Productive procrastination and parenting

| productivity, parenting

Text from sketch

Productive procrastination

We are going to procrastinate. That's the way our brains like to work. No sense grumping about it, that'll just make it worse. We might as well get better at it This is a skill that takes practice, so try to learn when the stakes are low.

  1. Have a good idea of what needs to be done
    • Why? (Useful for motivation)
    • What? (Including details, subtasks, prerequisites)
    • By when?
    • For how long? Estimating & tracking time helps with accuracy
  2. Choose procrastination wisely. A few good options:
    • Something else that you needed to do anyway & that won't get in the way
    • Something that resets your brain and helps you grow
      • ex: exercise, music
    • Something that builds up dopamine or manages energy
      • sure, have a short video
      • calming, energizing -> the zone
  3. Use timers
    • so that your break doesn't stretch on
    • and to make work feel more manageable
      • I can do that for 5 minutes
  4. Celebrate! Pat yourself on the back even for small wins.

A+ is 8 (almost 9!) and is starting to learn how to procrastinate. I think this is a fairly new development now that she's got more classwork and more ideas about how she wants to use her time (not doing classwork). That's cool. I procrastinate, too. Part of my job as her parent is to help her learn how to procrastinate well, and to let her practise while the stakes are low: while she's dealing with schoolwork, instead of when she's making critical life decisions on her own.

This is hard for both of us, but mostly for me. I keep getting the urge to try to keep her on track. I have to remember that it doesn't work out if I'm the one pushing. She resists. Also, she doesn't get the practice in managing herself.

I think it'll work out better if I help A+ learn to tune into and manage her energy. That might look like 5-minute breaks and the occasional snuggle, or reading during class and then catching up on work. As she experiments, she'll get a better sense of when she should pay attention and do things at that moment because they're going to use those things in a discussion or because the opportunity isn't going to be available later.

There'll be failures along the way, like underestimating how much time a task will take, not managing energy well enough, or making the wrong choices about attention–but that's just feedback for the experiments. Failure is low-stakes at the moment: a reminder from the teacher if she hasn't gotten started on the class activity, some negotiation about when to do things if she ran out of energy the night before, a worksheet we take our best guess at because we don't know what the instructions were. She'll make mistakes along the way, but that will help her learn. As long as she gets the work done, that's cool. And if she doesn't get the work done, then that's an opportunity to debug and improve.

Her virtual school teachers are more on the synchronous "everyone should be working on this slide for the next ten minutes" side of things, so we'll see how long we can get away with this flexible approach. I hope eventually she'll get the hang of getting the work done and then reading, but that's probably something she's going to figure out with experimentation.

It's great seeing A+ start to learn how to manage herself. I made a menu of activities before, but now she often thinks of activities herself. Earlier in the schoolyear, she wanted the breaks to be playing 20 minutes of Minecraft with me. Now we've gotten that down to 10 minutes of Minecraft or videos, and sometimes she even chooses 5-minute breaks instead. She sets her own timers. Now that we're experimenting with the Simply apps for piano/singing/drawing, she sometimes uses that for her break. Going through a bite-sized lesson or practice session gives her energy and makes her feel great about herself, especially if she's picking a song like How Far I'll Go from Moana.

Sometimes A+'s breaks are a bit longer because she wants to help out with something around the house, like baking cookies. (It's funny how much her motivation to help increases when there's a piece of homework in front of her.) Practical life skills are worth it too, and we talk about what she gets out of those activities.

We also talk about dopamine levels and the effect different activities have on our energy levels. We talk about how things like music can shift how we're feeling and help us get ready. She can tell when she's ready, and she can tell when she's too tired to work. (Goodness knows that getting better at detecting when I'm in the negative productivity zone is useful as a coder…)

Someday she'll be able to manage her own checklists. In the meantime, I can help make lists (and resist the temptation to add pressure to them). Someday, all her breaks will be self-regulated. In the meantime, if she wants snuggles as a break, she gets them. Someday she'll have a variety of breaktime activities that she can use to manage her energy. In the meantime, I can update the menu as her skills grow and her interests evolve. Someday, she'll be able to work longer and take shorter breaks, maybe something like Third Time. In the meantime, it's okay to start where she is. Someday she'll be in tune with when she has the most energy in the day, and plan her tasks accordingly. In the meantime, I can share my observations. ("Hmm, we'll probably be tired after we get back.") Someday, she might even be able to strategically use procrastinating on other tasks in order to get her main tasks done. This is the time to experiment and learn.

One of the things that I appreciate about virtual school is that her classwork gives her fodder for practising the skill of figuring out how to get things done. Sure, the skills and bits of knowledge she develops by doing it are handy, but she can learn that whenever. The process of getting stuff done (including things you might not particularly enjoy doing, but which need to be done anyway)–now that's a generally useful thing. If we choose to homeschool, I'll probably want to come up with something similar so that she can keep practising.

Speaking of feedback, I wonder how I can make something that'll help us estimate and then track how much time a task actually takes, without feeling the pressure of a count-down timer or a missed goal. I occasionally track my time on tasks using Org Mode effort estimates and clocking, and I like to approach it with curiosity instead of stress. My tasks are usually not repetitive, so it's more about calibrating my sense of effort. It might be interesting to help her start developing that sense too. She's already used to timers on her watch. This is more of a stopwatch thing, but maybe something less frenetic than a digital stopwatch or a Stackmat timer. Or we could use her timer and then treat it as a check-in reminder… I don't think she's quite there yet, but it could be something to try later on. Something to grow into.

On my side, I'm working on staying focused on our long-term goals. It's not about making sure this particular thing gets done now. It's about helping A+ develop ownership of the process and the ability to tune into herself: her interests, her energy levels, her decisions and experiments. I'm also here to help build her up by catching her doing well and celebrating those small wins. It's very tempting to try to use pressure and stress when I feel responsible for helping her develop a work ethic that's convenient for fitting in, but maybe there are other things that could work well for us. Practising letting her work it out–even if it means the occasional failure–will be important as she gets older and more independent, so I might as well learn that while the stakes are low, too.

It's easier to work with what we've got than to grump at ourselves for not being who we wish we were. It's like the way I've been learning to work with how my brain works, too. Our brains procrastinate. We can get better at doing it. Could be fun.

Does your brain tend to procrastinate too? What do you find works well for you?

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Using systemd to switch nginx configurations based on number of CPUs

| geek

I set up a BigBlueButton web conferencing server so that people can use it for Emacs meetups. To keep costs down, I want to resize it to 1 GB RAM 1 vCPU most of the time, and then resize it to 8 GB RAM 4 vCPU when there's a meetup. When it's at a proper size (4 CPUs), the Nginx web server should proxy the Greenlight web interface for BigBlueButton. In between meetups, I want to display a backup page to let people know they've got the right URL but that it's not up yet.

First, I need a shell script that returns the name of the configuration file to use. This is /usr/local/bin/nginx-cpu-config.sh:

#!/bin/bash
cpu_count=$(nproc)
if [ "$cpu_count" -ge 4 ]; then
    echo "/etc/nginx/nginx.conf"
else
    echo "/etc/nginx/backup-nginx.conf"
fi

Next, I need to copy /etc/nginx/nginx.conf to /etc/nginx/backup-nginx.conf. Instead of include /etc/nginx/sites-available/*;, I'll use include /etc/nginx/sites-backup/*;. Then I need to set up a copy of the /etc/nginx/sites-available/bigbluebutton in /etc/nginx/sites-backup/bigbluebutton. I changed the try_files so that it tries the backup file.

  # BigBlueButton landing page.
  location / {
    root   /var/www/bigbluebutton-default/assets;
    try_files $uri /backup/index.html @bbb-fe;
  }

I set up a /var/www/bigbluebutton/assets/backup/index.html with the message that I wanted to display between meetups.

I removed the /etc/systemd/system/haproxy.service.d/require-cpu.conf I had previously set up, so it would start even if downscaled to a single CPU. Then I created a /etc/systemd/system/nginx.service.d/based-on-cpus.conf with the following contents:

[Service]
ExecStartPre=
ExecStartPre=/bin/bash -c '/usr/sbin/nginx -t -c $(/usr/local/bin/nginx-cpu-config.sh)'
ExecStart=
ExecStart=/bin/bash -c '/usr/sbin/nginx -c $(/usr/local/bin/nginx-cpu-config.sh)'
ExecReload=
ExecReload=/bin/bash -c '/usr/sbin/nginx -s reload -c $(/usr/local/bin/nginx-cpu-config.sh)'

Then I ran systemctl daemon-reload and used service nginx restart to test.

Seems to be working. We'll see!

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2025-02-17 Emacs news

| emacs, emacs-news

Links from reddit.com/r/emacs, r/orgmode, r/spacemacs, r/planetemacs, Mastodon #emacs, Bluesky #emacs, Hacker News, lobste.rs, programming.dev, lemmy.world, lemmy.ml, communick.news, planet.emacslife.com, YouTube, the Emacs NEWS file, Emacs Calendar, and emacs-devel. Thanks to Andrés Ramírez for emacs-devel links. Do you have an Emacs-related link or announcement? Please e-mail me at sacha@sachachua.com. Thank you!

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AGO field trip #2: Moments in Modernism, landscapes

| art, painting

A+ asked me to take her on another informal field trip to the Art Gallery of Ontario to check out that special exhibit on modern art that we didn't have the energy for last time. I decided that was worth taking her out during a school afternoon. I figured there'd be plenty of time to catch up with schoolwork over the long weekend, and besides, I was curious too.

We explored the kids' area downstairs, climbed up the winding stairs, and then wandered over to Moments in Modernism.

Moments in Modernism

Ellsworth Kelly's White Blue (1960) was my favourite. I liked the clean, intense, simple colours. The description beside it said that it was based on the magnification of a drawing of an apple.

2025-02-12 Blue White.png
Figure 1: My very amateur take on Ellsworth Kelly's White Blue (1960) from the AGO

I didn't do this one while looking at it; A+ wanted to keep moving on. I remember it felt a little brighter than the picture from A line on Ellsworth Kelly | Foyer, though, but maybe not quite this blue. My white forms don't feel as rounded and as organic as the ones in the original. Anyway, I liked the swooshiness of White Blue.

I liked the hard black and white lines of Guido Molinari's Multinoir (1962) more than Gene Davis's Black Panther (1970), which made my eyes a little wibbly-wobbly. (How does it do that? Interesting…)

I liked the airbrushing of Rita Letendre's Daybreak (1983). The orange made me think of sunset more than sunrise, though. It was interesting to contrast the hard lines of Multinoir and White Blue with the airbrushed softness of Daybreak and the brushiness of Mark Rothko's No.1, White and Red (1962).

I brought our iPads so that we could try some digital painting. A+ didn't find anything in the modern art exhibit that inspired her at that moment, so she asked a volunteer for directions back to the Canadian landscape gallery from our previous trip.

Back to the landscapes

After looking at a few paintings, A+ decided to draw her own landscape with snowy mountain peaks. I revisited Lawren S. Harris's South Shore, Bylot Island (1931) from our last trip and used it to practise painting on my new iPad Air.

south-shore-bylot-island.jpg
Figure 2: Lawren S. Harris, South Shore, Bylot Island (1931, ago.ca)
2025-02-12_Landscape.jpg
Figure 3: My very amateur take, limited by skill and A+'s attention span

It was fun trying to get a sense of light and shadow. I like the yellow-white and shade of the snow on the mountains. I could dial down the saturation a bit.

On the way back, I mused on how Harris had been painting for decades before he made that painting, and even then, he had done quite a few studies of that scene before settling on that particular painting. So it totally makes sense that these first attempts have a long way to go.

Ideas for upcoming AGO field trips

We could check out that Letendre/Morrisseau exhibit I mentioned earlier (Gallery 126), maybe tied to some experiments with airbrushes in Procreate. A+ and her class did a Morrisseau-inspired art project with lots of bright colours, so I think that part might appeal to her too. She's also enjoyed playing "Spot the Difference" with similar paintings, so that might be good to do with Norval Morrisseau's Man Changing into Thunderbird (1977).

A+ mentioned looking forward to the Yayoi Kusama Infinity Mirrored Room installation this April, so we'll probably be back for that one. Two years ago, A+ and her class did two art projects inspired by Kusama's pumpkins. One was a drawing exploring polka dots, and another was a three-dimensional pumpkin made out of strips of paper and photographed between mirrors for an infinity(ish) effect. I think A+ will enjoy seeing the scaled-up version.

For amusement, here's my version of the pumpkin drawing project:

A+ finds it easier to learn about art when I'm learning beside her, and I'm glad to be able to go through these lessons and prompts with a grown-up's patience and curiosity.

As it turns out, the AGO collection website does not include all of their objects (or maybe I just can't find it with the search), so I'll take more pictures next time, and I'll bring A+'s camera too.

How lucky we are to be able to learn about art with this kind of resource!

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2025-02-10 Emacs news

| emacs, emacs-news

Links from reddit.com/r/emacs, r/orgmode, r/spacemacs, r/planetemacs, Mastodon #emacs, Bluesky #emacs, Hacker News, lobste.rs, programming.dev, lemmy.world, lemmy.ml, communick.news, planet.emacslife.com, YouTube, the Emacs NEWS file, Emacs Calendar, and emacs-devel. Thanks to Andrés Ramírez for emacs-devel links. Do you have an Emacs-related link or announcement? Please e-mail me at sacha@sachachua.com. Thank you!

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Sketching practice: Beaver, goose, squirrel, sparrow, flower, sheepdog and sheep

| drawing, art

A+'s class is working through a variety of assignments while reading through The Wild Robot. They've done chapter 1-11 so far. One of the assignments is to visualize things from the book, like sketching 6 things Roz has seen in nature so far. I figured I'd practise drawing too.

References:

A+ thought that Roz encountered a beaver, but I think she might have mixed it up with the otters. It was fun to draw a beaver anyway. I'm getting the hang of blocking out the shapes with a highlighter and then going over it with the pen.

The sheepdog wasn't from the story. It's from another reflection that I've been noodling on about how A+'s teacher often tries to herd 17 kids to be on the same literal page during virtual class. It's a hard job.

Learning about sheepdogs sent me on this fun tangent

A tangent on herding dogs: heelers (Heelers! Like Bluey!) nip at the heels; headers stare down the animals with a strong eye; some breeds use both methods and also run along the backs of the sheep; some are moderate to loose-eyed; some use barks; some are tending dogs who fence the sheep in. Fascinating. This Reddit thread is interesting too. And sheepdog training tips sound surprisingly relevant, like the importance of figuring out what distance the dog is ready to work at (which is not always the same as the distance the dog thinks they are ready to work at). Sometimes I'm the shepherd, sometimes I'm the sheepdog, sometimes I'm the sheep I want to herd.

As for A+ and art, she still gets very frustrated. "I can't do it!" she wails. But she's starting to be able to say things like "I see there's a circle here." I think it might be helpful for me to borrow a bunch of drawing books that emphasize sketching on top of basic shapes, instead of those drawing videos that just tell you the lines and curves to draw. Maybe Ed Emberley's drawing books. It might also be interesting to look through some digital art tutorials and tips, like this thread on the Procreate forum (oooh, monsters with eyes). Getting even more tempted to get an iPad for myself so that we can learn side by side. I've tried drawing on Android tablets/phablets before and Medibang Paint was pretty nice, but one of my goals is making it easier to bounce ideas and discoveries off each other.

Could be fun.

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Looking at landscapes; art and iteration

| art, supernote, learning, education

I want to get better at helping A+ learn more about art, and I want to learn more about art myself. She'll learn whatever she's ready to learn, but maybe I can help her get past the initial frustrations by breaking it down into smaller skills. As for me, there's plenty I can learn about seeing, getting stuff to look like what I'm seeing, imagining things, and communicating them. If I go about learning the things I want to learn, maybe she'll come along and pick things up too.

A+'s grade 3 virtual teacher assigned a landscape art project focusing on depth (foreground, middle ground, background) and value (highlight, midtone, shadow) using images from The Hidden Worlds of the National Parks. A+ was curious about Glacier National Park, and following that thread led us to this photograph of Saint-Mary Lake by Angelo Chiacchio (2018), so we used it as a reference. Angelo Chiacchio took this picture during a 300-day solo journey focusing on the precarity of our relationship with the world around us. He called this project .

Anyway. Back to the assignment. When A+ started her artwork in Procreate the other day, I noticed she was getting frustrated with her lines and curves not going where she wanted them to go. I suggested approaching it as a painting instead, blocking in masses of colour (… am I even using these words correctly?) and then gradually refining them based on what she sees, kind of like how you can smoosh some clay and then push it around until it feels right. She liked that approach better. We talked about fractions as we figured out how much space the background features took, and she painted land and sky and land and sky until things felt right to her. As she added details, I sometimes mentioned things I saw in the photo that I was trying to add to my painting, and she figured out her own interpretations of those. I liked how we both got the foreground/middle ground/background distinction using size and detail, and how the shadows helped the rocks look like they were part of the landscape.

Here's my take on it. Not entirely sure about the derivative work status of these ones, but I'm fairly sure they're no threat to Angelo Chiacchio's professional prospects as a designer/photographer/filmmaker. The first one is done using the Atelier drawing mode on my Supernote A5X, and the second one using the regular note app on the Supernote and just white/black:

Now that I've had a chance to look at the reference photo on my external monitor instead of on my phone screen, I can see a few more details, like peaks behind the forests on the left side. Working with just black/white is handy as I don't need to slow down to change pen colours. Maybe I can experiment with a midtone background so that I just need to add white and black.

Yesterday, we logged off from virtual school early to go to the Art Gallery of Ontario. I knew the class was going to do some more work on landscape art, so I figured it might be nice to check out the gallery and see things at a different scale. We could look at actual landscape paintings. As we wandered through the galleries, A+ was particularly interested in the Lawren S. Harris paintings like South Shore, Bylot Island, which had two other variations:

We looked at the foam on the waves, the contrast of the mountains, the clouds, the light, the shape of the peaks and the level of detail, the overlapping of the ridges of the mountains, the proportion of water to land to sky. She pointed to the elements of the paintings and looked closely at how it was put together.

By Lawren S. Harris, paintings from https://ago.ca, all rights reserved:

bylot-island-shore-sketch-32.jpg
Figure 1: Sketch XXXII
bylot-island-shore-sketch-35.jpg
Figure 2: Sketch XXXIV
south-shore-bylot-island.jpg
Figure 3: South Shore, Bylot Island

(I think it's okay to use these thumbnails under the Fair Dealing clause of AGO Terms of Use.)

Reading more about Lawren S. Harris, I learned that he invited artists to come together, provided them an inexpensive space to work, and financed trips for them, and helped form the Group of Seven (of which he was one) in 1920. That reminds me a little of William Thurston's thoughts on how mathematical knowledge can move so much more quickly through informal, in-person discussions compared to lectures or published papers. Connection: A group of painters thinking about Canadian art together. And a small-scale connection: the bouncing around of ideas in the Emacs community. But I am trying to squeeze too many tangents into this post.

I liked being able to look at versions of the same idea and discuss the differences between them. Today I looked up the paintings so I could write about them. I told A+ about how the two sketches were numbered #32 and #35, which means the artist probably did lots of studies to figure out how to paint what he wanted to show, and that even accomplished artists try lots of things in order to figure things out. It's interesting to get a glimpse of what happens behind the scenes of a polished piece of art.

I brought the iPad and my Supernote so that A+ could finish her digital landscape painting and so that I could work on mine. A proper class field trip came in, too. We watched the grade 6/7 students sprawl on the floor, pick paintings to study, and sketch with pencil and paper. A+ got her painting to a point where she really liked it. I liked the way her digital brushstrokes textured the rocks in the foreground where mine still felt flat, and the attention she paid to the snow in the peaks. Anyway, homework done, we explored some more. She found the AGO energizing and pulled me from exhibit to exhibit, although we did have to reluctantly save some galleries for the next trip.

I was a little envious of A+'s familiarity with Procreate. Maybe when I get the hang of value and if art becomes more of a thing, I might consider getting my own iPad for digital painting, since she often uses W-'s iPad for reading, watching, or drawing. I'd love to work with colours again. In the meantime, I still have much I can learn on the Supernote, even though it can only do white, black, and two levels of gray. When I browse through /r/supernote for inspiration (there's a filter for just artwork posts), it's… ah… easy to see that the hardware is not the limiting factor. Besides, I can practise using Krita on the X230 tablet PC. And it's been helpful, actually, limiting myself to just what the Supernote can do. I don't have to spend time trying to figure out colours that reflect what I see and that somehow work together with the other colours in the image. I can focus on learning how to see in terms of value first, and maybe dig into more of the techniques around black and white drawings.

Towards the end of my father's life, he took up drawing and watercolour painting, teaching himself through YouTube tutorials and tons of practice. As an advertising photographer, he had already spent decades thinking about composition and light, so I think he had a bit of an unfair advantage, especially since drawing meant that he didn't even have to have the right dramatic sky to Photoshop into an image.

When my dad asked me which of his drawings or paintings I wanted to keep, I asked for his sketchbook. I wanted the rough sketches, the in-between steps, the experiments. He gave me his one sketchbook and a bunch of loose sketches in a small case. I think he must have drawn in other sketchbooks, but maybe he didn't keep them, or maybe he really just leveled up that quickly. So here's a series of sketches by John K. Chua (all rights reserved). I'm pretty sure he was following this tutorial on How to Draw a Lighthouse, the Sea and Sky, but I'm just guessing at the sequence of these sketches.

This was about half a year before his death. Cancer meant he couldn't get out as much as he used to, so he had to channel his passion for photography and learning into something else. It's interesting to see him experiment with the shapes in the sky, the contrast and shape of the shore, the rocks, the light from the lighthouse. He made many other sketches and paintings, often with several variations in the sketchbook. It would have been nice to see what he could've done with years more experimentation, but ah well.

While reading about art studies and iteration, I came across these posts:

So yes, definitely a thing.

I've been having fun drawing more. I could pick a tutorial, a Creative Commons image, or a public domain image as a reference so I can freely share my iterations. It'll be interesting to do that kind of iteration. I'm not sure A+'s at the point of being able to do that kind of study yet. I'm not totally sure I'm at that point yet either. My mind is often pulled in other directions by ideas and novelty. I am definitely going to lose her if I insist she repeats things.

That reminds me a little of another reflection I've been noodling around on interest development. The article Enhance Your Reference Skills by Knowing the Four Phases of Interest Development and this presentation mention that in the phase of emerging personal interest, when people are starting to become curious and independently re-engage a topic, they're not particularly interested in being advised on how to improve what they've currently got. It's better to acknowledge the effort they're putting in and to be patient. So I might as well just learn beside her, experimenting on my own stuff, letting her peek in, and see where that takes us.

This is hard. But life is long (generally), and she can learn things when she's ready. She can only learn things when she's ready. There's time. I didn't grow up particularly confident in art. I still mostly draw stick figures. But to my great surprise, I've managed to get paid for a few of them as a grown-up, and I use them myself to think and grow. Sometimes I discover myself drawing for fun.

At 41 years, what am I ready to learn about art? About life?

I have that sense of discrepancy between my clumsy lines and blobs and actions, and the shapes and results I want. This is good. I can imagine that there's something better, even if that's often unclear, and it's not… whatever this is. That is the gap between taste and skill that Ira Glass described.

Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.

With any luck, I'm never going to outrun the gap. An important part to learn (and share) is how to let go of the frustration and self-doubt that get in the way, so that we can get on with the learning. That's hard. I am learning to experiment, even if it looks like I'm only changing a little bit at a time, and even if I often go sideways or backwards more than forward. I am trying to get better at sketching and taking notes so that I can see things side by side. In life, part of the challenge is figuring out the characteristics of this quirky medium–what it permits at this particular moment. I just have to keep trying, and observing, and thinking, and changing; not quite the same thing again and again.

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