admin – Page 10 – Craig Spence

The Mural Gazer: My Direct-to-Web experiment

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TheMuralGazer.ca

Direct-to-Web is more than just a digital format that allows me to distribute and share books cost-effectively and in an environmentally sensible manner, it’s also a way of opening up the boundaries of literature to new possibilities.

I’ve written 35 episodes of the The Mural Gazer, now, and have developed a format that works. But I’m only just beginning to appreciate some of the possibilities D2W offers. The most immediate pluses for readers and authors:

A D2W book can be read on a mobile, a laptop or a desktop computer. No special devices or programs necessary, other than access to the internet and the web.
Audio readings of a D2W story can be bundled with the print edition, so audiences can read or listen depending on their situations or preferences.
The cost of a getting a D2W book into readers hands is a fraction of print or eBook editions because there are hardly any distribution and printing expenses.
A D2W novel can be the modern equivalent of a serial, published episode by episode on the fly.
Graphic elements can be incorporated into the Direct-to-Web experience.
For those who want to lessen the environmental impacts of producing and distributing books, Direct-to-Web offers a much more sensible format than conventional publishing.

Those are immediate benefits of Direct-to-Web. Some of the possibilities that go beyond what is normally expected of literature, and which I haven’t even begun to explore:

Audience interaction. An author can communicate with his audience while he’s writing a book, and remain in contact after a book is published.
Side-stories. Links can be included in a book that will take readers off on side journeys. The possibilities of this feature for subplots, or excursions to actual settings, or… are enticing.
Collaborative opportunities. Musicians, visual artists, photographers, actors, all kinds of arts disciplines can be brought to bear on a plot or theme. Again, the possibilities are limitless and fascinating.

So, much as I like to see The Mural Gazer as a direction literature needs to go in, I’m pretty sure my vision is dwarfed by the reality of the medium I’m so excited about! Of course print editions of books are going to be the mainstay of most readers for some time. But I’d be surprised if mid-21st Century readers are toting paper and hardcover editions around with them; in fact, I’d be surprised if literature occupies anything other more than a shrinking niche in public consciousness if authors and publishers don’t develop the potential of Direct-to-Web books.

Circumference

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A circle has no ending,
no periods or dates.
No beginnings either
no pre-determined fate.

Some think it has a boundary
scribed in rock or sand
a sharp, defined circumference
that we can comprehend.

But geometry's no pattern
for what our minds embrace,
our circle's not a border,
fixed in time or place.

We're gathered here as writers
looking in, and up, and out
and all our conversations
admit a note of doubt.

The only thing that's certain,
at the centre of our sphere,
is sharing, comparing, preparing
are the reasons that we're here.

Rialta travels – French Beach & Bamberton

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We took our new Rialta camper van on its second inaugural run over the weekend, heading for French Beach, via Lake Cowichan and Port Renfrew, then on to Bamberton via Sooke, Goldstream and the Malahat.

The trip redefined our concept of perfect weather to include foggy, thought provoking days, that force you to bundle up and wear a hat, to ward off the droplets condensing on pine needles and leaves.

I always tell people, “I’m not a photographer, I’m just a guy who takes pictures.” But as an ex-journalist (if there ever was an ambulance chaser, who could combine those contradictory terms) I have taken thousands, probably tens of thousands, of shots.

So, although the technical and compositional skills of photography remain outside the view finder for me, I have learned something about the Zen of photography – the delight one takes in capturing a perfect moment in the neural circuitry of mind and camera.

B.C. offers so many opportunities for those focusing clicks. In this series, my favourites are the two images of Diana walking on a gravel spit off Bamberton Beach. The fog obscured much of the background, which made the parts it revealed more meaningful, more symbolic.

Careful as she was, observing the seagulls in the first shot, I anticipated the instant she would nudge just a fraction of a step too close, triggering their flight instinct. Birds taking wing are an inspiring image for me, and seagulls, with their long, elegant wings and immaculate white plumage, are a constant metaphor of my coastal existence.

Pleased with my photo prowess, I was repacking my camera, when glanced up and saw Diana heading back to shore, and about to step into the frame of a surreal composition that placed a ghostly boat in front of a ridge of hills looming out of the fog. The territory between that moored boat, and the mysterious landscape, is incognito, which means it’s a zone of possibilities, of unknowns.

Shafts of sunlight penetrating a forest canopy; a fungus encrusted log, the haphazard architecture of a driftwood hutch… to encounter those kinds of visual wonder on a couple of beaches, in a few hours… that’s part of the endless fascination of Vancouver Island.

Stay tuned. We’ll be heading out for the third inaugural trip in the Rialta soon… just as soon as I can get a mechanic to tell me why the engine light came on, as if our camper van didn’t really want to leave Port Renfrew, and complete our South Island circle tour.

Getting to tabula rasa

In Chapter 8 of Anthony Kenny’s A New History of Western Philosophy, on page 463, there is a section talking about Scotus on Divine Law. My initial reaction was to set aside the nuances of the conversation as being irrelevant to an atheist’s point of view. But as an atheist, who has been raised in a society still at odds over the existence of God, and who can’t deny the religious controversies I have been immersed in, I have to pay attention to all the possibilities that might be believed.

If I am understanding Kenny’s explication, the new idea Scotus introduced was the arbitrary nature of God’s absolute power. As an omnipotent, omniscient being, God does not have to decree a ‘natural law’ in keeping with mankind’s happiness. He admits there are some essential aspects of ‘divine law’ that cannot be contradicted, even by God – for example, God cannot command a person to blaspheme Him or deny Him. But outside those absolute contradictions, which are foundational and fundamental, God can command anything He wants.

Thou shalt not kill may be a commandment, but if God chooses to break it or make ‘exceptions’, it is perfectly within his power to allow murder and not classify it as sin. Thou shalt not steal, Thou shalt not commit adultery, many of the Ten Commandment edicts only apply because they are decreed by the will of God, and if God chooses to vary them under certain circumstances, it is within his infinite power and wisdom to do so… and who are we to question the divine will.

To me, the logic of Scotus’ interpretation of ‘divine law’ seems obvious. I have often wondered how theologians up to his time could possibly explain the limits they wanted to place on God – how they could fashion God in their own image and according to their own mental and spiritual powers. If I were a believer, I would go farther than Scotus, actually. I would say that God has the divine ability to enact what seems to us mere mortals as contradictory realities.

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Of course, that godly power is often usurped by religious and political leaders for their own ends, quite often, to simply use as a means of grasping earthly authority for the sake of ungodly enterprises.

This unshackling of God would play an important role in the coming Reformation, Kenny says. By countering the ‘eudaemonistic’ nature of a loving God, he disabused those who agreed with him of any notion that the power of their God could be contained within the bounds of any human desires and comprehension.

A more scholarly philosopher than me might be able to tie that depersonalized version of God to the eventual apostasy of most of His followers. It certainly reinforces my notions of morality and ethics as being evolved systems of belief and behaviour that only exist in individual minds, communing with other individual minds.

There is no moral code, inscribed on tablets that have been handed down to us by God. Each human has his or her own set of moral standards that have been developed over a lifetime. Ethics is the complex, never-ending task of coordinating and reconciling individualistic social behaviour into a code the majority can agree and adhere to. To accuse someone of being ‘immoral’ is really saying they are activated by moral impulses different from your own; to call them ‘unethical’ is to say, they don’t agree with or abide by many of the behavioural standards endorsed by your society.

The intimacy of breathing

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Picked up the cat this morning
to give his mourning hug
listened to the breath
of going in and coming out
squeezed like an accordion
his fur pressed to my ear
listened to the resonance
of going in and coming out
listened to the purr
of in and out

CSW

Meet Harriet Phipps, a real character

The woman I have identified as my fictional character Harriet Phipps in an upcoming The Mural Gazer story

Ultimately, every story is as much about the author as the characters he describes. It’s characters, no matter how laboriously presented as fiction, are inspiring creatures of his own experience and imagination. So it’s not surprising that, in writing the Mural Gazer, I am having to become a mural gazer myself, drawn into the settings and scenes on Chemainus’ walls, just like Harry Sanderson.

This morning I met Harriet Phipps in Mural #41 – The Outdoor Gathering. She was Harry’s great Aunt. He knew her in childhood, and is occasionally reminded of her by a framed portrait that sits on the mantle above their fireplace at VORLand’s End.

She plays a central role in the Mural Gazer story I’m working on at the moment. In the scene I’m describing, Harry is comparing the portrait on the Chemainus Seniors’ Centre wall, with the framed photo of his great aunt, which he’d brought with him in his jacket pocket. It will be her beckoning glance that draws him into the mural, because – though he did know her personally in his early childhood – he sees things in the portrait he’d never appreciated in real life, and he wants to meet this suddenly mysterious woman…

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He fumbled the photo of his great aunt Harriet out of his pocket. Studied it. Held it up to the portrait in the mural. “Could be,” he mumbled. But the likeness wasn’t perfect by any means. What startled him most about the woman in the mural was her imperious, blue eyes. His Aunty Harriet had died long before the invention of Kodachrome, but he remembered her piercing gaze – even as an old woman, it held you fast when she stared. She didn’t often stare, though, Harry remembered. It was as if she’d learned not to, the same way you learn not to point a gun, but always keep the barrel slanted down, toward the ground.

She was old, in his faded photo; the woman on the wall was young, and arrestingly beautiful, Harry thought. “Not pretty,” he opined, “beautiful.” She appeared to him a woman who knew things about herself and her world that others could not possibly fathom. A woman who made up her mind about things, and said exactly what she thought at exactly the right moment.

Exactly the right moment, he repeated. Exactly the right moment…

Then he was gone.
Harry Sanderson

I didn’t know how much I wanted to meet this woman, until I wrote this passage. You can get into the evolving stories in my Direct-to-Web novel, The Mural Gazer.

Event Coverage

For 30 years I worked as a reporter and communications manager. Now I ‘work’ for myself, doing what I truly love, covering events, telling peoples’ stories and volunteering communications services for a couple of organizations in the Chemainus Valley, British Columbia, where I live.

Over my career I have adapted to and embraced the incredible opportunities emergent in the era of the internet and digital production. There’s two ends to that telescope, though: looked at one way, the flexibility and reach of modern technologies make it possible for almost anyone to create exciting news; from another perspective, we are overwhelmed with torrents of random information that disorients as much as informs.

Either way, it’s essential for creative types and community groups – my natural clientele – to become tech savvy, or to ally themselves with people who can provide timely, effective news coverage of events and initiatives. Media and communications needs to be planned and purposefully executed. For example, my recommendation to the Chemainus Valley Cultural Arts Society, where I volunteer, was a plan focused on a mission statement…

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The ‘mission statement’ of the communications committee is ‘creating community through the arts’. Central to that mission is the belief that locally experienced and created art is integral to a vibrant, viable community, and that locally produced and celebrated art is constantly having to hold its own in an era of mass communications and big-budget entertainment.
Unless we populate the internet and local media with a continuous stream of news and notifications about the Chemainus Valley Cultural Arts Society’s activities, and the talented artists in all disciplines and genres that live and create here, grass roots arts will incrementally be displaced.

That pretty well describes my commitment to communications in the arts, which has made my career so rewarding and enriching. I love collaborating with people and organizations, telling their stories, and am continuously learning new ways of engaging audiences.

To find out more, contact me, or have a look at my Services & Workshops page.

Trailer Parties serious fun

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Book Trailers are an effective way of reaching readers in the digital age.

One of my favourite workshop concepts is the Trailer Party. The idea is for a group of writers and poets to get together, read to one another, critique each others’ work and reading style, then do a final reading, which will be recorded and produced for posting on their own websites, a dedicated page, or social media.

For writers in the 21st Century a catchy, descriptive short is an essential component for promoting and selling books. This workshop will make a virtual necessity engaging fun. Contact me if you want to know more, or if you’d like to set up or join a Trailer Party group.

To find out more, contact me, or have a look at my Services & Workshops page.

Making sense of your dollars

I don’t set prices for the services and workshops I offer, because I don’t know exactly what you want, and how we are going to reach your goals. All I can say is: I will come up with a plan we’re excited about, for a price that fits your budget.

Creative collaboration begins at the very beginning, with a conversation about what we hope to accomplish and how we’re going to work together. The first step for me is always a consultation to talk about your vision, and a strategy for making it happen.

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There’s no charge for that conversation, no time limit, and no obligation. If we can’t come up with a workable plan, it doesn’t mean we’ve failed, it simply means we’ve learned enough to know we’re not ready to set out… yet.

And if the conversation points you in a different direction, that’s fine, too; I will consider it time and effort well-spent. I believe in the power of literature and take pleasure finding ways for people to share in joys of story-telling.

To find out more, contact me, or have a look at my Services & Workshops page.

Green Screen adds dimensions

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Got an idea you want to share? A story to tell? A place you want to take people?

Green screen techniques can help you deliver compelling, informative messages to your online audiences. Green screen isn’t new technology. It’s been around since the 1940s. If you want to know more about it, have a read of I’ve always wondered: why is a green screen green?, an article in The Conversation by Lincoln Turner and Russell Anderson.

I’ll leave the techie, scientific stuff with them, and stick to the fun part of green screen production, that extra dimension it brings to exploring and expressing your stories and ideas through video. Green screen technology, which is portable and easy to set up on location by the way, opens up what I call ‘layering’ opportunities’, putting the narrator into the picture in surprising and engaging ways.

In a nutshell, green screen allows the producer to lift narrators or actors from studio settings and slip new background elements behind them. It also allows you to use visual effects separately on both the narrator and her digitally created environment. Having control of those variables makes it possible for a producer to compress and juxtapose visuals into enriched, creative compositions.

My passion is helping people tell their stories. Green screen is one of the techniques I use to present collaborative works and ideas from engaging perspectives.

To find out more, contact me, or have a look at my Services & Workshops page.