Good evening.

In its way, this is a blog post about blogging–and perhaps about learning and creating, generally.

Dan Aulier has compiled one of those bedtable books that one can read for months, an anthology called Hitchcock’s Notebooks: An Authorized and Illustrated Look Inside the Creative Mind of Alfred Hitchcock. It’s a great big festival of a book, a delight to roam through. It also has plenty of food for thought to carry into the new academic term that begins very soon. Here’s one table of the banquet, an excerpt from writer and actor Hume Cronyn’s memoirs as republished in Aulier’s omnibus. Cronyn writes,

“Early on in our working relationship, I discovered a curious trick of [Hitchcock’s]. We would be discussing some story point with great intensity, trembling on the edge of a solution to the problem at hand, when Hitch would suddenly lean back in his chair and say, ‘Hume, have you heard the story of the traveling salesman and the farmer’s daughter?’ I would look at him blankly and he would proceed to tell it with great relish, frequently commenting on the story’s characters, the nature of the humor involved, and the philosophical demonstration implied. That makes it sound as though the stories might be profound or at least witty. They were neither. They were generally seventh-grade jokes of the sniggery school, and frequently infantile.

“After several days’ work together, punctuated by such stories, I challenged him–politely.

‘Why do you do that?’

‘Do what?’

‘Stop to tell jokes at a critical juncture.’

‘It’s not critical–it’s only a film.’

‘But we were just about to find a solution to the problem. I can’t even remember what it was now.’

‘Good. We were pressing….. You never get it when you press.’

Cronyn concludes:  “And while I may have failed to appreciate Hitch’s jokes, I’ve never forgotten that little piece of philosophy, either as an actor or as a sometime writer.”

Compare Walker Percy’s endorsement of the “indirect approach,” as well as the phenomenon known to astronomers as averted vision. I’m particularly intrigued by a deeply paradoxical notion that emerges in every case, a notion that certainly rings true to my own experience: it takes practice to “not press” successfully. It’s not at all the same as slacking or snacking. Sometimes it seems that the art of “not pressing” is the hardest art of all to master, and also the most necessary to move from one level of expertise to another. And in another paradox, once one has a feel for not pressing, for the indirect approach, for averted vision, one can go to that zone almost immediately when a novel situation or a new level of learning appears.

These ideas form a constellation in my mind with several others. “Beginner’s mind” (shoshin). The third stage of learning that brings back wonder and self-motivated learning, a progression that Paulo Friere and Seymour Papert discuss.  Poincare and creativity.  I am struck by how often similar ideas recur in various guises. Knowing how to know to not-know. The vanishing light around the rim of the unknown unknown can be seen only through such practices, I think.

Brian Mathews’ latest Ubiquitous Librarian blog poses a question that may be obliquely related to some or all of the above (and fittingly so). I don’t know that early adopters who move through change more quickly and with greater joy have mastered the arts of not pressing, along with the arts of averted vision and the indirect approach, but it’s interesting to consider. Certainly those arts can keep us from falling into the trap of substituting elevator pitches for voyages of discovery.

Postscript: I have had to train myself over many years to answer direct questions (typically from administrators and other gatekeepers) about the character and value of a project, the specific plan for an exploration, the criteria for successful “outcomes” (and all the assessment apparatus that entails) (and I’ve learned it may be bad form to confuse “learning objectives” and “learning outcomes”), and so forth. One wants to be responsible, to be granted resources for action, to exercise due diligence, to act like a grown-up. Indeed, and no question. Yet I always hope, and in my own practice strive, to find a moment or two, or more, for the not pressing and the averted vision. An indirect approach, an open space, like a cup for Elijah, who might one day return to demonstrate the poverty and dessication of spirit that often conceals itself behind bullet points and elevator pitches.

One of my holiday books–a birthday present from my sister-in-law and her husband–is Keith Richards’ memoir Life. I understand I’m a little late to the party. I really did need to read Pete Townshend’s memoir first. But now I’m there, thanks to family and surviving another trip around the sun.

As many others have reported and experienced, it’s a terrific book. Those who are skeptical about Keith’s powers of recall after a life of storied dissipation have obviously neither seen him organize the ultimate Chuck Berry concert in Hail Hail Rock ‘n Roll!  nor thought very deeply about the Rolling Stones. The man is whip-smart, generous of spirit, albeit sometimes dangerous of mood–and obviously, attractively so. He’s also tremendously insightful. So in the midst of all the stories of glory days and decades on parade, thrilling as they are, there are also extraordinary moments that reveal a spiritual intensity, and devotion to music, not unlike Pete T.’s own. Keith is quite open and compellingly articulate about his own search for the music of the spheres.

And along the way, I found a passage that reminded me, very strongly, of much of what I value about large parts of the open-education movement, those parts in which the activists are large and generous of heart. The passage celebrates records.

I’ve learned everything I know off of records. Being able to replay something immediately without all that terrible stricture of written music, the prison of those bars, those five lines. Being able to hear recorded music freed up loads of musicians that couldn’t necessarily afford to learn to read or write music, like me. Before 1900, you’ve got Mozart, Beethoven, Bach, Chopin, the cancan. With recording, it was emancipation for the people. As long as you or somebody around you could afford a machine,  suddenly you could hear music made by people, not set-up rigs and symphony orchestras. You could actually listen to what people were saying, almost off the cuff. Some of it can be a load of rubbish, but some of it was really good. It was the emancipation of music. Otherwise you’d have had to go to a concert hall, and how many people could afford that? It surely can’t be any coincidence that jazz and blues started to take over the world the minute recording started, within a few years, just like that. The blues is universal, which is why it’s still around. Just the expression and the feel of it came in because of recording. It was like opening the audio curtains. And available, and cheap. It’s not just locked into one community here and one community there and the twain shall never meet. And of course that breeds another totally different kind of musician, in a generation. I don’t need this paper. I’m going to play it straight from the ear, straight from here, straight from the heart to the fingers. Nobody has to turn the pages.

Now of course there’s a great deal to criticize, modify, and otherwise nuance in this panegyric. And as a rock and jazz musician (barely, in most cases, but still) who can also read music and loves classical music as well as all the electrified (and otherwise popular) idioms, I do wish Keef were not so eager to trash the results of trained musicianship.

But still…. Listen to the melody of his words, and for “machine” think “networked computer,” and for “what people were saying, almost off the cuff,” think “blogging,” and for “how many people could afford that?” don’t contradict Keith with free concerts in the park so much as remember the nearly unavoidable class distinctions enforced by the experience of formal symphonic performances, and remember too that Keith was working-class and council-house through and through. Feel the liberation he’s feeling, and evoking. He’s honest enough to admit, readily, that not every note of recorded popular music is golden. But the care and thoughtfulness with which he evokes the experience of his own emancipation as a musician, and his deep gratitude for having this creative path, this mode of knowing and expression, opened to him–these, yes, are the deep and moving confessions of a person whose talent would not have found its glorious expression before this stage of technological development.

“And of course that breeds another totally different kind of musician, in a generation. I don’t need this paper.”

We are now at an interesting moment–yes, partly because of MOOCs and partly because of what web-builders and OER advocates and other educational activists have been doing for many years. And that moment could go in any number of good or bad directions. And “some of of it can be a load of rubbish,” and is. Yet I wonder if this interesting moment is like that moment in which recorded music began to breed another totally different kind of musician. I wonder if we have begun to see the beginning of a critical mass of varied open educational opportunities and experiences, and if we will breed another totally different kind of student, in a generation–or perhaps less. A student who doesn’t need this paper. A student for whom learning goes straight from the heart to the fingers, and back again. The formality of the experience isn’t necessarily bad. Keith’s story reveals his own hyperfocused, obsessive, diligent practice of his art. He is a scholar. But the scholarship was mediated differently, and his compositions too, and these would have been lost without the turn in the technology. This turn enabled deeply committed work to emerge. Musical notation can and does too, of course. That itself is a technology, like writing. Keith misses that. But he gets the need and the liberation, and the technology’s role in feeding both. He learned his music. And while music in its origins was learned without pages, it’s a  lead-pipe cinch that Keith wouldn’t have made the connection with a culture half a globe away, the connection that opened himself to himself, and to us. For him, the records were open educational resources, and conveyed an openness of spirit within the medium that could not otherwise be conveyed, or shared.

Not always, and no guarantees. But perhaps often enough, if we think with at least some of the spirit Keith shares with us here, and keep searching for the music of the spheres, wherever and however it may be sounding.

Life, p. 71.

A few days late, alas. I had this one done in time for Christmas, but with one thing and another it’s only now I’m posting it.

As Warren Zevon once sang, “And Johnny is my main man.” Of late, in addition to my other projects, I’ve been working steadily on a couple of scholarly projects involving John Milton. I’ll finish an essay on temptation this week. Well, I won’t finish it, as writing is never really finished. I’ll simply abandon it–but not until I’ve given it one version of my best shot.

To keep the mood going and the context fresh and vital, I thought I’d do a podcast of Milton’s first mature publication, “Ode on the Morning of Christ’s Nativity.” I describe it a bit in the first part of the podcast. Suffice it to say that, like all great art, this poem proceeds from many sources and emerges into many vectors. Some of these are exhilarating. Some are admirable. Some are worth wonder. Some are scholarly curiosities. Some represent the struggles of a believer in many things, not all of them consistent. You’ll notice that Milton lingers, very lovingly and harshly too, on the pagan gods the Christ child has come to banish. I think Milton had many mixed motives and ambivalent emotions as he did so. To believe in anything is to disbelieve in other things, no matter how broad one’s outlook. Milton knew and felt this reality more keenly than any other great artist I know. The struggle was costly, and revelatory, and complex. My own critical position is that Milton understood the struggle and the cost, and created astonishing art to represent these complexities out of both certainty and uncertainty, settled conclusions and wandering appetites. He tells us so, pretty explicitly and quite beautifully, in all his work–if we’ve a mind and heart to read it so.

But now I’m writing my essay, and time is my tedious post should here have ending. Wherever you are, geographically or politically or epistemologically or religiously, I hope you enjoy this example of a 21-year-old poet exulting in his newly fledged artistic powers and taking the measure of some of the best poetry ever written in English. As I read it, I felt again the sensation I had in the fall of 1980 when I read this poem for the first time–the sensation that here was a verbal imagination that could achieve any effect it wished to, an imagination whose wishes were born of the desire for human progress, human justice, and human community. A desire more fierce and visionary than that of any other poet. A desire that could also embrace tenderness, and poignancy, and order serviceable.

Happy birthday, 2013.

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