Last Post Of The Week

June 1st, 2013 | daybook

Aside from the Night Music that will fire around 3am.  And the SPEKTRMODULE I’m hoping to produce at the weekend.

Anyway, I wrote this earlier:

I keep thinking I should do another “minimal web serial” on my site, late at night, to bookend SCATTERLANDS (which runs in the early PM).

Because I seem to have four minutes in each day where I’m not already doing something, apparently.

And, monstrously, the more I think about it, the more I suspect I like the idea.  Which means I must be crazy.  But there is a certain appeal to messing around with content and the expectations of a “blog.”  A (god so ugly) word that’s become both malleable and meaningless as the net moves away from them towards streams and other things.

This, however, is home base.  I don’t set up the control room on other people’s services.

(I want a Control Room so badly.  Also I think my next office chair should be a Cybersyn.)

I’m also oddly fond of the term “minimal web serial” tonight.  When thinking about something (week-) daily, I’d never really consider anything more than the single panel strip.  At most, I’d maybe think about the single “screen” Greg & Rick do on LADY SABRE (the collection of which you can still buy into on Kickstarter – I have an entirely different revenue stream process for Minimal Web Serials hahaha, but I love what they’ve put together).  No more than that. 

Something probably very different from SCATTERLANDS, which is funtime stuff.  Something more suited to posting at just past midnight.

If the notion amuses anyone, you can get me at warrenellis@gmail.com (eventually).

Right.  My four minutes are up.  I’m going to post control-room porn to Tumblr and get back to work.


This Is An Interesting Post Title About Some Things

May 29th, 2013 | daybook

Hi.  I’m writing PR materials.  That must be why I want to die.

FOUR CHAMBERS is a new group of British photographic artists, and I make particular note, in their copy for their new magazine:

Somewhere between an exhibition catalogue and a art zine, Four Chambers Issue 1 is an attempt to make physical what only exists in a digital reality.

There it is again.  Eruption of the digital into the physical.  (one ref)

Image above blatantly ganked from them, by the way.

Longread of the day is PAUL, a piece by Matt Fraction about a guy in his art school.  Which, yeah, I know, but, seriously, read it.  Everyone’s hopes, fears, dreams and fantasies about college/university in one post:

This was an art school. And amongst the rest of us, Paul was the freak.

Paul came to art school with a strategy: fuck all this. It was so preconceived, so controlled, and so well-defined he could have turned his whole senior year into a performance piece. He wanted to get laid, get drunk, and fuck around. Our school provided him with a unique opportunity to do it.

There was something else I was going to mention, but I’ve forgotten it, so here’s a photo from Jan Chipchase, currently in Japan:


This Horrible Thing, PR And The Non-Disgusting Hashtag

May 28th, 2013 | daybook

I don’t know what this is, beyond the fact that Charlie Chu posted this on his Instagram saying it’s from a “2013 daily calendar by Ryan McGinness” and that it makes me feel fear deep in my trousers.

The PR boat is approaching the harbour.  All phone-based, so far: a long phoner in June for the AVENGERS: ENDLESS WARTIME graphic novel I’ve written for Marvel, and, now, lining up the interviews for DEAD PIG COLLECTOR’s release on June 18.  The Marvel one will be the only big chunk of PR I do for that book, I think, at least until October.  I hope there’ll be plenty for DEAD PIG.

It’s the part of writing for a living that’s the underwater chunk of iceberg: all the things you have to do as an aspect of writing commercially that doesn’t actually involve writing.  And I’d much rather be a writer than someone who likes to give a lot of interviews about being a writer.   You can’t resent it, because the alternative is nobody ever wanting to talk to you about your writing, and, therefore, deep obscurity and no-one knowing you’re writing work available for purchase, leading directly to having to get a proper job. 

I am very sad that the hashtag #deadpig is already in regular use on Twitter.  What could I use instead?  #deadpigbook?  That sounds… actually, it sounds a bit disgusting now I look at it. Shit.


Cities Are Matter Battles

May 28th, 2013 | daybook, researchmaterial

I’m working on the non-fiction book this week, in between a dozen other things.  On Twitter, James Bridle reminded me that Timo Arnall of BERG has a Flickr account, and, there, I found this photo of Dan Hill of Fabrica giving a talk.  Which I’m clearly going to have to find and gank, partly because it strikes a few sparks off one element of the book, partly because I want to see where he takes that.  My abiding memory of Cognitive Cities was stories of people looking at the city like code, encoding the city (‘s processes), and then turning that data over and paying no attention to where that information went once it was out of their hands.

Also, I cannot right now come up with a better way to describe London.  Look at London’s maps, and London’s streets.  Plans and improv and eras just banging up against each other, road by road, sometimes door by door.

Look, I told you it was going to be free-association here this week.


Status: Off In My Head, Silent Running

May 23rd, 2013 | daybook

I have some autoposts running here, but, for the most part, I’m off in my head for the next couple of days.  Emails, texts and D tweets will get me with the usual speed, but I’m mostly away from the public internets to get some thinking done.  Image above from my friend Ellen Rogers’ archive.