------------------------------------------------
/src/posts/2020-10-20-clouds.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Clouds
3 | displayTitle: false
4 | tags:
5 | - walk
6 | - nature
7 | - photolog
8 | ---
9 |
10 | We made a last minute decision to spend a month on La Gomera, one of the Canary Islands. After six months of rarely travelling outside north London, it feels surreal to be in such a different environment*.
11 |
12 | The island is small, roughly circular and very mountainous. This weekend we went for a hike in Garajonay National Park, which was such a contrast to the valley where we're staying.
13 |
14 | The mountains catch the clouds blown in by the trade winds, which means the centre is covered in subtropical forest, called [laurisilva](https://en.wikipedia.org/wiki/Laurel_forest). This is the largest remnant of the type of forest that once covered much of Europe and North Africa. It's quite amazing to wander through… the trees are dripping with lichen and water droplets.
15 |
16 | 
17 |
18 | *This is also the closest you can get to the [antipodes](https://www.geodatos.net/en/antipodes/australia/brisbane) of Queensland, so I feel right at home.
--------------------------------------------------------------------------------
/package.json:
--------------------------------------------------------------------------------
1 | {
2 | "name": "gemmacopeland",
3 | "version": "0.0.1",
4 | "description": "This is a simple website for publishing a CV, research and writing. It will be used for [gemmacope.land](gemmacope.land).",
5 | "main": "index.js",
6 | "scripts": {
7 | "build": "npx eleventy",
8 | "watch": "npx eleventy --watch",
9 | "debug": "DEBUG=* npx eleventy",
10 | "serve": "npx @11ty/eleventy --serve"
11 | },
12 | "repository": {
13 | "type": "git",
14 | "url": "git+https://github.com/GemCopeland/personal-website.git"
15 | },
16 | "keywords": [],
17 | "author": {
18 | "name": "Piper Haywood",
19 | "email": "mail@piperhaywood.com",
20 | "url": "https://piperhaywood.com/"
21 | },
22 | "license": "ISC",
23 | "bugs": {
24 | "url": "https://github.com/GemCopeland/personal-website/issues"
25 | },
26 | "homepage": "https://github.com/GemCopeland/personal-website#readme",
27 | "devDependencies": {
28 | "@11ty/eleventy": "^1.0.2",
29 | "@11ty/eleventy-plugin-rss": "^1.0.7"
30 | },
31 | "dependencies": {
32 | "@11ty/eleventy-upgrade-help": "^1.0.1",
33 | "are.na": "0.1.5",
34 | "clean-css": "^4.2.1",
35 | "luxon": "^3.1.0",
36 | "uglify-es": "^3.3.9"
37 | }
38 | }
39 |
--------------------------------------------------------------------------------
/src/_includes/components/blocks.njk:
--------------------------------------------------------------------------------
1 |
2 |
31 |
--------------------------------------------------------------------------------
/src/posts/2022-11-15-hello-better-world.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Hello better world
3 | displayTitle: true
4 | tags:
5 | - social media
6 | - community
7 | - Robin Sloan
8 | - Jay Springett
9 | ---
10 |
11 | I’m [@gem@social.coop](https://social.coop/@gem) on Mastodon.
12 |
13 | I like it much more than Twitter already! I had gotten to a point where I barely posted anything on Twitter because it was too noisy and overwhelming, and reading the feed mainly made me feel depressed about the world. There sure were some good memes though.
14 |
15 | I found a tool called [Debirdify](https://pruvisto.org/debirdify/) that helps you find your Twitter friends on Mastodon.
16 |
17 | This article from Wired — [How to Get Started on Mastodon](https://www.wired.com/story/how-to-get-started-use-mastodon/) — is a really useful introduction.
18 |
19 | Strong agree with what Robin Sloan [wrote about Twitter ending](https://www.robinsloan.com/lab/lost-thread/) back in April:
20 | > There are so many ways people might relate to one another online, so many ways exchange and conviviality might be organized. Look at these screens, this wash of pixels, the liquid potential! What a colossal bummer that Twitter eked out a local maximum; that its network effect still (!) consumes the fuel for other possibilities, other explorations.
21 |
22 | Also Jay Springett’s [10 tips for leaving Twitter](https://www.thejaymo.net/2022/10/29/10-tips-for-leaving-twitter-2238/).
--------------------------------------------------------------------------------
/src/_includes/components/activity-item.njk:
--------------------------------------------------------------------------------
1 | {# TODO turn this in to filters w/in config, this is ridiculous #}
2 |
3 |
21 | {% set current = section == 'home' %}
22 | {% include "components/nav-link.njk" %}
23 |
24 | {%- endif -%}
25 |
41 |
--------------------------------------------------------------------------------
/src/posts/2021-04-25-reciprocity.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Weaving webs of reciprocity
3 | displayTitle: true
4 | tags:
5 | - cooperation
6 | - reading
7 | - community
8 | - nature
9 | - Robin Kimmerer
10 | ---
11 |
12 | This week I’m thinking a lot about Braiding Sweetgrass, because the forest floor is now covered in purple and yellow flowers (ground ivy and yellow anenome, I think).
13 |
14 | 
15 |
16 | > That September pairing of purple and gold is lived reciprocity; its wisdom is that the beauty of one is illuminated by the radiance of the other. Science and art, matter and spirit, indigenous knowledge and Western science—can they be goldenrod and asters for each other? When I am in their presence, their beauty asks me for reciprocity, to be the complementary color, to make something beautiful in response.
17 |
18 | I really liked the book's focus on reciprocity as a core principle of nature and means of collaborative survival and much else besides.
19 |
20 | > How do we refill the empty bowl? Is gratitude alone enough? Berries teach us otherwise. […] They remind us that all flourishing is mutual. We need the berries and the berries need us. Their gifts multiply by our care for them, and dwindle from our neglect. We are bound in a covenant of reciprocity, a pact of mutual responsibility to sustain those who sustain us.
--------------------------------------------------------------------------------
/src/_includes/layouts/writing.njk:
--------------------------------------------------------------------------------
1 | ---
2 | section: writing
3 | pagination:
4 | data: collections.posts
5 | size: 10
6 | alias: posts
7 | ---
8 |
9 |
10 | {% include "components/head.njk" %}
11 |
12 |
13 |
14 | {% include "components/header-writing.njk" %}
15 |
16 |
17 |
18 | {# TODO add layout content? #}
19 |
20 |
21 | {% for post in posts %}
22 | {% include "components/single-post.njk" %}
23 | {% endfor %}
24 |
25 |
26 |
27 | {% if pagination.hrefs.length > 1 %}
28 |
29 | {% for href in pagination.hrefs %}
30 |
45 |
46 |
47 |
48 | {% include "components/footer.njk" %}
49 |
50 |
51 |
52 |
53 |
--------------------------------------------------------------------------------
/src/posts/2021-09-06-recent-contributions.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Recent contributions
3 | displayTitle: false
4 | tags:
5 | - work
6 | - writing
7 | - Ruben Pater
8 | - AIGA
9 | - Stir To Action
10 | ---
11 |
12 | A few recent contributions to various publications:
13 |
14 | ## Caps Lock
15 |
16 | I spoke to Ruben Pater about Common Knowledge for [Caps Lock](http://www.valiz.nl/en/publications/caps-lock.html), his new book about graphic design and capitalism. The interview was mainly centred on how Common Knowledge works on a practical level, both internally and in collaboration with others. Ruben's done such a great job with the book, I'm really proud to be involved and glad that a book like this exists! It's so important to demonstrate alternatives to traditional design practice, and I think he does a good job of making it super accessible.
17 |
18 | 
19 |
20 | ## There’s More Than One Way to Share Your Design Work
21 |
22 | I wrote a short explanation of the design of this very website (meta!) for an [AIGA](https://eyeondesign.aiga.org/theres-more-than-one-way-to-share-your-work/) article about alternative approaches to design portfolios.
23 |
24 | ## How to Run a Design Sprint
25 |
26 | I gave a very brief explanation of the Google design sprint methodology for [Stir To Action's summer issue](https://www.stirtoaction.com/magazine), with examples of how we used it in collaboration with [Cooperation Town.](https://cooperation.town/)
--------------------------------------------------------------------------------
/src/_includes/layouts/page.njk:
--------------------------------------------------------------------------------
1 | ---
2 | section: page
3 | ---
4 |
5 |
6 | {% include "components/head.njk" %}
7 |
8 |
9 |
10 | {% include "components/header.njk" %}
11 |
12 |
13 |
14 | {% set linkUrl = '/' %}
15 | {% set linkText = global.siteTitle %}
16 | {% set current = true %}
17 | {% include "components/nav-link.njk" %}
18 |
19 |
20 |
36 |
37 |
38 |
39 |
40 |
41 | {% set singleUrl = url %}
42 | {%- set singleTitle = title -%}
43 | {%- set singleTags = tags -%}
44 | {%- set singleContent -%}
45 | {{ layoutContent | safe }}
46 | {%- endset -%}
47 | {% include "components/single.njk" %}
48 |
49 |
50 |
51 | {% include "components/footer.njk" %}
52 |
53 |
54 |
55 |
56 |
--------------------------------------------------------------------------------
/src/posts/2021-01-23-community-is-a-garden.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Community is a Garden
3 | displayTitle: true
4 | tags:
5 | - reading
6 | - cooperation
7 | - climate crisis
8 | - learning
9 | - tools
10 | ---
11 |
12 | I came across [this toolkit](https://www.are.na/block/9400568) when searching for examples of community-led design practices for a workshop that [Sonia](http://soniaturcotte.com/) and I are currently running (more on that soon).
13 |
14 | It explores how artists and communities can work together towards climate justice. It has a few interviews and case studies, accompanied by a few prompts and reflective exercises centred around building collaborative relationships and spaces for dialogue.
15 |
16 | I really liked the list of practices at the end, particularly *Ambiguity*:
17 | > Moments of disorientation create space for unpredictable discovery. How can you challenge existing narratives, leave questions unanswered, and introduce new lines of inquiry? Through open-ended practice, how can you create conditions that scaffold communal discovery? How can you begin with questions rather than answers?
18 |
19 | It references a few of my favourite writers, adrienne maree brown and Donna Haraway, and has prompted me to finally read [Braiding Sweetgrass](https://en.wikipedia.org/wiki/Braiding_Sweetgrass), which I've wanted to do for a while.
20 |
21 | I'm collecting more examples of [Community-Led Design Practices](https://www.are.na/gemma-copeland/community-led-design-practices) on Arena.
22 |
23 |
--------------------------------------------------------------------------------
/src/posts/2021-04-02-alt-text.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Writing alt text
3 | displayTitle: false
4 | tags:
5 | - digital accessibility
6 | ---
7 |
8 | I really enjoy writing alt-text, mainly thanks to the wonderful [Alt-Text as Poetry](https://alt-text-as-poetry.net/index.html) project by Bojana Coklyat and Shannon Finnegan.
9 |
10 | On their website they list "three ideas from the world of poetry that we have found to be particularly helpful when writing alt-text":
11 |
12 | ## 1. Attention to Language
13 | Simply by writing alt-text with thought and care, we shift the process. What words are we using? What are their connotations? What is the tone of our writing (the way in which we’re doing the writing)? What is the voice (who the reader hears)? How do these align with, or contrast, the tone and perspective of the image?
14 |
15 |
16 | ## 2. Word Economy
17 | People who are new to description have a tendency to over-describe images. While there are times for long and lavish descriptions, alt-text usually aims for brevity. For most images, one to two sentences will do. Poetry has a lot to teach us about paring down language to create something that is expressive, yet concise.
18 |
19 |
20 | ## 3. Experimental Spirit
21 | We have so much to learn from poetry about being more playful and exploratory in how we write alt-text. We are not interested in experimentation for experimentation’s sake — we want a kind of experimentation that moves towards better and more nuanced accessibility for alt-text users. There are lots of complex and interesting questions that come up when translating visual information into text. We need to try out different ways of doing this, learning from each other's strategies and techniques.
--------------------------------------------------------------------------------
/src/_includes/assets/css/components.blocks.css:
--------------------------------------------------------------------------------
1 | .blocks {
2 | max-width: none;
3 | }
4 |
5 | .block {
6 | background-color: var(--color-white);
7 | margin-bottom: var(--gutter);
8 | padding: 1rem;
9 | position: relative;
10 | }
11 |
12 | .block__link {
13 | bottom: 0;
14 | display: block;
15 | left: 0;
16 | position: absolute;
17 | right: 0;
18 | top: 0;
19 | }
20 |
21 | .block__link:hover,
22 | .block__link:focus {
23 | border: 1px solid var(--color-1);
24 | }
25 |
26 | .block__link:hover ~ .block__content .block__title,
27 | .block__link:focus ~ .block__content .block__title,
28 | .block__link:hover ~ .block__content small,
29 | .block__link:focus ~ .block__content small {
30 | color: var(--color-1);
31 | }
32 |
33 | .block__link:hover ~ .block__content .block__arrow,
34 | .block__link:focus ~ .block__content .block__arrow {
35 | color: var(--color-1);
36 | display: block;
37 | }
38 |
39 | .block__desc {
40 | font-size: var(--font-small);
41 | line-height: var(--line-height-small);
42 | color: var(--color-grey-dark);
43 | }
44 |
45 | .block__desc a {
46 | text-decoration: none;
47 | }
48 |
49 | .block__desc a:focus {
50 | border: 1px solid var(--color-1);
51 | }
52 |
53 | .block__media {
54 | overflow: hidden;
55 | margin-bottom: 0.5rem;
56 | margin-top: 0.5rem;
57 | max-height: 3.75rem;
58 | }
59 |
60 | .block__media img {
61 | max-height: 3.75rem;
62 | padding-bottom: 0.625rem;
63 | padding-right: 0.625rem;
64 | min-height: 60px; /* match to height of images to stop "pop" */
65 | }
66 |
67 | .block__arrow {
68 | bottom: 0;
69 | display: none;
70 | padding: 0.5rem 1rem;
71 | position: absolute;
72 | right: 0;
73 | transform: rotate(-45deg);
74 | }
75 |
--------------------------------------------------------------------------------
/src/_includes/assets/css/typography.css:
--------------------------------------------------------------------------------
1 | .prose p,
2 | .prose ul,
3 | .prose ol,
4 | .prose h1,
5 | .prose h2,
6 | .prose h3,
7 | .prose h4,
8 | .prose h5,
9 | .prose h6,
10 | .prose hr {
11 | margin-bottom: 0.625rem;
12 | }
13 |
14 | .prose h1,
15 | .prose h2,
16 | .prose h3,
17 | .prose h4,
18 | .prose h5,
19 | .prose h6 {
20 | margin-top: 2rem;
21 | }
22 |
23 | .prose p ~ p img {
24 | margin-bottom: 1rem;
25 | margin-top: 1rem;
26 | }
27 |
28 | .prose p ~ p:last-child img {
29 | margin-bottom: 0;
30 | }
31 |
32 | .prose blockquote {
33 | color: var(--color-grey-dark);
34 | border-left: 1px solid var(--color-1);
35 | margin-left: 0;
36 | margin-top: 0;
37 | padding-left: var(--gutter);
38 | }
39 |
40 | .prose hr {
41 | background-color: var(--color-1);
42 | border: 0;
43 | height: 1px;
44 | margin-bottom: var(--gutter);
45 | margin-left: 0;
46 | margin-top: var(--gutter);
47 | }
48 |
49 | .article .prose ul {
50 | list-style: disc;
51 | padding-left: 1rem;
52 | }
53 |
54 | .article .prose ol {
55 | padding-left: 1rem;
56 | }
57 |
58 | .prose code,
59 | .prose pre {
60 | font-size: 15px;
61 | }
62 |
63 | .prose code {
64 | background: var(--color-2);
65 | padding: 0.125rem;
66 | }
67 |
68 | .prose mark {
69 | background: var(--color-2);
70 | padding: 0.125rem;
71 | }
72 |
73 | .prose pre {
74 | background: var(--color-2);
75 | padding: 0.5rem;
76 | }
77 |
78 | .prose pre code {
79 | padding: 0;
80 | }
81 |
82 | .section--contact p {
83 | margin-bottom: 0;
84 | }
85 |
86 | .section--contact ul {
87 | display: flex;
88 | }
89 |
90 | .section--contact li:not(:last-child) {
91 | margin-right: 0.25rem;
92 | }
93 |
94 | .section--contact li:not(:last-child):after {
95 | content: ", ";
96 | }
97 |
--------------------------------------------------------------------------------
/src/_includes/layouts/home.njk:
--------------------------------------------------------------------------------
1 | ---
2 | section: home
3 | ---
4 |
5 |
6 | {% include "components/head.njk" %}
7 |
8 |
9 |
10 | {% include "components/header.njk" %}
11 |
12 |
13 |
14 |
15 |
16 | {% set linkUrl = '/' %}
17 | {% set linkText = global.siteTitle %}
18 | {% set current = true %}
19 | {% include "components/nav-link.njk" %}
20 |
21 |
22 | {% include "components/profile.njk" %}
23 |
24 | {% include "components/footer.njk" %}
25 |
26 |
27 |
50 |
51 |
52 |
53 |
54 |
55 |
56 |
--------------------------------------------------------------------------------
/src/posts/2023-03-03-new-tools.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: New tools
3 | displayTitle: false
4 | tags:
5 | - tools
6 | - digital design
7 | - workflow
8 | - reading
9 | ---
10 |
11 | Lately I've been enjoying using [Arc](https://arc.net/) , a new Chromium-based browser. It's such a joy to use: they've completely rethought the UI / UX design of a browser. There are big changes (like spaces; easels; a sidebar with all your tabs, including pinned tabs with previews) and little details like "mini-Arc" (which opens a small version of the browser when you follow a link in a messaging app or email). The only problem is that it they haven't worked out the performance issues yet so it crashes quite often. I have high hopes though!
12 |
13 | I've also migrated from using Feedly + Pocket to using [Readwise Reader](https://read.readwise.io/) for everything. It's really well designed and great to have everything in the same place. The highlighting works really well, including over the original article, and it's fun to play with their Ghostreader GPT tooling.
14 |
15 | I'm also using the original [Readwise](https://readwise.io/) app, which surfaces three random highlights from my collection every morning. It's surprisingly hard to get highlights off a Kobo (something I miss about my Kindle, which just had all highlights in a plain text file). However, I found this tool called [October](https://october.utf9k.net/) which syncs from Kobo to Readwise. I added my old Kindle highlights too, which means it's been surfacing my highlights from the last decade or so, which has been amazing.
16 |
17 | The other tool that I'm happy to have found recently is [Voiceliner](https://a9.io/voiceliner/), a simple app that allows you to record voice notes which it then automatically transcribes. You can rearrange the hierarchy of notes and attach a location too. It's super useful — basically what I was using my Signal note to self for anyway. Plus, it's open source and does everything locally.
--------------------------------------------------------------------------------
/src/_includes/layouts/thinking.njk:
--------------------------------------------------------------------------------
1 | ---
2 | section: thinking
3 | ---
4 |
5 |
6 | {% include "components/head.njk" %}
7 |
8 |
9 |
10 | {% include "components/header.njk" %}
11 |
12 |
13 |
14 |
15 |
16 |
32 |
33 |
34 | {% include "components/blocks.njk" %}
35 |
36 |
37 |
38 |
52 |
53 |
54 |
55 |
56 | {% include "components/footer.njk" %}
57 |
58 |
59 |
60 |
61 |
62 |
63 |
--------------------------------------------------------------------------------
/src/posts/2022-10-20-milos.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Milos
3 | displayTitle: true
4 | tags:
5 | - photolog
6 | - travel
7 | - Greece
8 | ---
9 |
10 | 
11 |
12 | 
13 |
14 | 
15 |
16 | 
17 |
18 | 
19 |
20 | 
21 |
22 | 
23 |
24 | 
25 |
26 | 
27 |
28 | 
--------------------------------------------------------------------------------
/src/_includes/assets/favicon/safari-pinned-tab.svg:
--------------------------------------------------------------------------------
1 |
2 |
4 |
33 |
--------------------------------------------------------------------------------
/src/posts/2022-08-10-mirror.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Mirror
3 | displayTitle: false
4 | tags:
5 | - nature
6 | - photolog
7 | - Wales
8 | - hiking
9 | - camping
10 | ---
11 |
12 | How and I went for a hike in [Snowdonia](https://en.wikipedia.org/wiki/Snowdonia) last weekend. Almost 40km of walking over two days. Over the last few months we've gradually been collecting all the basic kit you need for multiday hikes: tent, sleeping mats and bags, backpacks, this incredibly compact [wood stove](https://alpkit.com/products/wood-stove-wood-burning-camping-stove).
13 |
14 | It was such an incredible hike. The weather was unusually warm and sunny – I just read that Snowdonia is one of the wettest parts of the UK, so it really *was* unusual. On the first day, we could see out to the ocean for most of the hike. We swam in a pool fed by a waterfall, walked through ferns and forests and across heather-covered hills. There was a tough bit when [Komoot](https://www.komoot.com/) decided to take us across a difficult field without a real path, but we managed to find our way back again.
15 |
16 | We camped by a lake (Llyn Du) on [Rhinog Fawr](https://en.wikipedia.org/wiki/Rhinog_Fawr). I took these three photos about an hour apart around sunset. Entranced by the changes in light over such a short time.
17 |
18 | 
19 | 19:50:25
20 |
21 | 
22 | 20:42:50
23 |
24 | 
25 | 21:04:09
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/src/_includes/assets/css/greyscale.css:
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1 | .greyscale {
2 | --color-1: var(--color-black);
3 | --color-2: var(--color-grey);
4 | }
5 |
6 | .greyscale a {
7 | text-decoration-color: inherit;
8 | }
9 |
10 | .greyscale a:hover,
11 | .greyscale a:focus {
12 | text-decoration: none;
13 | }
14 |
15 | .greyscale .nav__link--current:hover,
16 | .greyscale .nav__link--current:focus {
17 | color: var(--color-grey-dark);
18 | }
19 |
20 | .greyscale .activity__time {
21 | color: var(--color-black);
22 | }
23 |
24 | .greyscale .subtle-links a:hover {
25 | text-decoration: underline;
26 | }
27 |
28 | .greyscale .pagination a:hover,
29 | .greyscale .pagination a:focus {
30 | color: var(--color-grey-dark);
31 | }
32 |
33 | .greyscale .pagination__list a:hover,
34 | .greyscale .pagination__list a:focus {
35 | color: var(--color-black);
36 | }
37 |
38 | .greyscale .footer--site {
39 | background-color: var(--color-black);
40 | color: var(--color-white);
41 | }
42 |
43 | .greyscale .footer--site h2 {
44 | color: inherit;
45 | }
46 |
47 | .greyscale .footer--site a,
48 | .greyscale .footer--site a:hover,
49 | .greyscale .footer--site a:focus {
50 | color: inherit;
51 | }
52 |
53 | .greyscale .footer--site a:focus {
54 | border: 1px solid var(--color-white) !important;
55 | }
56 |
57 | .adjust-contrast {
58 | border: 1px solid transparent;
59 | margin: 0.25rem calc(var(--gutter) - 0.5rem);
60 | padding: 0.5rem;
61 | position: absolute;
62 | right: 0;
63 | top: 0;
64 | }
65 |
66 | .adjust-contrast:focus {
67 | border: 1px solid var(--color-1);
68 | }
69 |
70 | .greyscale .adjust-contrast:focus {
71 | border: 1px solid var(--color-white);
72 | }
73 |
74 | .adjust-contrast:after {
75 | color: var(--color-1);
76 | }
77 |
78 | .adjust-contrast:after,
79 | .greyscale .adjust-contrast:hover:after,
80 | .greyscale .adjust-contrast:focus:after {
81 | content: "◐";
82 | }
83 |
84 | .greyscale .adjust-contrast:after {
85 | color: var(--color-white);
86 | }
87 |
88 | .greyscale .adjust-contrast:after,
89 | .adjust-contrast:hover:after,
90 | .adjust-contrast:focus:after {
91 | content: "◑";
92 | }
93 |
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/src/posts/2020-09-19-hyperfocus.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Hyperfocus
3 | displayTitle: false
4 | tags:
5 | - work
6 | - intentions
7 | - reading
8 | ---
9 |
10 | Over the last few weeks I've been trying to apply the principles of [Hyperfocus](https://www.waterstones.com/book/hyperfocus/chris-bailey/9781509866137) to my work. Productivity books aren't the kind of thing I'd usually read, but this one has actually been quite useful.
11 |
12 | A lot of it just seems like common sense, like recognising that you have a finite amount of attention you can spend in every moment. It's basically about applying meditation techniques to daily life to make the most of your attention. It starts with being more aware of the kinds of work you're doing, which parts are purposeful and which parts are unnecessary busy-work.
13 |
14 | ## Setting intentions
15 | It's a lot about intention-setting: intentions for the hyperfocus session (an hour or less), for the day and for the week as well.
16 |
17 | He summarises the core idea of hyperfocus as:
18 |
19 | > Keep one important, complex object of attention in your awareness as you work.
20 |
21 | You decide what this object of attention should be, set a timer for how long you want to focus on it, eliminate any distractions and give it your full attention.
22 |
23 | As with meditation, if you catch your mind wandering, you gently draw it back to the task at hand.
24 |
25 | ## Scatterfocus and recharging
26 | The counterpoint to hyperfocus is scatterfocus, where you just let your mind wander and observe where it goes. This is where the more creative thinking comes in, associations between otherwise unrelated ideas.
27 |
28 | There are a number of other techniques in it that I've found really useful, like writing down "open loops" that are distracting or worrying you, and scheduling specific blocks of time to check email each day.
29 |
30 | I liked the book because it's ultimately about working less and making sure you allow yourself to recharge. I am definitely someone who tends to work too much, and tends towards anxiety as well. It was so useful for me to read this because it reminded me that overworking and multitasking doesn't lead to better results.
--------------------------------------------------------------------------------
/src/posts/2021-04-02-film.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Film photos from 2020
3 | displayTitle: false
4 | tags:
5 | - photolog
6 | - Wales
7 | - La Gomera
8 | ---
9 |
10 | We got some film from last year developed and I love the photos so much. Friendship ended with iPhone camera!
11 |
12 | 
13 |
14 | 
15 |
16 | 
17 |
18 | 
19 |
20 | 
21 |
22 | 
23 |
24 | 
25 |
26 | 
27 |
28 | 
29 |
30 | 
31 |
32 | Most of these are probably taken by [HM](https://www.melnycz.uk/).
--------------------------------------------------------------------------------
/src/posts/2020-08-10-delete-your-account.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Delete your account
3 | displayTitle: false
4 | tags:
5 | - music
6 | ---
7 |
8 | Feel a bit guilty for not having done this earlier, but I've finally cancelled my Spotify subscription. This was prompted in part by [this recent interview](https://musically.com/2020/07/30/spotify-ceo-talks-covid-19-artist-incomes-and-podcasting-interview/) with Spotify's CEO, which paints a pretty bleak picture about how they see the future of the music industry. It feels important to find ways to directly support artists, given that they're some of those hardest hit by lockdown (and that music is one of the things that keeps me sane).
9 |
10 | I wasn't using Spotify that much anymore, so I doubt I'll miss it. I usually just listen to NTS, which recently launched a [Supporters](https://www.nts.live/supporters) network.
11 |
12 | ## Listen to these
13 | Some of my favourite NTS shows are:
14 | - [Maria Somerville](https://www.nts.live/shows/maria-somerville)
15 | - [Questing with Zakia](https://www.nts.live/shows/questing-w-zakia)
16 | - [Post Geography](https://www.nts.live/shows/post-geography)
17 | - [Perfect Sound Forever](https://www.nts.live/shows/perfect-sound-forever)
18 | - [Are You Before](https://www.nts.live/shows/are-you-before)
19 | - [Uline Catalog](https://www.nts.live/shows/uline-catalog)
20 | - [Sounds of the Dawn](https://www.nts.live/shows/soundsofthedawn)
21 | - [Luke Mele](https://www.nts.live/shows/luke-mele)
22 | - [Moony Habits](https://www.nts.live/shows/moony-habits)
23 |
24 | Aside from that, I'm going to keep building my [Bandcamp](https://bandcamp.com/) library, and maybe also try [Resonate](https://resonate.is/), a music streaming service and platform co-op that values fairness and control.
25 |
26 | ---
27 |
28 | ## Hyperlinks
29 | - [Listen to This](https://www.are.na/gemma-copeland/listen-to-this-8z3shemr_fe), an Arena channel of my favourite songs and mixes
30 | - Mat Dryhurst often discusses alternatives to major labels and streaming platforms, on [Twitter]((https://twitter.com/matdryhurst/status/1289524738205683713)) as well as on [Interdependence](https://interdependence.fm/episodes), the podcast he co-hosts with Holly Herndon.
31 |
32 |
33 |
34 |
--------------------------------------------------------------------------------
/src/posts/2022-11-20-centre-for-alternative-technology.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Centre for Alternative Technology
3 | displayTitle: true
4 | tags:
5 | - solarpunk
6 | - architecture
7 | - learning
8 | - climate crisis
9 | - Wales
10 | - photolog
11 | - Centre for Alternative Technology
12 | ---
13 |
14 | Wales is absolutely beautiful at the moment (and always). The autumn leaves and soft sunlight turn the whole landscape golden and warm.
15 |
16 | 
17 |
18 | We visited the [Centre for Alternative Technology](https://cat.org.uk/) last weekend. It’s an amazing place, built on top of a mountain of waste slate from a nearby disused quarry. The Centre was started by a group of people who moved there in the mid-70s. Their goal was to provide a space where people could test things out and learn how to live more lightly on the earth.
19 |
20 | 
21 |
22 | It has examples of different renewable energy technologies, a collection of buildings demonstrating innovative architectural/construction techniques and a few different gardens. It’s all completely off grid, including running its own water and sewage systems.
23 |
24 | It was so inspiring to spend time somewhere like this. You can feel how many different people will have contributed towards building the centre and its vision over the years. It really gave us the sense that most of the ideas we need to transition to a zero carbon economy are already there, tried and tested…
25 |
26 | 
--------------------------------------------------------------------------------
/src/posts/2022-09-23-the-path-to-the-acropolis.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: The path to the Acropolis
3 | displayTitle: true
4 | tags:
5 | - travel
6 | - urbanism
7 | - architecture
8 | - Dimitris Pikionis
9 | - Greece
10 | - Athens
11 | ---
12 |
13 | We were in Athens last week, so naturally we visited the Acropolis. What surprised me was that the [pathway to the Acropolis](https://archleague.org/article/pikionis-pathway-paving-acropolis/) is a masterpiece in its own right. (Thanks to [my dad](https://www.instagram.com/rob_copeland/) for sharing this.)
14 |
15 | 
16 |
17 | Designed in the mid-50s by Dimitris Pikionis, it’s a collage of historical references, regionalism and modernism. They build it with reclaimed stones from demolished buildings nearby, celebrating their imperfections and making a direction connection to the local history.
18 |
19 | Throughout the path, there are bold, gestural forms made from concrete, inspired by the artwork of Paul Klee. By choosing a modernist material like concrete, Pikionis created a dialogue with the International Style of architecture that was spreading throughout Athens at the time.
20 |
21 | 
22 |
23 | What I loved most was that he worked with local craftsmen and let the design emerge from the bottom up:
24 |
25 | > Pikionis enlisted a crew of skilled local Greek artisans and craftsmen to work the stones and materials. At the outset of the construction, Pikionis eschewed typical dogmatic plans and chose to set the tone for the design through few drawings. He encouraged the local workers to the find the path within the landscape and imbue the materials with their own particular spirit and design through shapes, textures, and patterns. Pikionis was employing the traditional method of the master builder, constructing the site through the hands of the craftsmen and generating a pluralistic design.
26 |
27 | 
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/src/_includes/assets/css/media.screen-large.css:
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1 | @media screen and (min-width: 40em) {
2 | :root {
3 | --gutter: 1.25rem;
4 | }
5 |
6 | .thinking {
7 | background-color: var(--color-white);
8 | }
9 |
10 | .header--desktop {
11 | display: flex;
12 | }
13 |
14 | .header--site,
15 | .header--site * {
16 | /* Visually hide */
17 | clip: rect(1px, 1px, 1px, 1px);
18 | height: 1px;
19 | overflow: hidden;
20 | padding: 0;
21 | position: absolute;
22 | width: 1px;
23 | }
24 |
25 | .header--panel {
26 | display: block;
27 | }
28 |
29 | nav {
30 | width: 100%;
31 | }
32 |
33 | .panel:last-child {
34 | display: block;
35 | }
36 |
37 | .home,
38 | .home body,
39 | .home main,
40 | .thinking,
41 | .thinking body,
42 | .thinking main {
43 | height: 100%;
44 | overflow: hidden;
45 | }
46 |
47 | .panel--profile .section--footer {
48 | width: 100%;
49 | }
50 |
51 | .home main,
52 | .thinking main {
53 | display: flex;
54 | }
55 |
56 | .panel {
57 | width: 50%;
58 | }
59 |
60 | .panel--profile,
61 | .panel--blocks {
62 | height: 100%;
63 | overflow: auto;
64 | -webkit-overflow-scrolling: touch;
65 | }
66 |
67 | .thinking .panel--blocks .panel-contents section {
68 | margin-bottom: 1.25rem;
69 | }
70 |
71 | .activity {
72 | align-items: baseline;
73 | display: flex;
74 | }
75 |
76 | .activity__time {
77 | min-width: 5.125rem;
78 | }
79 |
80 | body > footer {
81 | display: flex;
82 | }
83 |
84 | body footer section {
85 | width: 50%;
86 | }
87 |
88 | .is-tabbing .has-panels .header--site {
89 | left: 0;
90 | position: sticky !important;
91 | right: 0;
92 | top: 0;
93 | }
94 |
95 | .is-tabbing .panel--blocks {
96 | background-color: var(--color-white);
97 | }
98 |
99 | .is-tabbing .block__link {
100 | border: 1px solid var(--color-grey);
101 | }
102 |
103 | .is-tabbing .block__link:hover,
104 | .is-tabbing .block__link:focus {
105 | border: 1px solid var(--color-1);
106 | }
107 | }
108 |
109 | @media screen and (min-width: 55em) {
110 | .home .panel--profile footer,
111 | .thinking .panel--profile footer {
112 | display: flex;
113 | }
114 | }
115 |
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/src/_includes/components/profile.njk:
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1 | {# Get the profile content #}
2 | {% set profile = collections.profile.data %}
3 |
4 | {# Section: About #}
5 | {% if profile.content %}
6 |
7 |
8 |
91 |
92 |
93 | {% endif %}
94 |
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/src/posts/2023-01-27-keep-the-channel-open.md:
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1 | ---
2 | title: Keep the channel open
3 | displayTitle: true
4 | tags:
5 | - process
6 | - creativity
7 | - Rick Rubin
8 | - Ursula K Le Guin
9 | - Martha Graham
10 | - wu wei
11 | ---
12 |
13 | I came across [this interview](https://www.cbsnews.com/news/rick-rubin-60-minutes-2023-01-15/) with Rick Rubin the other day, which prompted me to fall down a rick-rubin-rabbithole. What an interesting guy.
14 |
15 | Reading his new book [*The Creative Act*](https://www.theguardian.com/books/2023/jan/10/the-creative-act-a-way-of-being-by-rick-rubin-review-thoughts-of-the-bearded-beat-master), one of the things that struck me was the idea that when we're being creative, we're not conducting — we're being conducted. Artists are receivers, translators, antennae. There's a passiveness to it, a calmness. Looking at the world with soft eyes.
16 |
17 | > How do we pick up on a signal that can neither be heard nor be defined? The answer is not to look for it. Nor do we attempt to predict or analyse our way into it. Instead, we create an open space that allows it.
18 |
19 | This strongly reminds me of Ursula Le Guin too. I was listening to an episode of the [*Crafting with Ursula*](https://tinhouse.com/th_podcast_cat/crafting-with-ursula/) podcast series the other day and realised that the intro track had an excerpt where she says exactly that:
20 |
21 | > I see my job as holding doors open or opening windows. Who comes in or out the doors, what you see out the window… how do I know? My responsibility is just to keep the mind open, not close it off. That's enough right there.
22 |
23 | Zadie Smith included something similar in [*Feel Free*](https://en.wikipedia.org/wiki/Feel_Free_(Smith_book)) too:
24 |
25 | > There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.
26 |
27 | Edit: I thought the quote above was by Zadie Smith, but someone on Arena tells me it's from the dancer and choreographer Martha Graham! Not sure where I got it mixed up, but there you go.
28 |
--------------------------------------------------------------------------------
/src/posts/2023-09-17-post-branding.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Post-branding
3 | displayTitle: true
4 | tags:
5 | - design
6 | - politics
7 | - reading
8 | - Jason Grant
9 | - Oliver Vodeb
10 | ---
11 |
12 | Very excited to read [*What is post-branding? How to Counter Fundamentalist Marketplace Semiotics*](https://www.setmargins.press/books/what-is-post-branding/), a book by Jason Grant & Oliver Vodeb published by Set Margins (which seems to be publishing all the good design books these days).
13 |
14 | > Post-Branding empowers better design of public communication for civic and activist groups by replacing corporate branding’s predatory principles with a new set of strategies embedded in a new culture of craft. A new way of being and knowing, for a new way of relating with the world.
15 |
16 | 
17 |
18 | Jason is runs the Brisbane-based studio [Inkahoots](https://www.inkahoots.com.au/). For the last 30 years or so they've worked in direct collaboration with social movements, transforming from a community-run screenprinting workshop into a non-hierarchical design studio focused on creative political expression.
19 |
20 | Jason was one of my tutors at the Queensland College of Art. At the time I was in my final year at uni, about to graduate into a recession, and seriously questioning my choice to become a designer and design's complicity in consumerism. Learning from him and about his practice had a huge influence on me. It prompted me to do a masters of Design Futures with [Tony Fry](https://www.thestudioattheedgeoftheworld.com/people.html) and to try to find ways to be a designer outside of / against capitalism.
21 |
22 | On a related note, I've been thinking about writing a series on design and design-adjacent practices that are modelling new ways of working. My shortlist so far is:
23 | - [Inkahoots](https://www.inkahoots.com.au/) (AU)
24 | - [Holon](https://www.holon.cat/en/#about) (ES)
25 | - [Then Try This](https://thentrythis.org/) (UK)
26 | - [Geeks for Social Change](https://gfsc.studio/) (UK)
27 | - [Promising Trouble](https://www.promisingtrouble.net/) (UK)
28 | - [Krater](https://www.krater.si/en) (SI)
29 | - [Brave New Alps](https://brave-new-alps.com/) (IT)
30 | - [Multitudes](https://multitudes.coop/) (UK)
31 | - [And Also Too](https://www.andalsotoo.net/) (CA)
32 | - [Civic Square](https://civicsquare.cc/) (UK)
--------------------------------------------------------------------------------
/src/posts/_drafts/2019-11-01-kitchen-sink.md:
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1 | ---
2 | title: Kitchen sink post
3 | displayTitle: true
4 | tags:
5 | - Evening Class
6 | - La Foresta
7 | - residency
8 | - conversation
9 | - testing a very very very very long tag
10 | ---
11 |
12 | # A heading at the beginning
13 |
14 | Maecenas faucibus mollis interdum. Donec id elit non mi porta gravida at eget metus. Aenean lacinia bibendum nulla sed consectetur. Maecenas sed diam eget risus varius blandit sit amet non magna. Lorem ipsum dolor sit amet, consectetur adipiscing elit.
15 |
16 | # Heading 1
17 |
18 | Maecenas faucibus mollis interdum. Donec id elit non mi porta gravida at eget metus. Aenean lacinia bibendum nulla sed consectetur. Maecenas sed diam eget risus varius blandit sit amet non magna. Lorem ipsum dolor sit amet, consectetur adipiscing elit.
19 |
20 | ## Heading 2
21 |
22 | Maecenas faucibus mollis interdum. Donec id elit non mi porta gravida at eget metus. Aenean lacinia bibendum nulla sed consectetur. Maecenas sed diam eget risus varius blandit sit amet non magna. Lorem ipsum dolor sit amet, consectetur adipiscing elit.
23 |
24 | ### Heading 3
25 |
26 | Maecenas faucibus mollis interdum. Donec id elit non mi porta gravida at eget metus. Aenean lacinia bibendum nulla sed consectetur. Maecenas sed diam eget risus varius blandit sit amet non magna. Lorem ipsum dolor sit amet, consectetur adipiscing elit.
27 |
28 | #### Heading 4
29 |
30 | Maecenas faucibus mollis interdum. Donec id elit non mi porta gravida at eget metus. Aenean lacinia bibendum nulla sed consectetur. Maecenas sed diam eget risus varius blandit sit amet non magna. Lorem ipsum dolor sit amet, consectetur adipiscing elit.
31 |
32 | ##### Heading 5
33 |
34 | Maecenas faucibus mollis interdum. Donec id elit non mi porta gravida at eget metus. Aenean lacinia bibendum nulla sed consectetur. Maecenas sed diam eget risus varius blandit sit amet non magna. Lorem ipsum dolor sit amet, consectetur adipiscing elit.
35 |
36 | ###### Heading 6
37 |
38 | _This should be in italics_
39 |
40 | **This should be bold**
41 |
42 | > This is a pullquote
43 |
44 | - Here
45 | - Are
46 | - Some
47 | - List
48 | - Items
49 |
50 | 1. And
51 | 2. A
52 | 3. Numbered
53 | 4. List
54 |
55 | Here is some `inline code`. Maecenas faucibus mollis interdum. Donec id elit non mi porta gravida at eget metus. Aenean lacinia bibendum nulla sed consectetur. Maecenas sed diam eget risus varius blandit sit amet non magna. Lorem ipsum dolor sit amet, consectetur adipiscing elit. And here is a code block:
56 |
57 | ```
58 | Hello
59 | ```
60 |
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/src/posts/2023-09-17-hearts-minds-rhizomes-other-worlds.md:
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1 | ---
2 | title: Hearts, minds, rhizomes & other worlds
3 | displayTitle: true
4 | tags:
5 | - learning
6 | - research
7 | - cooperatives
8 | - practice
9 | - community economies
10 | - radical imagination
11 | - Portugal
12 | - Lisbon
13 | - Max Haiven
14 | - Sarah Stein Lubrano
15 | - Centre for Other Worlds
16 | - Rizoma
17 | ---
18 |
19 | #### Mobilising Hearts and Minds
20 | I'm just about to start the [Mobilising Hearts and Minds](https://reimaginingvalue.ca/hearts-and-minds/) course initiated by [Max Haiven](https://maxhaiven.com/) and [Sarah Stein Lubrano](https://www.sarahsteinlubrano.com/). We'll be exploring the question _"How can we change people’s minds and create the conditions where they not only support but join the movements for radical change we desperately need?"_
21 |
22 | I've been following Max's work for a while and am in the middle of reading [The Radical Imagination](https://maxhaiven.com/radicalimagination/#INTRO), so looking forward to a few months of guided study and reflection and conversation. I'm curious about how to learn from psychology / sociology / philosophy / critical theory and apply it to my design practice, given that a big chunk of my work is about motivating people to take political action and join movements.
23 |
24 | #### Centre for Other Worlds
25 | I'm really happy to share that I joined the [Centre for Other Worlds](https://otherworlds.pt/), a research centre for art and design initiated by Lusófona University in Lisbon. It's a distributed network of designers and researchers, all of whom I deeply admire. They also publish a [journal](https://buttondown.email/otherworlds) edited by Silvio Lorusso.
26 |
27 | > We value design cultures, but we approach them without devotion. Instead of celebrating the power of design, we focus on the power structures that, willingly or not, design reproduces. For us, more than a solution, design itself is a problem and a challenge.
28 |
29 | #### Rizoma Cooperativa
30 | I've also joined a local cooperative, [Rizoma](https://rizomacoop.pt/en/). It's similar to Minga, which I [wrote about previously](https://gemmacope.land/writing/all-flourishing-is-mutual/), in that it's a multi-sector cooperative with five integrated strands: consumers, services, culture, agriculture and housing. It's based in Arroios with a grocery store, cafe and terrace at ground level, a co-working space upstairs and a cultural space downstairs. They also have two fledgling sector groups focused on habitation (campaigning against the housing crisis and setting up cooperative housing) and agriculture.
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/src/posts/2023-04-02-april-anjos.md:
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1 | ---
2 | title: April in Anjos
3 | displayTitle: false
4 | tags:
5 | - Portugal
6 | - Lisbon
7 | - photolog
8 | - gardening
9 | - cooking
10 | - life
11 | ---
12 |
13 | Some photos from this weekend.
14 |
15 | 
16 |
17 | 
18 |
19 | 
20 |
21 | 
22 |
23 | We spent today cleaning up our garden and planting some seeds that Susana kindly gave us last weekend — tomatoes, butternut squash and zucchini — as well as some wildflowers and cat grass. The cat that regularly visits us watched us intently as we worked. Later in the afternoon, two new cats visited to investigate the changes too. We must be doing something right.
24 |
25 | 
26 |
27 | We've worked out (also thanks to Susana) that the yellow fruit is a [loquat](https://en.wikipedia.org/wiki/Loquat) (*nêspera* is Portuguese). They taste very sweet and somewhat like apricot. H picked some and made them into a jam — two parts loquat to one part sugar and one part water, with lemon juice, cayenne pepper and rosemary.
28 |
29 | 
30 |
31 | We also planted basil, mint, coriander, parsley and thyme in pots to sit on our kitchen bench.
32 |
33 | 
34 |
35 | I love my riso-printed calendar by [Lauren Doughty](https://laurendoughty.com/). Happy April!
36 |
37 | 
--------------------------------------------------------------------------------
/src/posts/2022-02-11-gratitude-abundance.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Gratitude, abundance, new possibilities
3 | displayTitle: false
4 | tags:
5 | - optimism
6 | - practice
7 | - abundance
8 | - reading
9 | - climate crisis
10 | - Alice Grandoit-Sutka
11 | - Varshini Prakash
12 | - Alicia Kennedy
13 | ---
14 |
15 | A couple of super nice interviews and essays by women I admire:
16 |
17 | ## Alice Grandoit-Sutka, co-founder of [DEEM Journal](https://www.deemjournal.com/), on [how to generate new possibilities](https://thecreativeindependent.com/people/publisher-and-editor-alice-grandoit-sutka-on-how-to-generate-new-possibilities/):
18 |
19 | > I want a practice that is both critical and generative. Sometimes we can invest a lot of energy critiquing what was, which can block or limit the potential to cultivate possibilities of what could be.
20 |
21 |
22 | ## Sunrise Movement’s Varshini Prakash on [how she deals with climate grief:](https://www.salon.com/2022/01/23/varshini-prakash-to-the-end-build-back-better-climate-change/)
23 |
24 | > I find that the key to staying optimistic or having hope is – well, not spending too much time on Twitter – but also really allowing yourself and honoring the feeling grief, pain and fury and whatever is moving through you. In the climate movement, people can lose themselves in the gloom and doom or pretend everything is OK and not process the grief. So, a big thing for me is creating strategies to feel the full scope of the emotional intensity of work — journaling, meditation. We have a strong storytelling culture in our organization and ensuring that I am not letting myself numb or get subsumed by the emotional intensity of what I'm feeling. And having a strong spiritual practice of gratitude. There is something about being really intimate with the potential demise of the world that makes you almost ironically really intimate with the beauty of it and the immense gratitude we should feel to be here. Being able to hold both of those things at once is key to my ability to persevere.
25 |
26 |
27 | ## Food writer Alicia Kennedy [on abundance](https://www.aliciakennedy.news/p/on-abundance):
28 |
29 | > The flexibility provided by a specific kind of abundance—extra pumpkin, banana blossoms blooming, an excess of food, period, growing in the garden to give away—rather than the idea of abundance we’ve been sold, quite literally, being access to anything at any time to buy is what fuels creativity, excitement, a feeling of safety in the midst of an uncertain future. Abundance doesn’t have to be gifted to us; it can be cultivated. It can be a choice we make, in order to take care of each other and the earth. The world is abundant, I remind myself again in a dark time. I pray it. We just have to be sure to see it that way, to share it that way.
30 |
--------------------------------------------------------------------------------
/src/_includes/assets/css/base.css:
--------------------------------------------------------------------------------
1 | html {
2 | box-sizing: border-box;
3 | -webkit-text-size-adjust: 100%;
4 | }
5 |
6 | *,
7 | *::after,
8 | *::before {
9 | box-sizing: inherit;
10 | }
11 |
12 | *:focus {
13 | outline: 0;
14 | }
15 |
16 | body {
17 | color: var(--color-black);
18 | display: flex;
19 | flex-direction: column;
20 | margin: 0;
21 | }
22 |
23 | html,
24 | body {
25 | font-family: "Standard Web", sans-serif;
26 | margin: 0;
27 | padding: 0;
28 | line-height: 1.5;
29 | }
30 |
31 | main {
32 | flex-grow: 1;
33 | }
34 |
35 | p,
36 | pre,
37 | code {
38 | line-height: 1.5;
39 | }
40 |
41 | small {
42 | color: var(--color-grey-dark);
43 | font-size: var(--font-small);
44 | line-height: var(--line-height-small);
45 | }
46 |
47 | time {
48 | font-size: var(--font-small);
49 | line-height: var(--line-height-small);
50 | }
51 |
52 | h1,
53 | h3 {
54 | color: var(--color-1);
55 | font-size: var(--font-small);
56 | font-weight: inherit;
57 | line-height: var(--line-height-small);
58 | margin: 0;
59 | }
60 |
61 | h2 {
62 | color: var(--color-1);
63 | font-weight: inherit;
64 | font-size: inherit;
65 | margin: 0;
66 | line-height: 1.5;
67 | }
68 |
69 | h4,
70 | h5,
71 | h6 {
72 | color: var(--color-black);
73 | font-size: var(--font-small);
74 | font-weight: inherit;
75 | line-height: var(--line-height-small);
76 | margin: 0;
77 | }
78 |
79 | strong {
80 | font-family: "Standard Book", sans-serif;
81 | font-style: normal;
82 | font-weight: 700;
83 | }
84 |
85 | ol,
86 | ul,
87 | p {
88 | margin: 0;
89 | padding: 0;
90 | }
91 |
92 | ul {
93 | list-style: none;
94 | }
95 |
96 | a {
97 | border: 1px solid transparent;
98 | color: currentColor;
99 | text-decoration-color: var(--color-1);
100 | text-decoration-thickness: 1px;
101 | text-underline-offset: 0.25rem;
102 | }
103 |
104 | a:hover {
105 | color: var(--color-1);
106 | }
107 |
108 | a:focus {
109 | border: 1px solid var(--color-1);
110 | color: var(--color-1);
111 | text-decoration: none;
112 | }
113 |
114 | img {
115 | display: inline-block;
116 | height: auto;
117 | max-width: 100%;
118 | vertical-align: middle;
119 | }
120 |
121 | figure {
122 | margin: 0;
123 | }
124 |
125 | svg {
126 | display: inline-block;
127 | height: auto;
128 | max-width: 100%;
129 | vertical-align: middle;
130 | }
131 |
132 | button {
133 | appearance: none;
134 | background-color: transparent;
135 | border: 0;
136 | border-radius: 0;
137 | color: inherit;
138 | cursor: pointer;
139 | font-family: inherit;
140 | font-size: inherit;
141 | font-weight: inherit;
142 | margin: 0;
143 | padding: 0;
144 | }
145 |
--------------------------------------------------------------------------------
/src/posts/2022-11-19-on-routines.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: On routines
3 | displayTitle: true
4 | tags:
5 | - practice
6 | - work
7 | - life
8 | - ritual
9 | - attention
10 | - time
11 | - Ursula Le Guin
12 | - Overthink
13 | - Julia Cameron
14 | ---
15 |
16 | Lately I’ve been thinking a lot about my routine. I’ve been trying to introduce a bit more structure into my work day… not as an attempt to be more productive, more so that I create stronger boundaries between work and the rest of the work. I can sometimes start working at 8am, forget to finish early and then feel totally wrung out by the evening. This isn’t how I want to work at all, because I really believe the research that says working longer hours doesn’t mean you’ll get more done. But with remote work, it can be so easy to slip into working longer and longer hours.
17 |
18 | I found Overthink’s episode about [Productivity](https://www.overthinkpodcast.com/episodes/episode-48) really interesting. I like their suggestions at the end: aim for creativity over productivity, focus on the process not the product, and move more slowly and sustainably.
19 |
20 | 
21 | ▲ Ursula Le Guin’s daily routine
22 |
23 | I also really liked this [advice from the Doist blog](https://blog.doist.com/pay-yourself-first/) that suggests you should “pay yourself first” each morning. Instead of waking up and diving straight into work (or social media), it’s about setting aside the first hour or so of the day for yourself. This is time to do the important-but-not-urgent things that contribute to your own wellbeing or creative practice, rather than try to squeeze them in around your professional work.
24 |
25 | Lately I’ve been writing [morning pages](https://juliacameronlive.com/basic-tools/morning-pages/)… not quite every day yet but I’m getting there. This is one of those practices that is so simple but incredibly effective.
26 |
27 | > Morning Pages are three pages of longhand, stream of consciousness writing, done first thing in the morning. There is no wrong way to do Morning Pages — they are not high art. They are not even “writing.” They are about anything and everything that crosses your mind– and they are for your eyes only. Morning Pages provoke, clarify, comfort, cajole, prioritize and synchronize the day at hand. Do not over-think Morning Pages: just put three pages of anything on the page… and then do three more pages tomorrow.
28 |
29 | I’ve found it really useful to have a [“shutdown ritual”](https://blog.doist.com/end-work-day/) in the evening, which helps in creating that work-life separation. I like to exercise straight after work as well, to clear out my brain and re-situate myself in my body.
--------------------------------------------------------------------------------
/src/_includes/components/head.njk:
--------------------------------------------------------------------------------
1 |
2 |
3 |
4 |
5 | {{ title }} — {% if section == 'home' %}{{ strapline }}{% else %}{{ global.siteTitle }}{% endif %}
6 |
7 |
8 |
9 |
10 |
11 |
12 |
13 | {% if section == 'home' %}
14 |
15 | {% else %}
16 |
17 | {% endif %}
18 |
19 |
20 | {% if metaDescription %}
21 |
22 |
23 | {% endif %}
24 | {% if metaImage.src %}
25 |
26 | {% endif %}
27 | {% if metaImage.alt %}
28 |
29 |
30 | {% endif %}
31 | {% if global.twitterHandle %}
32 |
33 | {% endif %}
34 | {% set css %}
35 | {% include "assets/css/variables.css" %}
36 | {% include "assets/css/fonts.css" %}
37 | {% include "assets/css/base.css" %}
38 | {% include "assets/css/layout.css" %}
39 | {% include "assets/css/components.css" %}
40 | {% include "assets/css/components.header.css" %}
41 | {% include "assets/css/components.footer.css" %}
42 | {% include "assets/css/components.blocks.css" %}
43 | {% include "assets/css/components.pagination.css" %}
44 | {% include "assets/css/components.panel.css" %}
45 | {% include "assets/css/typography.css" %}
46 | {% include "assets/css/helpers.css" %}
47 | {% include "assets/css/keyboard.css" %}
48 | {% include "assets/css/greyscale.css" %}
49 | {% include "assets/css/media.screen-large.css" %}
50 | {% include "assets/css/media.print.css" %}
51 | {% endset %}
52 |
53 | {% set js %}
54 | {% include "assets/js/inline.js" %}
55 | {% endset %}
56 |
57 |
58 |
--------------------------------------------------------------------------------
/src/_data/arena.js:
--------------------------------------------------------------------------------
1 | // The Arena channel ID
2 | const arenaChannelId = 479545;
3 |
4 | // Required package
5 | const Arena = require("are.na");
6 |
7 | function getAllContent(channel, per, count) {
8 | async function getPageContent(page, acc) {
9 | // if we have gone past page 1 we are done here
10 | if (page === 0) {
11 | return acc;
12 | }
13 | // fetch all the content for this page number
14 | const pageContents = await channel.contents({ per, page });
15 | // call this function again for the next page, combining the new content with the existing content
16 | return getPageContent(page - 1, [ ...pageContents, ...acc])
17 | }
18 |
19 | // get how many pages are used to hold all the content
20 | const numberOfPages = Math.ceil(count / per);
21 |
22 | // call recursive function starting on the last page, with a blank array
23 | return getPageContent(numberOfPages, []);
24 | }
25 |
26 | const getArenaChannels = async (channelId) => {
27 | // Set up the Arena instance
28 | const arena = new Arena();
29 |
30 | // Set up base URL
31 | const baseUrl = "https://are.na";
32 |
33 | // Set a per page pagination limit so that arena doesn't 404
34 | const per = 30;
35 |
36 | // Get the root arena channel
37 | const channel = arena.channel(channelId);
38 |
39 | // Get the user and the length of all content (channels and blocks) in the root channel
40 | const { length, user } = await channel.get();
41 |
42 | // Recursively get all page contents using pagination (see 'getAllContent' above)
43 | const channels = await getAllContent(channel, per, length);
44 |
45 | // Add the user to the base URL
46 | const userUrl = `${baseUrl}/${user.slug}/`;
47 |
48 | // Return an array containing only the channels contained in the root channel
49 | return Promise.all(channels.reverse()
50 | // remove blocks
51 | .filter(({ base_class }) => base_class === "Channel")
52 | // map over channels
53 | .map(async ({ id, title, metadata, length: count, slug }) => {
54 | // get new channel
55 | const newChannel = arena.channel(id);
56 | // get all content for this channel
57 | const content = await getAllContent(newChannel, per, length);
58 | // get thumbnail urls for image blocks in this channel (limited to 10 images)
59 | const images = content.reverse()
60 | .filter(b => !!b.image)
61 | .map(b => b.image.thumb.url)
62 | .slice(0, 10);
63 | // get channel description (if present)
64 | const description = metadata && metadata.description;
65 | // get channel url
66 | const url = `${userUrl}${slug}`;
67 | // Return new channel object, somewhat reduced from the default
68 | return { count, description, images, title, url };
69 | }));
70 | };
71 |
72 | module.exports = getArenaChannels(arenaChannelId);
73 |
--------------------------------------------------------------------------------
/src/_includes/assets/css/components.header.css:
--------------------------------------------------------------------------------
1 | .header--site,
2 | .header--desktop,
3 | .header--panel {
4 | margin-bottom: 1.625rem;
5 | padding-bottom: var(--gutter);
6 | padding-top: var(--gutter);
7 | }
8 |
9 | .header--desktop,
10 | .header--panel {
11 | display: none;
12 | }
13 |
14 | .header--site {
15 | display: flex;
16 | flex-wrap: wrap;
17 | padding-left: var(--gutter);
18 | padding-right: var(--gutter);
19 | }
20 |
21 | .header--site > *:first-child {
22 | flex-grow: 1;
23 | padding-right: var(--gutter);
24 | }
25 |
26 | .header--site > *:last-child {
27 | margin-right: calc(var(--gutter) * -1);
28 | }
29 |
30 | .header--site > * {
31 | margin-left: calc(var(--gutter) * -1);
32 | }
33 | .header--site .nav > * {
34 | margin-right: 0;
35 | }
36 |
37 | .header--site .nav {
38 | padding-left: calc(var(--gutter) * -1);
39 | padding-right: calc(var(--gutter) * -1);
40 | }
41 |
42 | .nav__list {
43 | display: flex;
44 | justify-content: space-between;
45 | }
46 |
47 | .header--site .nav__list {
48 | flex-wrap: wrap;
49 | }
50 |
51 | .nav__link {
52 | border: none;
53 | color: var(--color-grey-dark);
54 | padding: 0.5rem var(--gutter);
55 | text-decoration: none;
56 | }
57 |
58 | .nav__link--current,
59 | .panel--profile .nav__link {
60 | color: var(--color-black);
61 | }
62 |
63 | .nav__link:hover,
64 | .nav__link:focus {
65 | border: none;
66 | color: var(--color-1);
67 | }
68 |
69 | .site-title {
70 | font-size: inherit;
71 | line-height: inherit;
72 | }
73 |
74 | .writing--tag .header--site .nav__item--writing {
75 | padding-right: var(--gutter);
76 | }
77 |
78 | .writing--tag .header--desktop .nav__item--writing {
79 | max-width: 40rem;
80 | }
81 |
82 | .writing--tag .nav__link--current {
83 | color: var(--color-grey-dark);
84 | padding-right: 0;
85 | }
86 |
87 | .writing--tag .nav__link--current:hover,
88 | .writing--tag .nav__link--current:focus {
89 | color: var(--color-1);
90 | }
91 |
92 | .writing--tag .panel,
93 | .writing--tag .nav__item {
94 | overflow: hidden;
95 | text-overflow: ellipsis;
96 | white-space: nowrap;
97 | }
98 |
99 | .writing--tag .nav__item {
100 | max-width: 100vw;
101 | }
102 |
103 | .skip-buttons:focus-within {
104 | display: flex;
105 | padding: var(--gutter) var(--gutter) 0 var(--gutter);
106 | }
107 |
108 | .button--skip {
109 | border: none;
110 | clip: rect(1px, 1px, 1px, 1px);
111 | height: 1px;
112 | overflow: hidden;
113 | margin: 0;
114 | padding: 0;
115 | position: absolute !important;
116 | width: 1px;
117 | }
118 |
119 | .button--skip:focus {
120 | border: 1px solid color(--color-1);
121 | clip: none;
122 | height: auto;
123 | overflow: auto;
124 | padding: 0.125rem 0.5rem;
125 | position: static !important;
126 | width: auto;
127 | }
128 |
--------------------------------------------------------------------------------
/src/_includes/assets/js/inline.js:
--------------------------------------------------------------------------------
1 | // Add class so that we can style skip links
2 | const handleFirstTab = e => {
3 | if (e.keyCode === 9) {
4 | // the "I am a keyboard user" key
5 | document.documentElement.classList.add("is-tabbing");
6 | document.documentElement.classList.remove("is-not-tabbing");
7 | window.removeEventListener("keydown", handleFirstTab);
8 | }
9 | };
10 |
11 | // Get cookies
12 | const getCookie = name => {
13 | var v = document.cookie.match("(^|;) ?" + name + "=([^;]*)(;|$)");
14 | return v ? v[2] : null;
15 | };
16 |
17 | // Set cookies
18 | const setCookie = (name, value, days) => {
19 | var d = new Date();
20 | d.setTime(d.getTime() + 24 * 60 * 60 * 1000 * days);
21 | document.cookie = name + "=" + value + ";path=/;expires=" + d.toGMTString();
22 | };
23 |
24 | // Delete cookies
25 | const deleteCookie = name => {
26 | setCookie(name, "", -1);
27 | };
28 |
29 | // Toggle the contrast; see button onclick
30 | const toggleContrast = () => {
31 | if (document.documentElement.classList.contains("greyscale")) {
32 | document.documentElement.classList.remove("greyscale");
33 | deleteCookie("gc-contrast");
34 | } else {
35 | document.documentElement.classList.add("greyscale");
36 | setCookie("gc-contrast", 1, 365);
37 | }
38 | };
39 |
40 | // Set the tab index
41 | const setTabbing = (matches, mainElems, panelElems) => {
42 | const badLinks = matches ? mainElems : panelElems;
43 | const goodLinks = matches ? panelElems : mainElems;
44 | badLinks.forEach(link => {
45 | link.setAttribute("tabindex", "-1");
46 | });
47 | goodLinks.forEach(link => {
48 | link.removeAttribute("tabindex");
49 | });
50 | };
51 |
52 | // Switch the contrast ID for the skip link
53 | const idContrast = (matches, mainContrast, panelContrast) => {
54 | const badButton = matches ? mainContrast : panelContrast;
55 | const goodButton = matches ? panelContrast : mainContrast;
56 | badButton.removeAttribute("id");
57 | goodButton.setAttribute("id", "contrast");
58 | };
59 |
60 | // Hide the footer elements if necessary
61 | const hideFooter = () => {
62 | const mql = window.matchMedia("(min-width: 40em)");
63 | const mainFooter = document.querySelector("body > .footer--site");
64 | const mainElems = mainFooter.querySelectorAll("a, button");
65 | const mainContrast = mainFooter.querySelector(".js-contrast");
66 | const panelFooter = document.querySelector(".panel .footer--site");
67 | const panelElems = panelFooter.querySelectorAll("a, button");
68 | const panelContrast = panelFooter.querySelector(".js-contrast");
69 | setTabbing(mql.matches, mainElems, panelElems);
70 | idContrast(mql.matches, mainContrast, panelContrast);
71 | mql.addListener(e => {
72 | setTabbing(e.matches, mainElems, panelElems);
73 | idContrast(e.matches, mainContrast, panelContrast);
74 | });
75 | };
76 |
77 | const contrast = getCookie("gc-contrast");
78 |
79 | window.addEventListener("keydown", handleFirstTab);
80 |
81 | if (contrast) {
82 | document.documentElement.classList.add("greyscale");
83 | }
84 |
--------------------------------------------------------------------------------
/src/posts/2021-04-09-beyond-precarity.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Beyond precarity
3 | displayTitle: true
4 | tags:
5 | - cooperation
6 | - work
7 | - Brave New Alps
8 | ---
9 |
10 | Just read Brave New Alps' contribution to [Design Struggles](https://valiz.nl/en/publications/design-struggles.html). The book is [available online](https://valiz.nl/images/DesignStruggles-DEF_978-94-92095-88-6single-4March21-VALIZ-def.pdf) in full. Their chapter, [Design(ers) Beyond Precarity: proposals for everyday action](https://www.academia.edu/45375124/Design_ers_Beyond_Precarity_proposals_for_everyday_action_2021_), explores *how to create the social and material conditions that make critical, transformative design practice possible.*
11 |
12 | I've done a handful of talks about my work with Common Knowledge and UVW Designers + Cultural Workers, and this is (unsurprisingly) the question that comes up the most from students. It's one thing to point out all the problems in the industry and outline alternative ways of working, but how does a new graduate with very little experience carve out a critical practice? Where do you even begin?
13 |
14 | 
15 |
16 |
17 |
18 | Some of Brave New Alps' suggestions include:
19 |
20 | - Starting by recognising our own interdependence and looking for ways to address not just our own precarity but also others
21 | - Examining our upbringing, context and privilege; working out how to extend these privileges to others
22 | - Understanding the relational patterns of exchange and support underpinning all economies (e.g. J. K. Gibson-Graham's economic iceberg model)
23 | - Getting over one's entitlement to unsustainable and destructive ways of living
24 | - Redefining what success means
25 | - Resisting capital's demand for constant movement (towards city centres)
26 | - Opting for a voluntarily frugal lifestyle (and fighting for a universal basic income)
27 | - Exploring cooperative housing and other forms of common infrastructure
28 | - Combining these experiments in creating social and material support structures with social movement activism
29 |
30 | > But clearly common infrastructure is not just about housing. To start small and immediately with caring for more collective infrastructures, you can investigate through practice how others can be empowered through the social, intellectual, and/or material wealth you have. How can it be channeled into more collective and collaborative efforts to work ourselves away from precarious living and working conditions towards an ecologically and socially just society? Small experiments in opening up to others what you have can bring up desires and ideas for more extensive action. **The frame here is about creating ecologies of support where the myth of the heroic designer as genius is undone in favor of gentle, solidary, and effective modes of cooperation that enable transformative infrastructures to emerge.**
--------------------------------------------------------------------------------
/src/posts/2021-11-17-warp-weft.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Warp, weft
3 | displayTitle: true
4 | tags:
5 | - learning
6 | - weaving
7 | - craft
8 | - process
9 | ---
10 |
11 | I did a weaving workshop last week and really loved it. I've been on the lookout for a new tactile hobby for a while. Tried pottery a few times but just didn't enjoy it that much – just couldn't get the hang of the wheel and never enjoyed the process very much. I think weaving could be the one. I'm recording some of what I learned here so I don't forget them, but this is by no means a how-to guide. I have no idea what I'm doing!
12 |
13 | ---
14 |
15 | The *warp* is the strong vertical threads that provide a structure for the weaving. The *weft* is the threads that you weave through the warp horizontally. We were using lap looms in this workshop, which seem to be the easiest type of loom to learn.
16 |
17 | 
18 |
19 | Begin by warping the loom: wind strong, plain cotton thread around the notches at the top and bottom. We added a folded piece of cardboard across the bottom of the warp, to keep from going too close to the edge of the loom.
20 |
21 | If you want a fringe at the bottom, start by adding that. Cut some even lengths of thread and lie them on top of two warp threads, then loop them under so they're hanging off the bottom of the warp. Repeat along the whole row.
22 |
23 | In the workshop, we just did a *tabby weave*, which is the most simple weaving technique. Pull the weft thread over the first warp thread, under the second, over the third, and so on. Once you've reached the other side, go back in the opposite direction.
24 |
25 | I hadn't realised how grid-based weaving is – the warp provides a regular but invisible grid of columns. Build up shapes vertically with the weft, beginning at the bottom and working upwards. Add variation by changing how far along the columns you weave the thread.
26 |
27 | Change threads to switch up the colours and textures. You can even alternate and blend colours within the same row. I love how this looks! You can use a photo for reference, or else just create an abstract composition. I find the abstract compositions much more appealing and really want to try to make something as freeform as [this](http://www.theweavingloom.com/getting-out-of-a-creative-block/).
28 |
29 | Make sure to tuck the ends of the threads back into the weaving. Otherwise, they'll hang out the sides of the finished piece. Don't pull the thread too tight at the edges or else it will start to become an hourglass shape.
30 |
31 | Once you've finished your composition, cut your warp from the loom and double-knot the thread at the top and bottom. Attach a dowel to the top so you can hang it.
32 |
33 | ---
34 |
35 | Afterward I immediately went and found a bunch of amazing textile artists, of course. I really like weaving as a concept and a metaphor as well. It feels like a feminist practice in more ways than one! 🕷
36 |
37 |
38 |
39 |
40 |
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/src/posts/2022-10-09-long-live-rss.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Long live RSS
3 | displayTitle: true
4 | tags:
5 | - reading
6 | - technology
7 | - social media
8 | - recommendations
9 | - focus
10 | ---
11 |
12 | I’ve had quite stringent settings on my phone for a long time: no badges, barely any notifications, screen time restrictions on social media and downtime in the evening. Despite all this, I still spend around 90–120 minutes on my phone every day. Like most of us, I default to picking up my phone and doom-scrolling every time there is minute or two of empty time.
13 |
14 | I had a bit of a forced digital detox while we were in Greece: my roaming data ran out so I had a few weeks where I could only access the internet on wifi. I decided to make the most of it, partially inspired by *Four Thousand Weeks*, and deleted Twitter and Instagram from my phone. I still reached for my phone in every spare moment but it was a lot more boring.
15 |
16 | I decided that I should start using RSS again to keep up with blogs and people and news instead. I’m using Feedly as an RSS reader and Pocket to save articles to read later. My Pocket articles go directly to my Kobo, which I love, but unfortunately it doesn’t let me highlight the text. I’ve also moved a lot of my Substacks to RSS now in an attempt to have less in my inbox as well. It seems like it’s not possible to do this with Tiny Letter though.
17 |
18 | Here’s a few blogs and newsletters that I really love:
19 | - Harper’s Magazine publishes a [*Weekly Review*](https://harpers.org/2022/09/weekly-review-mahsa-amini-giorgia-meloni-pleasuredome-spa-waterloo/) that reflects the chaos of our current reality and always makes me laugh out loud.
20 | - The Baffler has a similar dispatch called [*Fresh Hell*](https://thebaffler.com/latest/fresh-hell-unhappy-meal).
21 | - Claire L. Evan’s [*Wild Information*](https://clairelevans.substack.com/archive). Her most recent post, [*Intimate Geographies*](https://clairelevans.substack.com/p/intimate-geographies), is sublime.
22 | - Patrick Tanguay’s [*Sentiers*](https://sentiers.media/newsletter/1/). I think this is the best newsletter out there… I usually save almost every one of the articles he shares to read later.
23 | - [Alicia Kennedy](https://www.aliciakennedy.news/) writes weekly essays on (vegan) food, politics and culture.
24 | - [David O’Reilly](https://sub.davidoreilly.com/) writes about digital technology and creative practice. It’s an honest and insightful look at what it means to be creative.
25 | - [*Gnamma*](https://tinyletter.com/gnamma/archive) by Lukas W is poetic and watery and so well-written.
26 | - Adam Greenfield writes occasional [dispatches](https://tinyletter.com/speedbird) about politics and mutual aid.
27 | - [*Naive Weekly*](https://kristoffer.substack.com/) seems sweet and peaceful (via Piper).
28 | - [Tom Critchlow’s](https://tomcritchlow.com/writing/) blog on strategic consultancy
29 | - Dark Matter Lab’s [*Provocations*](https://provocations.darkmatterlabs.org/) on strategic design, governance, urbanism and complex systems.
30 | - [*The White Pube*](https://thewhitepube.co.uk/blog/) for art criticism, culture and game reviews.
31 | - [*Branch*](https://branch.climateaction.tech/issues/), an online magazine about using the internet as a positive force for climate justice.
32 | - [*Climate in Colour*](https://climateincolour.substack.com/), on the intersection of climate science, diversity and sustainable living.
33 | - [*We Can Fix It*](https://wecanfixit.substack.com/), on facing climate change with a mix of fact, feelings and action.
34 |
35 | By the way — my own RSS feed is available [here](https://gemmacope.land/feed.xml).
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/src/posts/2022-08-29-weavings.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Woven
3 | displayTitle: false
4 | tags:
5 | - learning
6 | - weaving
7 | - process
8 | - craft
9 | - Wales
10 | - friends
11 | ---
12 |
13 | I learn more with each weaving I make.
14 |
15 | 
16 |
17 | This one is particular favourite of mine, made last month for H’s mum. It’s inspired by the colours and textures of the Welsh landscape: green hills, purple and red heather, mountains, lichen. I bought some roving from a local shop in Dolgellau – it’s incredibly soft, hand-dyed in purple, green and yellow. I also found some wool on our hike and added that in as clouds.
18 |
19 | 
20 |
21 |
22 |
23 | My first weaving, made for Lizzie and Paul in Melbourne using my new loom from [Wunder Weave](https://wunderweave.bigcartel.com/). I experimented with making shapes, adding [rya knots](https://www.theweavingloom.com/weaving-tips-rya-knots/) and [soumak weaving](https://www.theweavingloom.com/weaving-techniques-the-soumak-weave-braid-weave/). Hung on a piece of driftwood found on Minjerribah.
24 |
25 | 
26 |
27 | A simpler composition for Nik and Grace in Melbourne. I played with blending similar colours and adding texture through different thicknesses.
28 |
29 | 
30 |
31 | A colourful one for Hannah’s birthday, using hand-dyed pastel wool from [The Wool Kitchen](https://www.thewoolkitchen.com/) in London. This was incredible to work with – the patterns of colourful specks gradually emerge in the process. I felt more confident about blending shapes with this one.
32 |
33 | 
34 |
35 | One for Piper and Sam. With this one I was playing with subtle colour changes again, as well as trying a narrower overall shape. I found the branch on Ilkley moor when we were there to visit them. Really loved the intertwined sections.
36 |
37 | I used the same green thread for the weft as is throughout the warp. I really like how you can see coming through, particularly with the thicker wool.
38 |
39 | I was a bit disappointed that it’s drawn in at the middle where I’ve only used really fine wool. It’s hard to know that this is happening when it’s on the loom, but I'm going to be more conscious of not pulling the thread too tight next time.
40 |
41 | 
42 |
43 | Next I want to experiment with making smaller weavings, like [these](https://www.instagram.com/p/ChjGBIsrJRb/). I also want to try one with much more texture, potentially by layering rya knots and loops.
--------------------------------------------------------------------------------
/src/posts/2020-05-27-time-during-quarantine.md:
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1 | ---
2 | title: Time during quarantine
3 | displayTitle: true
4 | tags:
5 | - reflection
6 | - time
7 | - pandemic
8 | ---
9 |
10 | I've just finished reading [Mrs Dalloway](https://en.wikipedia.org/wiki/Mrs_Dalloway), which has me thinking a lot about time. (It was originally called The Hours, after all.) It's such a wonderful book: Woolf effortlessly changes tempo, switches between the inner dialogue of different characters, moves from describing a fleeting present moment in great detail to remembering events long since passed.
11 |
12 | It was particularly interesting to read this in our current context of lockdown. There seems to be a general consensus that [time is very weird right now](https://www.vox.com/2020/5/7/21248259/why-time-feels-so-weird-right-now-quarantine-coronavirus-pandemic). March was endless while April and May have passed by incredibly quickly. There are ongoing jokes on Twitter about people struggling to remember what day it is, and questioning why we have days of the week at all.
13 |
14 |
15 |
16 | There are a number of different explanations for this: our rhythms and routines are messed up, our days are more monotonous, we aren't going to the events or spaces that we usually use to demarcate our time. At the same time, we're incredibly anxious, seismic shifts are happening on a global level, and there's no end in sight.
17 |
18 | I'm curious how people in different types of jobs are experiencing this time period, from key workers, who are still working and who even before the crisis were more likely to be working irregular shifts, to those who have been furloughed.
19 |
20 | In Mrs Dalloway, time is both linear and circular: the day progresses steadily, yet the present, past and future are happening all at once. Clocks are an ever-present motif throughout the novel:
21 |
22 | > Shredding and slicing, dividing and subdividing, the clocks of Harley Street nibbled at the June day, counselled submission, upheld authority, and pointed out in chorus the supreme advantages of a sense of proportion, until the mound of time was so far diminished that a commercial clock, suspended above a shop in Oxford Street, announced… that it was half-past one.
23 |
24 | Without these clocks, which serve to bring the characters back to the present moment and also reminding them of their mortality, time is completely personal, subjective, irregular.
25 |
26 | As we struggle to keep track and make sense of quarantine, it's not clocks that are reminding us of "objective" time but political events instead. In the essay [Plot Economics](https://www.ribbonfarm.com/2020/03/09/plot-economics/), Venkatesh Rao suggests that during a global narrative collapse like these, we collectively revert to *log level time*:
27 |
28 | > Temporality (your constructed sense of subjective time) collapses to what I call the log level. As in, you’re down to monitoring the equivalent of computer event logs; the tick-tock stream of raw events being recorded, prior to being evaluated and filtered for significance.
29 |
30 | This pandemic has highlighted that while our perception of time is subjective and personal, we also have a shared understanding of time that is cultural and political:
31 |
32 | > Whatever time is, calendars and clocks measure, control, and constitute it. […] These logistical media—so fundamental that they sometimes are not seen as media at all—negotiate heaven and earth, nature and culture, cosmic and social organisation, and define our basic orientation to time and also to space. In doing so, they also relieve us of the burden of thinking about what time is and does.
33 | — from [The Marvellous Clouds](https://press.uchicago.edu/ucp/books/book/chicago/M/bo20069392.html) by John Durham Peters
34 |
35 | [Time during Quarantine](https://www.are.na/gemma-copeland/time-during-quarantine) channel
36 |
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/src/_includes/layouts/post.njk:
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1 | ---
2 | section: post
3 | ---
4 | {# NOTE Have to implement macro because it isn’t currently supported in Eleventy: #}
5 | {% macro getNextPrev(collectionHandle, arrowsPrevious, arrowsNext) %}
6 | {% set collection = collections[collectionHandle] %}
7 | {% set currentIndex = 0 %}
8 | {% set count = collection.length %}
9 |
10 | {% for item in collection %}
11 | {% if item.url == page.url %}
12 | {% set currentIndex = loop.index0 %}
13 | {% endif %}
14 | {% endfor %}
15 |
16 | {% if currentIndex >= 0 %}
17 | {% set prevIndex = currentIndex - 1 %}
18 | {% else %}
19 | {% set prevIndex = false %}
20 | {% endif %}
21 | {% if currentIndex <= collection.length %}
22 | {% set nextIndex = currentIndex + 1 %}
23 | {% else %}
24 | {% set nextIndex = false %}
25 | {% endif %}
26 | {% set prev = collection[prevIndex] %}
27 | {% set next = collection[nextIndex] %}
28 |
29 | {% if prev %}
30 | {% set arrowPrevious = arrowsPrevious | random %}
31 | {{ arrowPrevious }}
32 | {% endif %}
33 | {% if next %}
34 | {% set arrowNext = arrowsNext | random %}
35 | {{ arrowNext }}
36 | {% endif %}
37 |
38 | {% endmacro %}
39 |
40 |
41 |
42 | {% include "components/head.njk" %}
43 |
44 |
45 |
46 | {% include "components/header.njk" %}
47 |
48 |
49 |
50 | {% set linkUrl = '/writing/' %}
51 | {% set linkText = 'Writing' %}
52 | {% set current = true %}
53 | {% include "components/nav-link.njk" %}
54 |
98 |
99 | {% set arrowTop = global.arrowsTop.split(', ') | random %}
100 | {{ arrowTop }}
101 |
102 |
103 |
104 |
105 | {% include "components/footer.njk" %}
106 |
107 |
108 |
109 |
110 |
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/src/posts/2022-10-29-mushroom-season.md:
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1 | ---
2 | title: Mushroom season
3 | displayTitle: true
4 | tags:
5 | - photolog
6 | - mushrooms
7 | - nature
8 | - walk
9 | - London
10 | - foraging
11 | - friends
12 | ---
13 |
14 | October is mushroom season! Last Saturday was particularly bright and sunny after a few days of rain, which is perfect for mushrooms. We went to Hampstead Heath with a few friends who forage mushrooms regularly.
15 |
16 | 
17 |
18 | We were lucky and found so many different varieties including [honey fungus](https://www.wildfooduk.com/mushroom-guide/honey-fungus/), [black-staining polypores](https://www.mushroomknowhow.com/black-staining-polypore/), laughing gym, [curry-scented milkcap](https://www.wildfooduk.com/mushroom-guide/curry-scented-milkcap/), fruity brittlegill, [porcelain fungus](https://www.wildfooduk.com/mushroom-guide/porcelain-fungus/), shaggy scalycap and the iconic [fly agaric](https://www.woodlandtrust.org.uk/trees-woods-and-wildlife/fungi-and-lichens/fly-agaric/). Most of these were either inedible or poisonous, so we left them alone after identifying them. Some, like the honey fungus, are edible but we didn't pick them because we found so many other “choice” mushrooms.
19 |
20 | 
21 |
22 | The tastiest find of the day was this [hen of the woods](https://www.wildfooduk.com/mushroom-guide/hen-of-the-woods/). We also found some [charcoal burners](https://www.wildfooduk.com/mushroom-guide/charcoal-burner/), [parasols](https://www.wildfooduk.com/mushroom-guide/parasol/), [cauliflower fungus](https://www.wildfooduk.com/mushroom-guide/cauliflower-fungus/) and [red cracked bolete](https://www.wildfooduk.com/mushroom-guide/red-cracked-bolete/), which we cooked and ate the next day (after extensive rounds of verification and double-checking.)
23 |
24 | I enjoy the process of finding mushrooms in itself, even if we didn’t eat them afterwards. It’s all about paying careful attention. It requires a different way of looking: soft, out of the corners of your eyes. There are certain trees, like beech and oak, where they’re more likely to grow around. Once you learn how to see them, it’s like unlocking a hidden visual layer on the world. Suddenly, there are mushrooms everywhere.
25 |
26 | 
27 |
28 | To identify the species, you need to pay even closer attention, examining the mushroom’s structure, shape, texture, gills and smell. I’m following Emergence Magazine’s [*Writing From the Roots*](https://emergencemagazine.org/event/writing-from-the-roots-part-ii/) course at the moment and identifying mushrooms reminds me of some of the writing exercises we’ve done: gradually zooming in on something and describing it in closer and closer detail each time.
29 |
30 | It takes loads of practice to safely forage mushrooms and I’m not sure we would have eaten any without the guidance of our friends. They recommended two apps for identifying mushrooms: [Picture Mushroom](https://apps.apple.com/gb/app/picture-mushroom-mushroom-id/id1474578078) and [Shroomify](https://apps.apple.com/gb/app/shroomify-mushroom-id/id1490594715). I’ve heard that [*Mushrooming with Confidence*](https://www.waterstones.com/book/mushrooming-with-confidence/alexander-schwab/9781620871959) is a really useful identification guide that only includes mushrooms that aren’t easy to mix up with a poisonous doppelgänger. There are also good videos online by [Wild Food UK](https://www.youtube.com/channel/UCO6CqGDjDyzsPpDnoRU5pjg).
31 |
32 | 🍄
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/src/posts/2023-04-25-all-flourishing-is-mutual.md:
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1 | ---
2 | title: All flourishing is mutual
3 | displayTitle: true
4 | tags:
5 | - Portugal
6 | - cooperatives
7 | - Cooperativa Integral Minga
8 | - Montemor-o-Novo
9 | - degrowth
10 | - commoning
11 | - photolog
12 | ---
13 |
14 | A few weeks ago we visited [Cooperativa Integral Minga](https://mingamontemor.pt/), a multisector co-op in Montemor-o-Novo, about an hour east from Lisbon in the Alentejo region.
15 |
16 | 
17 |
18 | They have around 100 members across four branches: agriculture, products, services and housing. These branches run as autonomous working groups using sociocracy. They also have a number of elected administrative roles that make up their board.
19 |
20 | Anyone living in the area around Montemor can pitch an idea to join the group, as long as their practice is in accordance with Minga's values: sustainability and degrowth. Once they join, they can run their company through the co-op rather than individually, sharing resources and lowering costs for everyone. In return, 5% of each invoice goes towards Minga.
21 |
22 | 
23 |
24 | They have a small store in the centre of town where you can buy local and seasonal fruit and vegetables, groceries, ceramics and textiles from co-op members. The shop is a way of promoting locally sourced goods, fair trade and a circular economy. Everything is grown or made by hand, with natural materials and human energy.
25 |
26 | 
27 |
28 | On one of the shelves there are skeins of cream and brown yarn, produced by [Suarda](https://suarda.pt/). Last year, two cooperators (Jorge and Telma) started the company, which is focused on encouraging fairer and more sustainable wool production from all angles: fair prices for producers, improved animal welfare, and a regenerative approach to environmental stewardship. It's an attempt to create an entirely new value chain around wool and revive the national textile industry.
29 |
30 | 
31 |
32 | 
33 |
34 | Around the corner from the store is the *Espaço Integral*, a coworking and event space which houses a communal library, seed swap and some wooden looms. Another cooperator (Teresa) weaves with Suarda wool there, sharing her knowledge with anyone who is interested in learning the craft.
35 |
36 | 
37 |
38 | 
39 |
40 | For me, the fascinating thing about Minga is how it weaves together so many strands of life: from food to housing to work to education to health. They share the same cooperative values, but operate at a whole different scale to a worker co-op. Rather than focus on one industry, it's possible to work in collaboration with many other in order to address issues across and between sectors, with a philosophy of degrowth underpinning everything they do. The people involved have such a wide range of expertise, sharing knowledge across different sectors and different generations. They are deeply rooted in Montemor, slowly creating a commons from which everyone can benefit.
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/src/posts/2019-09-21-urgency.md:
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1 | ---
2 | title: Protocols
3 | displayTitle: false
4 | tags:
5 | - urgency
6 | - reflection
7 | - Evening Class
8 | ---
9 |
10 | I've recently been working on a Membership Agreement for [Evening Class](https://evening-class.org/). It's an attempt to escape [the tyranny of structurelessness](https://www.jofreeman.com/joreen/tyranny.htm), as well as to provide a guide for new members.
11 |
12 | It's been a rewarding exercise as it's prompted us to think about and formalise some of the key principles that underpin everything we do, as well as making clear what forms of support we expect from each other. In some ways, these kinds of protocols can feel unnecessarily formal, but I feel like by having it all written down allows us to address how we treat each other more directly, forming the basis for a greater level of trust within the group.
13 |
14 | This got me thinking about protocols more broadly, and what they mean for establishing and maintaining self-organised groups.
15 |
16 |
17 |
18 | ---
19 |
20 | In [Emergent Strategy](https://www.akpress.org/emergentstrategy.html), adrienne maree brown highlights the protocol set out by [Asians 4 Black Lives](https://a4bl.wordpress.com/who-we-are/), an intersectional ally group based in the Bay Area. There are so many aspects of this that feel important to me, but to draw out just a few:
21 |
22 | It sets a framework for building trust, support and solidarity, both within the group and with a wider community. This comes across not only through the content but also in the tone of voice – it is calm and understanding, removing judgement and recognising that there is always an opportunity for growth, on both a personal and collective level.
23 |
24 | It feels calm, slow and intentional, focused on long-term strategic change rather than short bursts of activity. It leaves space for plurality, highlighting that there is not one single answer or vision, but a multiplicity of different voices and attempts.
25 |
26 | The conclusion particularly stands out to me:
27 |
28 | > We submit these principles and protocols with humility and openness. We don’t have it all figured out, but we are committed to taking a stand, and learning as we go. We will not wait to be perfect, because we believe the time is now and we would rather be held accountable for our mistakes than forgiven our inaction.
29 |
30 | There is a clear sense of urgency and clarity here, but also the recognition of the inevitability of change. It demonstrates that a protocol is not a fixed set of rules, but something to be constantly questioned and renegotiated by its members.
31 |
32 | This got me thinking about what Paul Soulellis has been writing about his idea of [Urgentcraft](https://docs.google.com/document/d/1gLnHQq2VjPrsRRB_wA-DTmHsRBreET09e-ZpT-j-ez0/edit). I strongly recommend reading the whole thing, but this particular section feels very important to me:
33 |
34 | > I love the contradiction here, that to better understand crisis, we may need to recognize the slowness of how conditions evolve, how power operates, the patience to build and fortify over time. Committing to maintenance as a form of urgency. And I think there’s something particularly queer about slowness these days, as a resistance to acceleration and the normative speeding up of things. Especially as it relates to network culture and our production and consumption of media.
35 |
36 | I feel like a protocol is a group's commitment to maintenance, to the practice of becoming. It is a collective attempt to sketch out the world we want to live in, to create the conditions in which we want to practice. It is an ongoing, slow process of resistance and negotiation, grounded in the insistence that another world is possible.
37 |
38 | Finally, this brings me back to my favourite quote from Emergent Strategy:
39 |
40 | > There is such urgency in the multitude of crises we face, it can make it hard to remember that in fact it is urgency thinking (urgent constant unsustainable growth) that got us to this point, and that our potential success lies in doing deep, slow, intentional work.
41 |
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/src/posts/2020-08-05-all-lichen.md:
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1 | ---
2 | title: All lichen, all coral
3 | displayTitle: true
4 | tags:
5 | - reading
6 | - cooperation
7 | - nature
8 | - climate crisis
9 | ---
10 |
11 | I'm currently in northern Wales, doing a lot of walking and also reading [Arts of Living on a Damaged Planet](https://www.upress.umn.edu/book-division/books/arts-of-living-on-a-damaged-planet).
12 |
13 | It's a collection of essays about geology and biology, shared histories and unstable futures, nature and the Anthropocene, featuring many of my favourite writers: Anna Tsing, Donna Harraway, Ursula K Le Guin. It's split in two halves – *Ghosts* and *Monsters*:
14 |
15 | > Ghosts and monsters are two points of departure for characters, agencies and stories that challenge the double conceit of modern Man. Against the fable of Progress, ghosts guide us through haunted lives and landscapes. Against the conceit of the Individual, monsters highlight symbiosis, the enfolding of bodies within bodies in evolution and in every ecological niche. In dialectical fashion, ghosts and monsters unsettle anthropos from its presumed centre stage in the Anthoropocene by highlighting the webs and histories from which all life emerges.
16 |
17 | 
18 |
19 |
20 |
21 | ## Cooperative evolution
22 | One of the key thinkers who is mentioned in the book is [Lynn Margulis](https://en.wikipedia.org/wiki/Lynn_Margulis), who "opposed competition-oriented views of evolution, stressing the importance of symbiotic or cooperative relationships between species". (She also developed the Gaia Theory with James Lovelock.)
23 |
24 | Her theories on cooperative evolution, now widely accepted in the scientific community, challenge common ideas about nature and individualism. Yet the dominant cultural narrative of the Anthropocene is still one of competition, human exceptionalism and linear progress.
25 |
26 | Many of the essays describe multispecies entanglements and symbiotic relationships across every scale, from cells to landscapes. The book is all about thinking about complex meshes and entanglements rather than simplified, linear, one-way hierarchies.
27 |
28 | By highlighting examples of symbosis and collaborative survival in nature, and pointing to the fallacy of seeing humans as apart from nature, it points towards new ways of thinking about how we might live together.
29 |
30 | ## Diversity and complexity
31 | I particularly loved the essay Shimmer by [Deborah Bird Rose](https://en.wikipedia.org/wiki/Deborah_Bird_Rose), an anthropologist whose work focuses on multispecies communities living through climate change, based on decades of fieldwork with Indigenous Australians.
32 |
33 | She introduces the Aboriginal concept of *bir'yun* – which translates to "brilliance" or "shimmering", the ancestral power of life. It is a concept that seeps into all aspects of life, and doesn't distinguish between nature or culture. One example she uses to describe it is the overlaying different temporal patterns in music and dance; another is in the pulse between wet and dry seasons, as the landscape moves from dullness to brilliance and back again.
34 |
35 | > *Bir'yun* shows us that the world is not composed of gears and cogs but of multifaceted, multispecies relations and pulses. To act as if the world beyond humans is composed of "things" for human use is a catastrophic assault on the diversity, complexity, abundance and beauty of life.
36 |
37 | ## Collaborative survival
38 | I'm reminded of much of Le Guin's writing, especially The Carrier Bag Theory of Fiction, and how we need to write new stories of collaborative survival, *against the fable of Progress and the conceit of the Individual*.
39 |
40 | > A major challenge is how to think geological, biological, chemical and cultural activity together, as a network of interactions with shared histories and unstable futures. There is something mythlike in this task: we consider anew the living and the dead; the ability to speak with invisible and cosmic beings; and the possibility of the end of the world.
41 |
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/src/posts/2022-11-12-a-continuous-and-never-ending-process.md:
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1 | ---
2 | title: A continuous and never ending process
3 | displayTitle: true
4 | tags:
5 | - reading
6 | - science fiction
7 | - time
8 | - identity
9 | - adaptation
10 | - film
11 | - Emily St John Mandel
12 | ---
13 |
14 | I read three of [Emily St John Mandel’s](https://www.emilymandel.com/) books in quick succession last month: *Sea of Tranquility*, *The Glass Hotel* and *Station Eleven*. Her work often involves parallel universes and time travel, but it's subtle and bit different to a lot of the science fiction I read. More like narrative where the boundaries between moments in time feel shimmering and fragile.
15 |
16 | One of the interesting things about her work is that, although the books aren’t a series, the same characters appear throughout. The main character of one book might be a background character of the next. Sometimes they’ll be more or less the same, other times their storylines will be slightly altered. It really adds depth to her suggestions about the nature of time.
17 |
18 | Pandemics and the end of the world are a common theme, but it’s much less bleak than it sounds. There’s something hopeful about it too — an acceptance of living in post-apocalyptic times, a realisation that there is still beauty after the end of the world.
19 |
20 | > My point is, there’s always something. I think, as a species, we have a desire to believe that we’re living at the climax of the story. It’s a kind of narcissism. We want to believe that we’re uniquely important, that we’re living at the end of history, that *now*, after all these millennia of false alarms, *now* is finally the worst that it’s ever been, that finally we have reached the end of the world.
21 |
22 | 
23 | ▲ The Structured Tails of Comet NEOWISE by Zixuan Lin, from Nasa's [Astronomy Picture of the Day](https://apod.nasa.gov/apod/ap200722.html)
24 |
25 | It was interesting to read *Station Eleven* the novel after loving the miniseries so much. It was enjoyable to compare Mandel’s original text with Patrick Somerville’s interpretation. Both were incredible in their own way, but also so different. There’s a great (spoiler-ridden) New Yorker article about this: [*In Station Eleven, all art is adaptation*](https://www.newyorker.com/culture/on-television/in-station-eleven-all-art-is-adaptation).
26 |
27 | > HBO’s Station Eleven is obsessed with adaptation, the way that people (many of them actors) reuse and project upon a source. It’s awash in references: Christmas carols, the funk band Parliament, Bob Dylan, King Lear and Hamlet. There’s also the most transcendent cover of rap music that I’ve ever seen on TV, a set piece that somehow crystallizes a character, a situation, and the human situation, all at once. Most of the art featured on the series doesn’t exist in its original form. It comes filtered through individuals, who carry and change it in time—shaping, recontextualizing, extracting what they need. One feels as though Somerville were triangulating between the texts and his characters to locate some mysterious quality that hovers in the middle. When Kirsten, Jeevan, and Frank stage Station Eleven, for example, the play works because the actors and the dynamics among them are so real. Yet the players grow more alive in the performance; their actual dynamics are heightened by it.
28 |
29 | Speaking of interpretations and adaptations, we watched the 2007 film [*I’m Not There*](https://en.wikipedia.org/wiki/I%27m_Not_There) last night, which was “inspired by the many lives of Bob Dylan”. There are six characters played by different actors (including a transcendent Cate Blanchett) in separate and nonlinear storylines. Each represents a different facet of Dylan’s persona and life.
30 |
31 | > I don't think I'm tangible to myself. I mean, I think one thing today and I think another thing tomorrow. I change during the course of a day. I wake and I'm one person, and when I go to sleep I know for certain I'm somebody else. I don't know who I am most of the time. It doesn't even matter to me.
--------------------------------------------------------------------------------
/src/posts/2020-08-07-strike.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Strike!
3 | displayTitle: true
4 | tags:
5 | - strike
6 | - teaching
7 | - unions
8 | - pandemic
9 | ---
10 |
11 | At the start of the year, University of the Arts London (UAL) joined the ongoing University and College Union (UCU) strikes, which were centred on the "four fights":
12 | - falling pay
13 | - the gender and ethnic pay gap
14 | - precarious employment practices
15 | - unsafe workloads
16 |
17 |
18 |
19 | I had only just begun working as an Associate Lecturer, but went on strike out of solidarity. It was eye-opening to learn about the worsening conditions for teaching staff, both through statistics and personal stories. [Why UK Art Schools Are On Strike](https://www.frieze.com/article/why-uk-art-schools-are-strike) from Frieze provides a good overview, specifically from an art school perspective.
20 |
21 | Designers + Cultural Workers (UVW-DCW) helped out by designing [The University Worker](https://notesfrombelow.org/tag/ucu-pension-strike), a rank and file strike bulletin published by Notes from Below.
22 |
23 | 
24 |
25 | ## Teach-outs
26 | We also contributed to a couple of teach-outs: [a conversation recorded for Strike Radio](https://www.mixcloud.com/strikeradio/designers-need-a-union-too-teach-out-lcc-with-uvwdcw-from-the-ucu-strike-2020/) about why designers need to unionise, and *Unions for Everything* at CSM, alongside some of our UVW sister branches (representing Architects and Sex Workers), [London Renters Union](https://londonrentersunion.org/) and [Cooperation Town](https://www.mutual-aid.uk/).
27 |
28 | Each group spoke about why they exist, what they do, and why we need unions, grassroots organising and mutual aid in all aspects of our lives. We also read through [101 Notes on the LA Tenants Union](https://communemag.com/101-notes-on-the-la-tenants-union/).
29 |
30 | ## What's next?
31 | Unfortunately towards the end of the strikes, coronavirus started to dominate the headlines, and London went into lockdown shortly after. The optimism that I felt during the strikes feels very naive now.
32 |
33 | The ongoing crisis is only going to worsen working conditions within universities and institutions, while social distancing makes it harder for workers to strike. It's extremely concerning to watch [how cultural institutions are responding to the crisis](https://twitter.com/JoeHayns/status/1290604876129603584), as they begin to reopen their doors.
34 |
35 | It is encouraging, however, to see union membership surge as a result of this crisis, as this is our best hope for protecting each other and reshaping the industry from below. I'm really proud of the [statement](https://docs.google.com/document/d/1VhvV2IIZ-ekAsPmuqDUUY7GNPf7UbmJ26aDkbIJMWLE/edit) UVW-DCW wrote back in March:
36 |
37 | > We must use this crisis as an opportunity to reframe our industry. Our sector has committed to the prevailing logic of individualisation and competitiveness, to the detriment of its workforce. The status of creative work is increasingly casualised, in the interest of distributing profits unevenly to those at the top. A moment of disruption creates a chance for our industry to be re-assembled in the interests of its workers, with solidarity, community, equality, self-education and care at the centre of all future cultural production.
38 |
39 | ---
40 |
41 | ## Further reading
42 | - [Pre- and post-pandemic reflections from Designers + Cultural Workers Union](http://new.100archive.com/article/cultural-sector-timelapse)
43 | - [What Is the Future for an Art World Torn Apart By Commerce Over Community?](https://elephant.art/what-is-the-future-for-an-art-world-torn-apart-by-commerce-over-community-06082020/)
44 | - [Southbank SOS](https://saveoursouthbank.com/), an open letter from Southbank staff highlighting their terrifying plans for mass redundancies and switching to a "start-up culture" in 2021
45 | - Follow [The White Pube](https://twitter.com/thewhitepube/) for some of the most enjoyable and on-point publishing about the inherent inequalities of the art world
46 |
47 |
--------------------------------------------------------------------------------
/src/posts/2021-05-30-exploring-maps.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Exploring maps
3 | displayTitle: true
4 | tags:
5 | - reading
6 | - mapping
7 | - work
8 | - learning
9 | - mapping
10 | - Shannon Mattern
11 | ---
12 |
13 | 
14 |
15 | Maps seem to be the most consistent thing that people ask us to do at Common Knowledge. We don't know entirely what it is, but people *love* maps. Not only do organisations love them, they seem to test really well when we do usability testing as well.
16 |
17 | We have a couple of particularly interesting mapping projects on at the moment, so while I've been ambiently researching interesting maps on Arena for a while, I've recently started doing more reading about cartography as well.
18 |
19 |
20 |
21 |
22 |
23 | Shannon Mattern's wonderful article [How to Map Nothing](https://placesjournal.org/article/how-to-map-nothing/) seeks out the gaps in the map: cartographies of erasure, absence, refusal and exclusion. For something about nothing, it is overflowing with references, projects and ideas. Lots to explore!
24 |
25 | > We have plenty of maps and data visualizations that trace the macro-scale public health and political-economic forces that precipitated the “Great Pause”; but we have relatively few that show all those under-appreciated agents that are making it possible — all the something anchoring and abetting that nothing, all the pulsing activity powering the pause. So it’s worth exploring the ways in which maps and other forms of indexical spatial data are registering the ambiguities, contradictions, and inequalities inherent in this geography of suspension — an ostensible pause that instead merely extends, and in many ways exacerbates, the injustices of our society and the inadequacies of our ways of conceptualizing and modeling city life.
26 |
27 | [Mapping’s Intelligent Agents](https://placesjournal.org/article/mappings-intelligent-agents/) is another great essay, this time focusing on Other approaches to cartography:
28 |
29 | > Ideally, we should balance or juxtapose different modes of knowledge and production: Western scientific and indigenous epistemologies, human and other-species ontologies, mechanical and organic means of experiencing and representing place, cartographic rationalism and empiricism, projection and retrospection. No single über-map can encompass all such subjectivities and sensibilities. Instead, we can aim for an atlas, a prismatic collection of mappings, that invites comparison and appreciation of the ways in which our world is both known and unknown.
30 |
31 | Mattern is currently teaching a class called [Mapping the Field](https://mappingthefield.wordsinspace.net/2021/), which I wish I could take. Luckily, she's put the entire syllabus, presentations and reading list online.
32 |
33 | In [Here Be Dragons](https://www.vqronline.org/essays-articles/2017/01/here-be-dragons), Lois Parshley explores the unknown places that we're still trying to map: the Arctic, black holes, the ocean floor. She also considers how mapping intersects with health, deprivation and natural disasters. She references [Missing Maps](https://www.missingmaps.org/), an open, collaborative project where anyone can volunteer to help map areas that are at risk of disaster or crisis.
34 |
35 | I also found this offline-first, open-source tool called [Mapeo](https://www.digital-democracy.org/mapeo/). It allows communities to document, monitor and map data, and was co-designed with indigenous partners in the Amazon.
36 |
37 | For a completely different viewpoint, I really enjoyed reading about [literary maps](https://www.theguardian.com/books/2018/sep/22/wizards-moomins-and-gold-the-magic-and-mysteries-of-maps) and the design of [open world video games](https://www.canadiangeographic.ca/article/inside-intricate-world-video-game-cartography).
38 |
39 | Next, I think I'm going to read [Data Feminism](https://data-feminism.mitpress.mit.edu/) by Catherine D'Ignazio and Lauren Klein, which I've been meaning to read for a while.
--------------------------------------------------------------------------------
/src/posts/2023-01-28-give-it-all-away-and-compost-the-rest.md:
--------------------------------------------------------------------------------
1 | ---
2 | title: Give it all away and compost the rest
3 | displayTitle: true
4 | tags:
5 | - compost
6 | - process
7 | - archives
8 | - slowness
9 | - fermentation
10 | - interdependence
11 | - Platform
12 | - Donna Haraway
13 | - Katrin Bohm
14 | - Vida Rucli
15 | - Compost Mentis
16 | ---
17 |
18 | We're working with an organisation called [Platform](https://platformlondon.org/) at the moment to refresh their identity and create a new website. They're a non-hierarchical team of campaigners, researchers and artists who work on creative projects centred in eco-social justice.
19 |
20 | They've already been running for 40 years which, in a world of short attention spans and daily news cycles, feels unbelievably long. They've done so much work already, not all of it fitting within a coherent narrative, and have plans for so much more. The challenge is how to represent all of this, the breadth and diversity, without trying to be a comprehensive archive.
21 |
22 | I interviewed most of their members at the end of last year as part of our research process. One of the ideas that emerged from these conversations was the idea of *archive as compost*. We don't necessarily want to document every past project in great detail, but we do want to mix together all their past activities, learnings and ideas so that they can sprout new ones.
23 |
24 | I like this idea because it's all about creating unexpected connections and celebrating the overlaps and interdependencies. In the archive-as-compost, everything is entangled and messy. There isn't a curatorial voice and ideas emerge that you wouldn't expect. Everything is an experiment.
25 |
26 | Of course, the compost heap is a rich and fertile space to play in. So many of the people I admire are already here. Starting with the queen of compost, Donna Haraway:
27 |
28 | > We require each other in unexpected collaborations and combinations, in hot compost piles. We become-with each other or not at all.
29 |
30 | The artist [Katrin Bohm](https://kathrinbohm.info/), who in 2021 started composting all her past work.
31 |
32 | > I don't want to do another project, I want to make a pile.
33 |
34 | Vida Rucli of [Robida Collective](https://robidacollective.com/) wrote a lovely reflection on her residency at Bibliothek Andreas Zust, [*On hosting and guesting*](https://bibliothekandreaszuest.net/on-hosting-and-guesting/).
35 |
36 | > I spoke about reading as finding unexpected things by change, as collecting things that sediment in a fertile humus, reading as composting. Comp(h)osting. Interlacing hosting and composting – it’s about temporality, let encounters, conversations, events sediment, stay, be in contact with other remains, become a meshwork of elements which decompose to create humus to host again. Does this relation about composting and hosting speak only about finding a time for letting things, meetings, conversations deposit – does it only speak of a slower temporality, of a time dedicated to waiting for the transformation of the material. To compost means also to accumulate in a place…
37 |
38 | And finally, the most literal composters are [Compost Mentis](https://www.compost-mentis.com/). They're a co-op that care for the soil, build compost toilets and co-design community growing infrastructure. They have a manifesto-in-progress, *we want the soil back*, that includes *slowness* as an inspiration:
39 |
40 | > The long, hot ferment of a compost pile. Recognising the different temporalities, rhythms and scales that we need to work at, and actively resourcing ourselves to work at a pace that is comfortable for each of us. Our ethic of slowness allows us to build trust and care, making time to gather, & reflect on our work, methods, values and decisions. For us, slowness supports accessibility and the long term sustainability of our work together.
41 |
42 | 
43 |
44 | PS — How & I are moving to a new apartment in March that has a little garden (!) complete with a lemon tree (!!) and compost heap (!!!). Beyond excited.
--------------------------------------------------------------------------------
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--------------------------------------------------------------------------------
1 | const { DateTime } = require("luxon");
2 | const CleanCSS = require("clean-css");
3 | const UglifyJS = require("uglify-es");
4 |
5 | const pluginRss = require("@11ty/eleventy-plugin-rss");
6 |
7 | const now = new Date();
8 |
9 | module.exports = (eleventyConfig) => {
10 | eleventyConfig.setBrowserSyncConfig({ notify: true });
11 | eleventyConfig.setDataDeepMerge(false);
12 | eleventyConfig.setLiquidOptions({ strictFilters: false, dynamicPartials: false });
13 |
14 |
15 | // Add plugin
16 | eleventyConfig.addPlugin(pluginRss);
17 |
18 | // Add excerpts
19 | eleventyConfig.setFrontMatterParsingOptions({
20 | excerpt: true,
21 | excerpt_separator: "",
22 | });
23 |
24 | // Minify CSS
25 | eleventyConfig.addFilter("cssmin", (code) => {
26 | return new CleanCSS({}).minify(code).styles;
27 | });
28 |
29 | // Minify JS
30 | eleventyConfig.addFilter("jsmin", (original) => {
31 | const { error, code, warnings } = UglifyJS.minify(original);
32 |
33 | if (error) {
34 | console.log("UglifyJS error: ", error);
35 | return original;
36 | }
37 |
38 | if (warnings) {
39 | console.log("UglifyJS warnings: ", warnings);
40 | }
41 |
42 | return code;
43 | });
44 |
45 | // Date formatting
46 | eleventyConfig.addFilter("machineDate", (dateObj) => {
47 | return DateTime.fromJSDate(dateObj).toFormat("yyyy-MM-dd");
48 | });
49 | eleventyConfig.addFilter("readableDate", (dateObj) => {
50 | return DateTime.fromJSDate(dateObj).toFormat("dd LLL yyyy");
51 | });
52 | eleventyConfig.addFilter("activityDate", (dateObj) => {
53 | return DateTime.fromJSDate(dateObj).toFormat("MM.yyyy");
54 | });
55 | eleventyConfig.addFilter("activityYear", (dateObj) => {
56 | return DateTime.fromJSDate(dateObj).toFormat("yyyy");
57 | });
58 |
59 | eleventyConfig.addFilter("cleanUrl", (url) => {
60 | return url.replace(/^(https?:|)\/\//, "");
61 | });
62 |
63 | eleventyConfig.addFilter("debug", (obj) => {
64 | console.log('debug', obj);
65 | return `debug: ${obj?.toString() || obj}`
66 | }
67 | );
68 |
69 | // Add profile collection so that we can access this outside of homepage
70 | eleventyConfig.addCollection("profile", (collection) => {
71 | return collection.getFilteredByGlob('**/pages/home.md')[0];
72 | });
73 |
74 | // Create Posts collection
75 | eleventyConfig.addCollection("posts", (collection) => {
76 | return collection
77 | .getFilteredByGlob('**/posts/*.md')
78 | .filter((p) => p.date <= now)
79 | .reverse();
80 | });
81 |
82 | // Create activityCurrent collection
83 | eleventyConfig.addCollection("activityCurrent", (collection) => {
84 | return collection
85 | .getFilteredByGlob('**/activity/*.md')
86 | .filter((item) => item.data.dateEnd >= now)
87 | .reverse();
88 | });
89 |
90 | // Create activityPast collection
91 | eleventyConfig.addCollection("activityPast", (collection) => {
92 | return collection
93 | .getFilteredByGlob('**/activity/*.md')
94 | .filter((item) => item.data.dateEnd < now)
95 | .reverse();
96 | });
97 |
98 | // Markdown
99 | const markdownIt = require("markdown-it");
100 | const options = {
101 | html: true,
102 | breaks: true,
103 | linkify: true,
104 | typographer: true,
105 | };
106 | eleventyConfig.setLibrary("md", markdownIt(options));
107 | eleventyConfig.addNunjucksFilter("markdownify", (markdownString) =>
108 | markdownIt(options).render(markdownString)
109 | );
110 |
111 | // Copy the fonts
112 | eleventyConfig.addPassthroughCopy({ "src/_includes/assets/fonts": "fonts" });
113 |
114 | // Copy the favicon contents
115 | eleventyConfig.addPassthroughCopy({ "src/_includes/assets/favicon": "/" });
116 |
117 | return {
118 | templateFormats: ["md", "njk", "html", "liquid", "woff", "woff2"],
119 |
120 | pathPrefix: "/",
121 |
122 | markdownTemplateEngine: "njk",
123 | htmlTemplateEngine: "njk",
124 | dataTemplateEngine: "njk",
125 | // passthroughFileCopy: true,
126 | dir: {
127 | input: "src",
128 | includes: "_includes",
129 | data: "_data",
130 | output: "_dist",
131 | },
132 | };
133 | };
134 |
--------------------------------------------------------------------------------
/src/posts/2022-11-12-bits-and-pieces.md:
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1 | ---
2 | title: Bits and pieces
3 | displayTitle: true
4 | tags:
5 | - reading
6 | - listening
7 | - web design
8 | - highlighted
9 | - Elvia Wilk
10 | - Claire L Evans
11 | - Overthink
12 | ---
13 |
14 | I’ve been enjoying listening to [Overthink](https://www.overthinkpodcast.com/), a podcast about philosophy. Really engaging and accessible. One of the hosts, Ellie Anderson, is an expert in feminist approaches to love and sexual consent, particularly the work of Simone de Beauvoir. I really want to read some of Beauvoir’s journals now.
15 |
16 | ---
17 |
18 | Wonderful [conversation between Elvia Wilk and Claire L Evans](https://pioneerworks.org/broadcast/elvia-wilk-claire-evans-in-conversation) on Pioneer Works.
19 |
20 | > I’m always extremely suspicious, for that reason, of any technology marketed using even remotely utopian language—specifically claims that some new sphere or realm is going to be a fresh start or an unspoiled new beginning. That signals to me immediately that the people who are involved in building the thing have no interest in maintenance.
21 |
22 | ---
23 |
24 | One of my [posts](https://gemmacope.land/writing/unravel-from-toxic-individualism/) got a mention in a Space10 article [*Where Ideas Come From*](https://space10.com/where-ideas-come-from/), thanks to [Linsey](https://www.linseyrendell.com/). In *very* good company alongside favourites like Brian Eno, The Bloomsbury Group and Donna Haraway. I didn’t realise that this quote originated from indigenous activists in 1970’s Queensland / [Lilla Watson](https://en.wikipedia.org/wiki/Lilla_Watson):
25 |
26 | > If you have come here to help me, you are wasting your time. But if you have come because your liberation is bound up with mine, then let us work together.
27 |
28 | ---
29 |
30 | Great episode by [Maria Somerville on the NTS Early Bird Show](https://www.nts.live/shows/early-bird-show-maria-somerville/episodes/early-bird-show-maria-somerville-8th-november-2022). This week she was joined by Róisín Berkeley, who also lives on the west coast of Ireland and has a similarly soothing accent.
31 |
32 | ---
33 |
34 | Via [Right to Roam](https://www.righttoroam.org.uk/) on [Twitter](https://twitter.com/Right_2Roam/status/1584291551391670273/) (RIP) I learned that our continued access to Epping Forest was made possible thanks to people protesting its enclosure in the 19th century.
35 |
36 | 
37 |
38 | ---
39 |
40 | I don’t pay enough attention to interesting websites anymore, but this one for [Nosaj Thing](https://nosajthing.com/) by Eric Hu and Bureau Cool really stood out thanks to a combination of Eric’s distinctive typography / art direction and the fact that all the images are generated by Stable Diffusion.
41 |
42 | ---
43 |
44 | ### Some highlights from recent books
45 |
46 | [Our Shared Storm](https://www.fordhampress.com/9780823299546/our-shared-storm/):
47 | > Life did not have to be lived in the shadow of onrushing doom, or with a sense of guilt at the damage one did by simply existing, or consumed by anger at the sins of a greedy, foolish past. There were so many ways to live, so many scenarios of human being to explore.
48 |
49 | > New imaginaries were possible, small things could be part of big plans…
50 |
51 | [Half Earth Socialism](https://www.half.earth/):
52 | > The task of unbuilding makes clear that environmentalism isn’t so much the idealisation of ‘pristine’ nature (though it is vital to protect intact ecosystems) but the recognition that it is still possible to repair our broken world.
53 |
54 | [On Earth We’re Briefly Gorgeous](https://en.wikipedia.org/wiki/On_Earth_We're_Briefly_Gorgeous):
55 | > Some people say history moves in a spiral, not the line we’ve come to expect. We travel through time in a circular trajectory, our distance increasing from an epicenter only to return again, one circle removed.
56 |
57 | [Walkaway](https://en.wikipedia.org/wiki/Walkaway_(Doctorow_novel)):
58 | > I’m suspicious of any plan to fix unfairness that starts with “step one, dismantle the entire system and replace it with a better one”, especially if you can’t do anything else until step one is done. Of all the ways that people kid themselves into doing nothing, that one is the most self-serving.
59 |
60 | > You got the world you hoped for or the world you feared — your hope or fear made it.
61 |
62 | > The best way to be superhuman is to do things that you love with people who love them too.
--------------------------------------------------------------------------------
/src/posts/2023-04-01-more-coops.md:
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1 | ---
2 | title: How to co-op
3 | displayTitle: false
4 | tags:
5 | - cooperatives
6 | - work
7 | - learning
8 | - teaching
9 | - Cooperativa de Disenio
10 | ---
11 |
12 | I went to the Futuress talk by [Cooperativa de Disenio](https://www.cooperativadedisenio.com/) last week. They're a feminist worker co-op from Argentina. They've been running for 11 years and have 12 members, all women. They do a mix of product, identity and audiovisual design work for communities, cooperatives and recovered factories.
13 |
14 | It was very interesting to hear about how a different co-op is run. The way they spoke about their co-op felt so familiar: it's not perfect, but "it fits us like a glove" — they can shape it however they like and put their values into practice.
15 |
16 | The talk was entirely focused on *how* they work as a co-op, rather than their design work. They spent a fair bit of time explaining what being part of a co-op means, what the seven cooperative principles are, how they govern themselves.
17 |
18 | This made me reflect on the talks I usually give — I realised that I try to cram way too much into the 30-45 minutes I have. I usually cover a bit about my own practice and how I got into this type of work, touching on Evening Class and Designers + Cultural Workers, and then onto Common Knowledge: who we are, what a co-op is, why we're a co-op, the kind of work we do, our attitude towards technology and politics and a bunch of examples of our work. No wonder I'm always exhausted afterwards!
19 |
20 | I think I need to split my talk out into a few separate ones, something like:
21 | - Exploring different collaborative forms: learning groups, unions, cooperatives
22 | - An introduction to worker cooperatives: what they are; how to set one up; how to make decisions
23 | - How digital technology can amplify grassroots politics
24 | - Community-led design practices
25 |
26 | Community-led design practices is the one I'm most interested in but least certain about. [Sonia](https://soniaturcotte.com/) and I developed a [workshop centred around this](https://gemmacope.land/writing/community-is-a-garden/) for a LCC masters course back in 2021. It ended up feeling quite speculative because we weren't actually working with communities directly, just thinking about how we might design the design process. It was a little too meta.
27 |
28 | I'm really curious as to how you can involve diverse groups of people in the design process while still eventually producing something that does what they need and that most people involved are happy with. I think the main issue is that this takes *time*, so much more than we ever have in our projects.
29 |
30 | I asked the people from Cooperativa de Disenio how they approach this, as they do quite a lot of work with other non-hierarchical groups and communities. They agreed that it can be difficult and slow. You have to meet people where they are, slow down to their pace, listen to their point of view and decentre yourself.
31 |
32 | I agreed with all of this, but I still feel that there are missing pieces. Maybe that's just because there is no one methodology that will suit every project — you have to develop new methods to suit each new situation.
33 |
34 | There seems to be so much interest in worker co-ops for designers at the moment. In both this Futuress talk and my talk at FBAUL the other week, there were lots of questions from the audience on the practical details of starting and running a co-op like:
35 | - How can new graduates start or get involved with a co-op?
36 | - How do you make sure hierarchies don't seep in?
37 | - How do you deal with problems?
38 | - What legal form should it take in Italy/in Portugal?
39 | - Is there anyone who gives accountancy advice to co-ops?
40 |
41 | I would love to run a question and answer session exploring questions like this for people interested in starting worker co-ops.
42 |
43 | I think the best way to do this would be to get a few design cooperatives from around the world involved, like Cooperativa de Disenio, [Partner & Partners](https://partnerandpartners.com/) in the US and [Common](https://cmmn.world/common)in Australia. There are so many legal considerations that are specific to each country, so having co-ops from a range of countries there would help answer some of the specifics.
44 |
45 | I think it would also be good to have multiple co-ops so we could compare different approaches. From 2020–21 I regularly met with six people from other co-ops working from Space4 (a coworking space and co-op incubator in north London). We discussed any challenges we were facing or ways that we wanted to improve our co-ops, gave each other advice and held each other accountable. I think we all got so much out of learning from each other and sharing our different approaches.
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/src/posts/2022-08-20-no.md:
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1 | ---
2 | title: No!
3 | displayTitle: true
4 | tags:
5 | - politics
6 | - refusal
7 | - strike
8 | - protest
9 | - luddites
10 | - degrowth
11 | - Anne Boyer
12 | - Lizzie O’Shea
13 | - Gavin Mueller
14 | - adrienne maree brown
15 | ---
16 |
17 | > History is full of people who just didn’t. They said *no thank you*, turned away, ran away to the desert, stood on the streets in rags, lived in barrels, burned down their own houses, walked barefoot through town, killed their rapists, pushed away dinner, meditated into the light. Even babies refuse, and the elderly, too. All types of animals refuse: at the zoo they gaze dead-eyed through plexiglass, fling feces at the human faces, stop having babies. Classes refuse. The poor throw their lives onto barricades. Workers slow the line. Enslaved people have always refused, poisoning the feasts, aborting the embryos. And the diligent, flamboyant jaywalkers assert themselves against traffic as the first and foremost visible, daily lesson in *just not*.
18 | — [No by Anne Boyer](https://www.poetryfoundation.org/harriet-books/2017/04/no)
19 |
20 | ### Strike!
21 |
22 | It’s a [hot strike summer](https://novaramedia.com/2022/07/13/everything-you-need-to-know-about-hot-strike-summer/) in the UK. Last week’s edition of [The Week in Work](https://theweekinwork.substack.com/p/prospect-of-nhs-strikes-grows-strikes) was the longest ever. Transport workers, postal workers, barristers, lawyers, gravediggers, journalists – all on strike. Withdrawing our labour is the most powerful way for workers to say NO to exploitation.
23 |
24 | ### Don’t!
25 |
26 | Meanwhile, the energy crisis keeps getting worse. Now they’re predicting that energy bills will pass £5000 in January, while energy companies are reporting record profits. Two movements based on mass refusal have emerged in response – [Don’t Pay](https://dontpay.uk/) and [Enough is Enough](https://wesayenough.co.uk/).
27 |
28 | The theory of change for Don’t Pay takes its inspiration from the [Poll Tax](https://maydayrooms.org/archive_item/poll-tax-rebellion/) protests in early 1990. They’re aiming to get a million people to pledge that they won’t pay their energy bills on 1 October, then use this bargaining power to get the government to intervene and reduce the bills to an affordable level.
29 |
30 | Enough is Enough is led by MPs like Zarah Sultana and trade unionists like Mick Lynch. They’re planning to hold rallies, support picket lines and form community groups to deal with the crisis.
31 |
32 | 
33 |
34 | ### No!
35 |
36 | *[No](https://en.wikipedia.org/wiki/No_(2012_film))*, the 2012 film by Pablo Larrain, is based on the story of the plebescite in Chile that ended 15 years of Pinochet’s authoritarian rule. In it, an advertising professional and many other creatives support the campaign by creating joyful propaganda focused on how liberating and positive it would be to vote NO.
37 |
38 | 
39 |
40 | ### Smash!
41 |
42 | The Luddites were early nineteenth-century weavers who smashed the machines that were ruining their working conditions. Luddism is not about being scared of new technology (in the sense that the term is used today), it’s about being critical of any progress that makes life worse for people.
43 |
44 | > Though the Luddites are often only glibly referenced in modern debates, the truth is that they were directly concerned with conditions of labour, rather than mindless machine-breaking or some reactionary desire to turn back time. They sought to redefine their relationship with technology in a way that resisted dehumanisation.
45 | — Lizzie O’Shea, [Future Histories](https://www.versobooks.com/books/3747-future-histories)
46 |
47 | 
48 |
49 | ### Degrow!
50 |
51 | > Luddism might also link with the politics of degrowth, a movement that originated in the Global South and shares with Luddism an acknowledgement that liberation is not tied up with the endless accumulation of capital, and further, that well-being cannot be reduced to economic statistics.
52 | — Gavin Mueller, [Decelerate Now!](https://logicmag.io/commons/decelerate-now/)
53 |
54 | In *[Degrowth: No, let’s not call it something else](https://illuminem.com/illuminemvoices/1ab65908-2352-4ae9-8738-5313a3b147e6)*, the authors argue again a common criticism of degrowth: that it’s too negative. That’s the point! Unlike net zero or green capitalism, degrowth doesn’t pretend that we can continue our current way of life with a few added solar panels.
55 |
56 | It’s not going to be easy, but we must rapidly downscale our consumption in order to wrench ourselves away from our current trajectory. The potential, however, is that in leaping from this runaway train of constant growth and exploitation, we land somewhere much more abundant.
57 |
58 | As adrienne maree brown says in [Pleasure Activism](https://www.akpress.org/pleasure-activism.html):
59 | > Your no makes way for your yes.
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