Aisling Bea. On her father's death.

By Aisling Bea (a friend of a friend): a very moving piece in the Guardian: mine headline and her letter below - but read the whole piece - link in the mini headline.

The comedian’s father killed himself when she was three. She was plagued by the fact he made no mention of her or her sister in the letter he left. Then, 30 years after his death, a box arrived.

"My father’s death has given me a love of men, of their vulnerability and tenderness’

[...]

To Daddy, here is my note to you:

I’m sad you killed yourself, because I really think that, if you could see the life you left behind, you would regret it. You didn’t get to see the Berlin wall fall or Ireland qualify for Italia 90. You didn’t get to see all the encyclopedias that you bought for us to one day ‘use at university’ get squashed into a CD and subsequently the internet. You have never got to hear your younger daughter’s voice – it annoys me sometimes, but it has also said some of the most amazing things when drunk. I think you would have been proud to watch your daughter do standup at the O2 and sad to see my mother watching it on her own. Then again, if you hadn’t died, I probably wouldn’t have been mad enough to become a clown for a living. I am your daughter and I am really fucking funny, just like you. But, unlike you, I’m going to stop being it for five minutes and write our story in the hope that it may help someone who didn’t get to have a box turn up, or who may not feel ‘in their right mind’ right now and needs a reminder to find hope.
Aisling

• In the UK, the Samaritans can be contacted on 116 123. In the US, the National Suicide Prevention Lifeline is 1-800-273-8255. In Australia, the crisis support service Lifeline is on 13 11 14. Other international suicide helplines can be found atbefrienders.org

Jobs. Diversity. Sustainability. Arts

Quick hit jobs that have caught my eye. Job links of interest in sustainability / finance / art / healthcare.

CAS - Chinese Arts Space - looking for a new Artistic Director.  

GSK - new pension fund manager

Anglia Ruskin / Global Sustainability Institute (GSI)  are looking for a new research fellow  https://www24.i-grasp.com/fe/tpl_angliaruskin01.asp?newms=jj&id=68960&aid=14138

Barclays - Diversity  https://barclays.taleo.net/careersection/2/jobdetail.ftl?job=90130511&lang=en_GB&src=JB-14940

Towers Watson - ESG/RI sustainable investment consultant
https://careers.willistowerswatson.com/en-US/job/sustainable-investment-analyst-consultant/J3K65L6PTJ5Q8QM86SH

Goldman Sachs - Sustainable supply chain
https://careers-goldmansachs.icims.com/jobs/39679/sustainable-supply-chain-associate---london/job?hub=7&mobile=false&needsRedirect=false&bid=9993932

Unicorn theatre - Stage manager Xmas show

Natural History Museum - dinosaur brain imaging!  http://www.artsjobs.org.uk/arts-job/post/postdoctoral-researcher-dinosaur-cranial-imaging/

Asst Curator - design museum (30 Oct) - http://www.artsjobs.org.uk/arts-job/post/assistant-curator-66/

 

Couple senior leadership positions at Arts Council - including Head of Museums, http://gs12.globalsuccessor.com/fe/tpl_arts_council01.asp?newms=jj&id=88234&aid=16034

IntoArt looking for  Assistant Artist Facilitator is a new and exciting role for someone with a visual arts background looking to work in an inclusive art studio setting working with people with learning disabilities. (Initial 12 weekly studio based art workshops, January – March 2018)  Intoart is an art and design studio based in London working inclusively with people with learning disabilities. 

(from 14 Oct, deadlines may have passed)

 

Albany Theatre (Deptford/London) looking for creative programmer
Tate are looking for an Information Manager  


Photographer, filmmaker Briony Campbellis looking for multi-talented assistants. She wants superwomen if you ask me, but might suit some freelancers.  

Eclipse/Slate: If you’re a BAME artist working in any form or medium, currently based in the North of England, and you have an idea or a project you’re ready to get off the ground – this is for you.

 

Jonathan Meth, Conversation, Two

First part of my conversation with Jonathan Meth. This is the second, mainly about Fenc.

We spoke about his work with Fence. It struck me that Fence sounded like a family of artists, connected and challenging - as families can be. We discussed the idea as a playwright as a public artist, bring together other artists and thinkers to make work, be a part of work.

This project  All our tomorrows: Ireland has struck oil! - will it be Norway or Nigeria?  is one expression of this.  It’s happening on 19 Oct in London, and I’m hoping to go.

“Ireland has struck oil – but will be it Norway or Nigeria? is a performance project from The Fence network of international playwrights and theatre makers in partnership with King’s. It will stage and audio record performance and discussion for a live audience on an imagined future scenario, mapping a moment of crisis in Europe from creative, journalistic and academic perspectives.

This performance will explore the urgent questions thrown up by Ireland’s reversal of fortunes and its new oil-rich future, particularly in relation to its Celtic Tiger past and the fall-out from the Credit Crunch, but also in relation to big brother – the British state and its expertise in matters of oil… Where and what are the borders between Irish and British interests? What does Ireland imagine for itself? What can be learnt from experience in Nigeria and in Norway with the challenges of oil?

As the first of the planned All Our Tomorrows series of live performance and audio recordings, this event is developed by Irish-Nigerian playwright Gabriel Gbadamosi as creative editor with a professional radio producer and cross disciplinary academics as pundits. It is produced on behalf of The Fence network of international playwrights and cultural operators by Jonathan Meth.”

This multi-discipline approach appeals to me. Yes, playwrights write plays, and theatres with a bunch of professionals and performers put them on. But there’s more.  What I’m finding with the mingle, what I’ve always known in my investment work, is that different disciplines, different thinkers coming together can create new brilliant ways of seeing, different answers to complex questions; or complex answers to deceptively simple questions. Or just have a fun time together.

Time for more?  Here’s a short post on 5 things autism has taught me.  Here is   JK Rowling on the benefits of failure.

Jonathan Meth. A conversation, one.

Elegant, flowing, beautiful hands. Chatting with Jonathan Meth, I was struck by how eloquent his hands were.

 

Social decorum crimped me and I felt I couldn’t interject to say - wow your hands wonderfully mesmerize me. Social media strips decorum, so I can say that now.

 

My writing threads go back to when Jonathan ran writernet which harks back almost 20 years ago now. Now, I’m stepping back into a writing practice or perhaps a playwright as a multi-disciplinary arts-investing person, a some time mingler - which I’m told is a form of covening. It’s amazing to re-connect and hear how artists’ work have developed.

 

Jonathan has kept an international network of artists through Fence, which seems to me an evolution from the dramaturgical work of writernet (I will split the post and write about Fence in another section). He has also developed a practice in disability arts - and our shared interest in autism crosses over here. There’s a lot to Jonathan’s practice.

 

Across time and space, we end up on a warm New York autumn evening drinking a bar tender’s choice of drink, 10 over years since we last met.

 

The disability practice is described in this 2015 Guardian article and on his own site here. What I took away is that there is a strong disability arts practice in various countries, often forging on with limited support, but creating a long history or astonishing art. Three of them are partnered in Crossing the Line (not to be confused with the project that Gideon Lester and others are involved with): Crossing The Line (EU) is a project of the co-operative partnership of 3 European theatre companies: all leaders in the field of working with learning disabled artists. The partners are Moomsteatern in Malmo, Sweden; Compagnie de L’Oiseau Mouche in Roubaix, France and Mind The Gap in Bradford, UK. Jonathan is project dramaturg, and is hoping to expand the partnership to many more countries.

We also intersect on Ambitious about Autism. This is an ABA led group in the UK on ASD special education needs; but Ambitious acknowledges that the tent is larger than ABA and so pushes forward across a range of ASD advocacy; as child-centric and child-led practise informs much of good SEN (and typical) practice today, whatever techniques you find that work (and research is still relatively poor).

 

Drawing this part together, it was apparent to me that Jonathan speaks many languages. The language of art in its many dialects, the language of SEN, the language of policy makers and funders.

 

It dawned on me, I speak several of these languages too, and that we need more of us in today’s word. More than ever.

 

Jonathan spoke of Isaiah Berlin’s Fox (after Greek poet Archilochus) who ‘know many little things’.  As Jonathan writes: “They react to challenge by drawing on a pattern of general, pragmatic understanding, often making mistakes but seldom committing themselves to a potentially catastrophic grand strategy.” As opposed to the hedgehog, which knows one big thing.   It reminded me of this Nassim Taleb conversation with philosopher Constantine Sandis  -  Taleb argues a cousin piece of thinking:

 

“I do not consider myself a hedgehog, but a fox: I warn against focusing (‘anchoring’) on a single possible rare event. Rather, be prepared for the fact that the next large surprise, technological or historical, will not resemble what you have in mind (big surprises are what some people call ‘unknown unknowns’). In other words, learn to be abstract, and think in second order effects rather than being anecdotal – which I show to be against human nature. And crucially, rare events in Extremistan are more consequential by their very nature: the once-every-hundred-year flood is more damaging than the 10 year one, and less frequent.”

 

Being open minded, being open to possibilities when they happen, intertwining chance - taking those chances  - those challenges are absorbing them to make you stronger (anti-fragile, even more than resilient)

 

Looping back to Spike, that chimes with some of what I hope for him, that we can expose him to enough small and varied challenges and opportunities that he find enough to think, and be, and to find purpose. It’s hard for Spike to do that within an institution. We will find a way.

 

This last few days in New York has felt a little like that - throwing out the the threads - listening - thinking - being - meeting: from the chance meetings (triggered by the Empty Space), the semi-chance meetings like Jonathan; the near misses (Gideon, I’m still hoping); the re-connections;

Mixed in with the latest in pharmaceutical, medical technology and consumer genetic thinking.

 

And, I am thankful for that. Part two of conversation here.

 

Time for more?  Here’s a short post on 5 things autism has taught me.  Here is   JK Rowling on the benefits of failure.


 

You can study gravity forever without learning how to fly ​

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You can study gravity forever without learning how to fly.  

 -Shawn Achor   Happiness Advantage 

If you'd like to feel inspired by commencement addresses and life lessons try: Ursula K Le Guin on literature as an operating manual for life;  Neil Gaiman on making wonderful, fabulous, brilliant mistakes; or Nassim Taleb's commencement address; or JK Rowling on the benefits of failure.  Or Charlie Munger on always inverting.

Cross fertilise. Read about theautistic mind here. On investing try a thought on stock valuations.  Or Ray Dalio on populism and risk.

Talking Trouble

An autist describes what he feels going through his head as he blurts out the wrong verbal phrase.

TROUBLE WITH TALKING

The other day, when it was time to say ‘Thank you very much’ to my helper for taking me out and bringing me safely home, the phrase that came out of my mouth was ‘Have a nice day!’ I’ve been working on these verbal set-pieces for ages and ages, but I still can’t master such simple exchanges. Talking is troublesome for me. I’d like to work through what was happening in my head when I made the mistake with my helper.

 

1) I wanted to say the correct thing to my helper. (In my head, ‘Thank you very much’ is stored in the ‘Everyday Phrases’ category.)

2) As soon as I tried to express my thanks, my mind went blank.

3) I floundered, having no idea what I needed to do next.

4) So I looked down, and saw the shoes my helper was wearing as he stood in the small entrance hall of our house …

5) … which reminded me of seeing my father’s shoes there earlier in the day in the very same place.

6) The scene of me saying ‘Have a nice day!’ to Dad flashed into my mind.

7) I remembered that I needed to say something to my helper …

8) … so I blurted out the phrase that was already in my head: ‘Have a nice day!’

 

Can you imagine a life where you’re confronted at every turn by this inability to communicate? I never know I’m saying the wrong thing until I hear myself saying it. Instantly I know I’ve slipped up, but the horse has already bolted and people are pointing out my error, or even laughing about it. Their pity, their resignation, or their sense of So he doesn’t even understand this! make me miserable. There’s nothing I can do but wallow in despondency. The best reaction to our mistakes will vary from person to person, and according to his or her age, but please remember: for people with autism, the pain of being unable to do what we’d like to is already hard to live with. Pain arising from other people’s reactions to our mistakes can break our hearts.

 

"A worthwhile existence lies in playing whatever cards life has dealt you as skilfully as you can."

 

From Naoki Higashida's book  Fall Down 7 Times Get Up 8 (trans David Mitchell & Keiko Yoshida)  giving you an insight in to the autistic mind.

 

A look at some  of the answers from his first book here including video. Some thoughts from David Mitchell and the second book to make into EnglishA few thoughts from mein the business leadership style.

 

If you'd like to feel inspired by commencement addresses and life lessons try: Ursula K Le Guin on literature as an operating manual for life;  Neil Gaiman on making wonderful, fabulous, brilliant mistakes; or Nassim Taleb's commencement address; or JK Rowling on the benefits of failure. Plus life tips from Matt Haig.

 

Quite Good.

British English subtext, another lesson.  Quite good = mediocre.  Not bad = quite good.

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"Not Bad" and "Quite Good" - these phrases in British English are particularly complex.

Take this situation.

Alice at a bar. Conversing with her girl friends. Checking out potential dates.

"She's not bad." All her English friends understands she just rated someone 7 or 8 out of 10. Her Spanish friend, Maria, thinks she just rated someone 4 or 5 / 10.

Maria asks "What about that girl in green?"

"She's.... quite good." [Note the very slight intonations or pause or speed of phrasing on the 'quite' will be immediately parsed by her English friends.]

Maria thinks green girl scored 7 /10. But, Alice scored her 5 / 10.  

 "What do you think of my dance moves?  ---  Errrr. Quite good!"  English people can sound perfectly pleasant while telling all their English friends what they are really thinking.

The same situation applies to business. If your work or someone else is described by your boss as "Quite Good" it was average or possibly even slightly below. If you boss described it as "Not Bad", "Not Bad at all", then it was good and above average piece of work.


If you'd like to feel inspired by life lessons try: Ursula K Le Guin on literature as an operating manual for life;  Neil Gaiman on making wonderful, fabulous, brilliant mistakes; or Nassim Taleb's commencement address; or JK Rowling on the benefits of failure. Or Matt Haig's life lessons