sublime first draft

Hi, sweet beans. Welcome back to Wild Geese. I'm your host, Anna. There's like

Geese. I'm your host, Anna. There's like

a huge truck outside that keeps honking the smallest little honks I've ever heard, and it's reminding me of this video that I saw this morning of this cat who was like attacking her owner.

But by attack, I really just mean the cat was slightly opening her mouth anytime the owner's hand would come near her. It was like,

her. It was like, okay, two episodes ago, I was talking about self-respect as a decision-making framework, not a feeling. And really, I was talking about that as it relates to romantic relationships, but it's been on

my mind ever since I heard that little phrase. And I want to expand on what

phrase. And I want to expand on what that looks like in our creative lives.

Because of course, our creative lives and our romantic lives are deeply connected. They're one and the same.

connected. They're one and the same.

They're both relational, even if your creative practice is largely solitary.

Like, whatever insecurities pop up in your romantic life will also rear their heads while you're making art. And I

remember a few weeks ago I was reflecting on the insecurities that I was feeling with sharing my work online and like the avoidance that was coming up because of that. And as I thought about it, I was like, "Oh, I'm afraid of

heartbreak." Like I've fallen in love

heartbreak." Like I've fallen in love with what I'm doing here. And if that is taken away from me for whatever reason, either the love itself or the thing that I'm doing, I would be heartbroken. And

that same fear comes up when I'm falling in love with a person. So along the same thread, when I first heard self-respect as a decision-making framework, I could see that applied to romantic

relationships or really relationships at large and I could see how it has applied to my creative life. And there's a James Baldwin quote that says, "The role of the lover is exactly the same as the role of the artist. If I love you, I

must make you aware of the things you do not see." And I love this quote because

not see." And I love this quote because one particular thread of this conversation that is really interesting to me right now that we'll talk about is the agency that it takes to step into

the role of seer, not just scene. We're

going to get into some art history that I have been finding really interesting along those lines lately. We're going to talk about what it really means to move beyond the role of like the muse and into the role of the maker. And one

thing that has really been helping me to do just that is a platform called Sublime, the sponsor of today's episode.

Sublime is my favorite creative thinking tool. I've been using it to digital

tool. I've been using it to digital garden and brainstorm projects and episodes since I found it last June.

They're a small independent female founded company that I'm happy to stand behind. And I actually did a full

behind. And I actually did a full episode that was like a behind the scenes of my process with Sublime called How to Manage Multiple Interests and actually create something. So, if you want the full scoop, definitely go check that out. But basically, Sublime allows

that out. But basically, Sublime allows me to take anything that moves me and save it all in one place. So this could be PDFs, movies, books, YouTube videos, images, whatever it is. You could save

it on to Sublime and sort them into collections. These collections then

collections. These collections then become brainstorming spaces for different ideas that I might want to expand on later. So whether it's a YouTube video, an essay, a script, any project that might be just tumbling

around in my head is given a container on Sublime. But what really stands out

on Sublime. But what really stands out to me about Sublime and makes it really valuable to my process is its communal search engine and related ideas feature.

Whether I'm popping a question or an idea into the search bar on Sublime or saving something from another place on the internet, Sublime will pull related cards from across the platform to help me sharpen my focus and continue down

that rabbit hole. So, say I'm working on a creative project and I'm in the beginning stages. I might only have a

beginning stages. I might only have a very general idea of a direction that I want to go in. I can pop that general phrase into the Sublime search bar and

Sublime will make tangential connections to other related cards. It does the same thing when I add a new idea to my own archive. So, this takes us past the

archive. So, this takes us past the classic like personal archival and into a human curated living network of references that's free from social media

algorithms. I love this because it's not like searching for a direct answer and then stopping ourselves from thinking once we get it. It's like asking, "What more might I discover?" And then Sublime is putting you in contact with real

cited work without a social media algorithm or a thousand ads distracting you from your original line of inquiry.

To put a little cherry on top, Sublime has a canvas feature that allows you to make mind maps, which is exactly what I need in order to take what I'm saving and actually make something new from it.

You can try it for free or sign up for premium today. Use code wild geese to

premium today. Use code wild geese to get 20% off at checkout. And Sublime's

related card feature actually helped me find an essay that I read months and months and months ago. I'm pretty sure I quoted this on an episode of Wild Geese back in February of last year, probably

exactly one year ago today. I quoted

this essay, but I think this essay is perfect to situate us in this conversation today. It's called They

conversation today. It's called They Convinced You to Love Yourself So You'd Forget to Respect Yourself by Zara on Substack. Zara says, "Self- loveve

Substack. Zara says, "Self- loveve encourages a self-acceptance without challenge or accountability, while self-respect demands integrity, disciplined, and most importantly, a steadfast alignment with one's values."

If your worldview is one of higher purpose and one that acknowledges the reality that struggle is a condition of life, feeling good is peripheral. What

becomes central is dignity, self-confidence, resilience, and an ability to rely on yourself. Unlike

self- loveve which has few if any conditions and can drift into narcissism or self-indulgence, self-respect demands a lot from us. It requires that we honor our commitments and uphold our moral

principles practically. It requires that

principles practically. It requires that we repeatedly do what we say we will do.

And I have an example of a time that self-respect really had to come into play for me both romantically and creatively at the same time. And I've

told this story before, like a year ago, but I'll tell it again to I guess embarrass myself. For a bit of context,

embarrass myself. For a bit of context, Wild Geese started in April of 2024, and I went until July of 2024, and then I

started dating. Just kind of like lost

started dating. Just kind of like lost the vision for this podcast, stopped being as motivated to interview people, and I took like a 5-month hiatus. And

the thing that actually got me to recommmit to this and say like, "Okay, I'm going to become the person that repeatedly does what I say I am going to

do is that I got ghosted." And right before he ghosted me, he shared like he was a music producer and he shared this song that he made in like Garage Band or whatever. And he was like, "Can you

whatever. And he was like, "Can you write lyrics to this?" And I wrote lyrics to it and shortly after that he ghosted me. But I remember listening to

ghosted me. But I remember listening to the little recording that I made with my lyrics just over and over and over again. And that feeling of creating

again. And that feeling of creating something and being proud of it was so intoxicating to me that I was like, okay, I am going to devote 1 hour a day to a creative practice. And at first I

was thinking it was going to be songwriting. And then I was like, Anna,

songwriting. And then I was like, Anna, you have this whole creative project that you've completely binged. What if

you came back around to it and just said, I am going to spend 1 hour a day improving my skills on this podcast? And

that was ultimately a decision that I made out of respect for myself because I could feel how great it was to create something that I was proud of. And I

wanted to continue coming back around to that feeling. No matter how much like

that feeling. No matter how much like gunk I had to go through to get to that feeling again, I wanted it again. But

also, it was the self-respect to put my attention and energy into a process that could reciprocate and not into pining after a guy that was like clearly not

right for me. And then a really cool example of self-respect in someone's artistic process is Alyssa Lou. If you

haven't been following the Olympics ice skating, Alyssa Lou's story, whatever, Alyssa Lou is the American ice skater that just won gold. and she made history when she was like 13 years old when she

became the youngest women's nationals champion and then she won again in 2020.

So obviously this put a ton of pressure on her to become like the next great American ice skater. America had not won a gold medal medal. I can't talk.

America had not won a gold medal in like a really long time. So she was under a ton of pressure. She was skating every day. Her whole life basically became

day. Her whole life basically became controlled by her coaches. And once the pandemic came along, she found herself hoping that the ice skating rinks would not open back up. So after the Beijing

Olympics, where she won sixth place, I believe, she retired from ice skating.

She left it behind completely and just went and lived her life, had fun, gave herself a childhood. When she was ready, she finally started skating again, but this time it was for herself. She kept

it like completely secret for a while until she was ready to go back to her coaches and say, "I want to do this again, but I'm going to do it on my own terms. I'm going to have creative control. I'm going to skate to the music

control. I'm going to skate to the music that I want to skate to. She's been

quoted saying, "No one's going to starve me." And she was like, "I don't care

me." And she was like, "I don't care about winning. I want to come back and

about winning. I want to come back and do this because I love doing it and no one's going to steal that from me." And

then she ends up winning. And watching

her do this was so astounding for so many of us. Because even outside of competitive sports, there are so many forces that are like, "Here's the right way to do things. Here's how to be the best at what you do." Blah blah blah.

And it takes real selfrespect to say, "Okay, there's something about that that doesn't feel right to me. Something is

missing and I'm not sure what it is, but I'm willing to disappoint some people in order to not disappoint myself and I will create what I'm actually looking for, whether it's here or elsewhere."

And that idea of creating what you're looking for reminds me of this Tik Tok that I saw and saved to my creativity collection on Sublime. This Tik Tok is

by Pa Suarez Gomez. Maybe we are here to create what we are seeking. What you're

drawn to is unique. It's not what everybody else is drawn to. What moves

you is not what moves everyone else. And

I think when we're out in the world and we inch towards an urgency or eagerness to overflow or to receive an overflow,

whether that be from a teacher or a peer or a mystical stranger that has wisdom to share. I think sometimes that can

to share. I think sometimes that can bring about a feeling maybe like the same kind of feeling that you feel at a concert, you know, where

the hairs on your arms stand up and you for a moment feel so close to the artist and those who also love the same artist.

And I think about how the artist who created that music was searching for a feeling. And ultimately,

feeling. And ultimately, I think maybe they were searching for the feeling

that they would feel to create that song. And in creating it and then in

song. And in creating it and then in sharing it with the world, it became something that many people were looking

for. But before that artist could create

for. But before that artist could create that song, they had to feel what it was like to live in a world without that song, which ultimately led them to

create that song. When you go out into the world, when you feel close to the answer, what if it's because the answer

already lives within you? And life is like a game of hot and cold. And when

you're getting warmer, you can feel it.

To find a way to exist in the world that feels truly authentic and satisfying and fulfilling. All of us want that. And I

fulfilling. All of us want that. And I

really do think that we all have this internal guidance system taking us there. And I think it can be really easy

there. And I think it can be really easy to use that guidance system to bring you to people, places, and things that you think are going to reveal the answer to

you when really the answer is inside of you. And your internal guidance system

you. And your internal guidance system is like the map that you get to use on your way. And you get to document with a

your way. And you get to document with a big red X, I like it here. I want to come back. So creating what you're

come back. So creating what you're seeking, following your own internal guidance system, that idea is so liberating and beautiful. And I feel like I see examples of it playing out

around me all the time. And I know that it's a privilege to have the agency to decide to decide for yourself where you're going to go, what you're going to do, who you're going to do it with, what you're going to make, who you're going

to make it for, to put that X marks the spot on your desire, and then to return there. Those are all decisions that it's

there. Those are all decisions that it's a privilege to make. And I started listening to this audio book called Women in the Picture: What Culture Does with Female Bodies by the art historian Katherine Cormick. And the book

Katherine Cormick. And the book basically charts the history and tangled roots of some of the archetypes that limit the complexity of women's experience in art. So she starts with Venus, which still permeates Western

culture as like the ideal vision of beauty and ideal womanhood all the way to images of women as monsters and everything in between, maidens, wives, mothers, that sort of thing. And then

she provides examples of women breaking out of these archetypes to create a picture of the world that actually includes them in all of their complexities, their fullness, their messiness. It's a fascinating read and I

messiness. It's a fascinating read and I definitely recommend checking it out. I

also feel like it was interesting to read it right now. I've been talking to a lot of people lately who feel like the misogyny of the world is like reaching a

fever pitch and it's really difficult to move through. In this book, while it can

move through. In this book, while it can feel heavy to dive into the historical context of misogyny in art, it really feels like having this information is

like a tool almost to break out of cages that patriarchy has put us in. And

Catherine says, "Historically speaking, women have not been allowed to look held back from studying and entry into the professional sphere. They were not

professional sphere. They were not allowed to look at books nor at the world. More specifically, they weren't

world. More specifically, they weren't allowed to look at the world of men in case they found something that they wanted to challenge. This restriction

also meant that women have historically been excluded from looking at bodies, either as doctors or as artists. This

privilege not only gave men near total control over the way women's bodies worked, but also over the way women's bodies have appeared in everything from paintings and sculptures to medical textbooks, cinema, and political

cartoons. And these representations are

cartoons. And these representations are not necessarily reflective of the myriad ways in which women see themselves. She

goes on to say, "While there is no shortage of pictures of women on the walls of the National Gallery and a collection of 2,300 paintings, only 21 of them are actually by women." And

obviously, that's not just an issue at the National Gallery. In 2019, the Freelance Foundation annual report on gender disparity in the creative arts sector found that 68% of artists represented by London's top commercial

galleries were men and only 3% of the top grossing works at contemporary art auction were by women. This is despite the fact that women take up more than twothirds of places on creative arts and design courses in higher education. The

statistics are even worse for artists of color. The Black Artists in Modernism's

color. The Black Artists in Modernism's National Collection Audit found that there are only 2,000 works by black artists in the UK's permanent collections. In the US, African-American

collections. In the US, African-American women make up just 3.3% of the total number of female artists whose work was collected by US institutions between 2008 and 2018. Now, I will say this book really focuses on Western art. I would

be interested to learn more about how this might look different in Eastern cultures. But I do think that this is a

cultures. But I do think that this is a good place to start as a person who was born and raised in the US because these are the cultural waters that were swimming in. But I was surprised when

swimming in. But I was surprised when she said, "Historically, women have not been allowed to look." I did not expect that to be such a literal statement.

Like in a heady way, I could see how she could say that as like a figure of speech to get this message across that like there's a disparity in representation for women and especially women of color. But she pulls out

examples that make it so incredibly literal. She uses the example of the

literal. She uses the example of the painting the Lady of Shalot, which is based off of the poem by Alfred Lord Tennyson. According to Wikipedia, in the

Tennyson. According to Wikipedia, in the poem, the lady had been confined to her quarters under a curse that forbade her to go outside or even look directly out of a window. Her only view of the world was through a mirror. She sat below the

mirror and wo a tapestry of the scene she could see by the reflection. After

defying the curse by looking out the window at Camelot, she made her way to a small boat. This is the moment pictured

small boat. This is the moment pictured in Waterhouse's painting as she leaves to face her destiny and she is shown sitting on the tapestry she has woven.

So, she dies as a consequence of defying that curse and she floats down the river where she's met with knights that gawk at the beauty of her dead body.

Catherine puts it pretty succinctly that the story is about the perils that afflict women who look. Another example

she uses is the academicians of the Royal Academy. I don't know if I'm

Royal Academy. I don't know if I'm saying that correctly. Academicians.

Academicians. I don't know. I've never

heard that word said out loud. But this

is a painting that depicts the Royal Academy in Britain. And it actually had two women who were founding members, Angelica Kaufman and Mary Moser. But

they were not allowed governance. It was

seen as like this big mistake that they were ever led in in the first place. And

in this painting of the Royal Academy, they're not allowed in the painting.

Instead, they're seen as portraits on the wall. For many, many years after,

the wall. For many, many years after, women were not allowed in the Royal Academy. And this was seen as a time

Academy. And this was seen as a time when there were quote unquote no women artists. But we know that's not true. We

artists. But we know that's not true. We

know women were still making art. They

just weren't being funded, recognized, or encouraged to do so. Katherine says,

"Women, even when they were seinal artists themselves, could only be depicted as they were seen by others and not in the act of seeing the world themselves." So, how were women seen by

themselves." So, how were women seen by others and how does that affect our sense of self even today? That was

really what this whole book was like fleshing out. And I'm obviously not

fleshing out. And I'm obviously not going to be able to get into the whole thing in a 30-inute episode, but I do want to focus on Venus because Venus was an archetype that was incredibly interesting to me. When you think of

Venus, you probably think of love, beauty, fertility, maybe something astrological. The birth of Venus by

astrological. The birth of Venus by Bodchelli is probably the most famous depiction of Venus. It's what I originally like immediately thought of when I was on the plane listening to this audio book. Pro tip, if you're

going to listen to an art history book, maybe have the actual physical book as well, because images do help. But

Katherine says, "Venus has been employed to make ideal versions of femininity seem normal and to teach us patriarchy's version of sex. She inspired the internalized fantasy of what womanhood should look like." So, the birth of

Venus and the Canadian Aphrodite provided a foundation for all of the other images of Venus that came after them. And there are tons. Andy Warhol,

them. And there are tons. Andy Warhol,

Lady Gaga, Beyonce, like you name it.

They've all incorporated Venus into their work. But also like even in

their work. But also like even in advertising, it's everywhere. You think

of Gillette's Venus like razor brand and they have that jingle that says, "I'm your Venus. I'm your fire. Your desire."

your Venus. I'm your fire. Your desire."

But the actual birth of Venus is really interesting to think about beyond just the painting. Catherine says it wasn't a

the painting. Catherine says it wasn't a sweetly perfumed seafoam surfing story, but something much more violent. The god

Kronos, son of Uranus and Gaia, sawed off his father's testicles just as Uranus was about to make love to Gaia.

The severed genitals were then thrown into the sea where they frosted and transformed into a beautiful woman who was the goddess of love, beauty, and fertility. Let's take a pause and just

fertility. Let's take a pause and just think about this for a moment. The

enduring western symbol of feminine beauty and sexuality did not come from the body of a woman and the sex organ of a man. Venus is the butchered testicle

a man. Venus is the butchered testicle of her father's body. She is motherless.

The fact that Venus did not come from the body of a woman actually made her more divine within the neoplatonic concept of Bodhicelli in the Medici circle. It may not at first be obvious,

circle. It may not at first be obvious, but the mythological story of Venus's birth erases the reproductive power of the female body. So

that makes me want to scream. Thinking

of Venus before reading this book, I was like, "Yeah, I love her." Like goddess of love and beauty and fertility. Love

all those things. But just knowing that it's actually those things as they're perceived and depicted by men who like very clearly did not want to see the power that women actually have. I just

think it's so easy to look at beautiful paintings by legitimately great artists and think it's a celebration of women's beauty and sexuality and power, but they're actually depictions of women

that ignore real women completely and then launch us into this world in which the only way to be like gender conforming as a woman is to change your body. And Venus in the nude often

body. And Venus in the nude often assumes a pose called the Venus pudika where she like covers herself with her hands aware of the onlookers and ashamed that she's being exposed which is

something you definitely don't see statues and paintings of men from that time doing like nudes of men are very prideful. It's like their dick is just

prideful. It's like their dick is just out, you know. And in an act of protest, there's a suffragette named Mary Richardson who actually went into the National Gallery in 1914 and slashed a

painting of Venus called the Rogueby Venus. The Roby Venus is a painting by

Venus. The Roby Venus is a painting by Diego Velasquez from the 1600s, I believe, that depicts Venus lying with her back facing the viewer and Cupid is like holding up a little mirror for her to look through. The actual history of

this painting is that this is a painting in which the woman posed naked for Diego Velasquez. And then this painting was

Velasquez. And then this painting was passed around rich circles of men as like a status symbol. But people were very angry at Mary for vandalizing the painting even though she was doing that in order to protest the brutal

treatments of imprisoned suffragettes at that time. As Katherine puts it, in her

that time. As Katherine puts it, in her assault on Venus, Mary Richard wanted to highlight the hypocrisy that a picture of a nude woman demanded more respect than the actual bodies of half the population. But let's talk about

population. But let's talk about self-respect beyond protest because I believe that reactionary decisions like have their time and place but they can really only go so far. So what does self-respect that actually takes

narratives that have historically been allowed and funded and even revered and then twists them, breaks them in half or ignores them completely? What does that look like? And Ruby Carr actually

look like? And Ruby Carr actually created her own version of the Rogue be Venus. I'm not sure if it was

Venus. I'm not sure if it was intentionally calling to that piece or not, but it's an image of her where she's lying down with her back facing the camera with a period stain showing

through her pants. And this image was actually taken down from Instagram. I

believe this was like years ago. It was

like in maybe 2015 or something like that. I don't know. It was a while ago

that. I don't know. It was a while ago at this point. But interesting what gets censored because it's not necessarily

the exposure of women's bodies that gets censored, but it's like the actual bodily realities of bodies

that's like offensive. She said she wasn't trying to be provocative though.

She was just trying to demystify all of the taboos that surround menration.

Another example is Susan Lorie Park's play Venus, which is a reimagining of the life of Sarah Bartman, a koi Koi woman who was exhibited as an attraction in a freak show in 19th century Europe under the name Hot and Tot Venus. She

had Statapigia, which is a body type that basically means you have a large butt and thighs. And this was considered to be physically remarkable and people would pay to come and go at her body.

After her death, her brain and genitals were put on display in a museum in Paris until the 1970s. Katherine says, "Where the white sculpted Venus, beloved by aroused soldiers and horny grand

tourists, is a body in which we dispel anything remotely real about the female body, the hot and taut Venus was presented as a body of physical excess, one that overspilled with everything that was repressed in the white marble

goddess. They saw her body as a symptom

goddess. They saw her body as a symptom of devian and hypersexuality. So, I read Susan Lorie Parks's play about this in college in my feminism and theater class. It's a reimagining of Sarah

class. It's a reimagining of Sarah Bartman's life and it breaks a lot of like structural storytelling conventions that are kind of seen as inherently patriarchal in the world of theater.

It's very interesting. I won't get into all of that right now, but Susan Lorie Parks says most of it's fabricated. It's

questioning the history of history. It

embraces the unrecorded truth, which I think if you hear Sarah Bartman's story and it disturbs you and like sticks with you, I think it is in and of itself an

act of self-respect to take that feeling and sit with it and create something in which you can give her a voice. So, I

just think that's a great example of self-respect in the creation process. I

feel like I'm only scratching the surface here and if you are a visual artist, I highly recommend this book.

Even if you're not a visual artist, I personally just think it's a really empowering thing to understand the context behind images that have informed culture for such a long time. And I know the examples I've used of self-respect

in the creation process were pretty directly contending with and in response to the disrespect of patriarchal art.

But I would go as far as to say that forming a creative practice that prioritizes that thing we were talking about before of like feeling out what's missing and creating it for yourself. I

would say that alone is an act of self-respect. It doesn't have to be like

self-respect. It doesn't have to be like these feminist statements. But I know that like I was saying earlier, the misogyny of the world is like thrown in our faces constantly. Many people I

love, including myself, have expressed that it feels incredibly loud right now.

And sometimes it's really difficult to believe that a world can exist in which we're free from that. But I do think art, the making of it and the sharing of it is becoming more accessible. Like I

see women, people of color, non-binary people making and sharing art and having a platform to do so every single day.

And I just don't think that that can really be said for other times in recent history. And I actually have a bit of a

history. And I actually have a bit of a hot take. I think that art that's shared

hot take. I think that art that's shared online is so often flattened into content creation when it's like so clearly art, but it's devalued because

it's a field dominated by women. And

like yes, sometimes it is just empty consumerism, but I would say that's also sometimes true of commissioned quote unquote high art. And this whole conversation is making me think of this piece by Joyce Sullivan from In This New

Life: Instructions for Traveling West.

And this is what it says. There's a tree outside my window that taps the glass with her ancient hands. At night, I imagine her stroking my face. I chose

this house because it has a fireplace to burn off bad days. In the sitting room, there's a built-in hutch, awkward as a stubbed toe. It's her ugliness that I

stubbed toe. It's her ugliness that I love. I buy books and candles and thrift

love. I buy books and candles and thrift store ramicins to line her shelves. If

there are ghosts here, we are happy haunting one another. On Saturdays, I buy us all flowers. My cat snores on the bed. When I go out, I order French 75s

bed. When I go out, I order French 75s because I've yet to hear anyone order one and not sound sexy. I wear a dress that doesn't hide my hips. In the tub, I listen to my grandfather's records. I'm

naked and unrepentant, a fish with teeth. I finally found a way to live on

teeth. I finally found a way to live on the inside of my life. This time, I'm the painter. This time I'm the muse. And

the painter. This time I'm the muse. And

then on a very related note, Victoria Chang's untitled number five, 1998 with my back to the world says, "What if I've spent my whole life wanting to be seen?

In that way, I've wanted to be the painting, not the painter. But I am the painter. It's just so clear to me that

painter. It's just so clear to me that there is potential for art in every single decision that we make.

Personally, writing has been a huge part of this process of stepping from the painted to the painter since I'm not really literally a painter, although I know a lot of you are. I know a lot of incredible painters are watching this

right now. But I don't know. Like we

right now. But I don't know. Like we

started this conversation with a silly little story about me abandoning my creative pursuits, my creative projects

in order to date. And really that when I think about it, I definitely had this moment where I was hoping to be someone else's muse and for that to be enough.

But it's been more than a year now since I realized that that is in fact not enough for me personally. And I'm proud of myself for creating, as Virginia Wolf

would put it, kind of like a room of my own. Virginia Wolf said, "A woman must

own. Virginia Wolf said, "A woman must have money and a room of her own if she is to write fiction." So long as you write what you wish to write, that is all that matters. And whether it matters for ages or only for hours, nobody can

say. And thank you again to Sublime for

say. And thank you again to Sublime for sponsoring this video because it really does feel like an extension of that room. You know, like Virginia Wolf was

room. You know, like Virginia Wolf was definitely just talking about a physical room, but I feel like with the realities of the world that we live in now, it feels like a place where I can create

like attentional sovereignty online. And

I think that's all I have for you today.

I know that that was a lot of information.

I know it was for me. I was like sitting on that plane listening to this audiobook playing my Nintendo Switch and I was like, "Oh this is like I need to note this down." I'd love for you all to keep sharing the things

you're creating with me. It always feels like a privilege to witness. And I love you. I'll see you in two weeks.

you. I'll see you in two weeks.