SOMEGUY

foreword by
KEVIN KELLY

1000
JOURNALS
PROJECT
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The 1000 Journals Project
Copyright © 2007 by Someguy.
Foreword copyright © 2007 by Kevin Kelly.

All rights reserved. No part of this book my be reproduced

in any form without written permission from the publisher.

Library of Congress Cataloging-in-Publication Data available.

ISBN-10: 0-8118-5856-1
ISBN- 13: 978-0-8118-5856-4

Manufactured in China.

Designed by Altitude

Distributed in Canada by Raincoast Books

9050 Shaughnessy Street
Vancouver, British Columbia V6P 6E5

109 8 76 5432 1

Chronicle Books LLC

680 Second Street
San Francisco, California 94107
www.chroniclebooks.com

Cover artwork by Linda Zacks

This book is dedicated to everyone
who’s ever said, “I’m not creative.”
Foreword

Some folks worry that the digitization of our daily lives will make us
disembodied ghosts. They fear that we’ll become fat lumps of tissue
plugged into some giant machine, and that our souls and minds will
migrate to cyberspace, where our egos will drift as mere whiffs of
electrons. We’ll work, play, shop, and live online, and the real world —
the physical world and all its pleasures — will rot.

Nothing could be further from the truth. In fact, technology is steadily

moving us toward a future in which intangible bits of digital informa¬
tion are more and more embedded into our very physical world, and
the physical world is pervaded by ubiquitous digital bits. The world
of atoms (bodies) and the world of bits (minds) are converging. Soon,
every object made will have a tiny bit of mind in it, and our intellectual
lives will intersect with almost everything made.

A prime example of this confluence of mind and body is Someguy’s

1000 Journals Project.

The project takes three vast networks and weaves them together.
It begins with the oldest peer-to-peer network we have — face-to-face
exchanges — and then adds our second-oldest network — the postal
system — which is cheap, truly global, and able to move tangible, very
physical artifacts, like books, to anywhere in the world. Someguy
leaves blank journals in random places, or mails them to strangers, with
instructions to create personal pages inside them and pass them on to
other strangers. That’s a great recipe for wonderful serendipity. But on
top of these two robust networks of one thousand moving journals,
Someguy added the new global network of the Web, which is able to
track and enliven the digital ghosts of the traveling books.

These handcrafted works of art now have both a body and a mind.
They are deeply rooted in the sensual materials used to create them:
paper, ink, found objects. But they also live the life of a mind as they
are queued, monitored, and set loose into the collective consciousness.
 “us” — the hive
In a very real way, these books are written and drawn by works
mind _ rather than one person. No individual artist chooses who
on a book; rather, the choice emerges out of the crowd. But unlike
can
previous collective art projects, with this new online network, we
watch the hive mind at work. We can watch the collectiv e thinking out

loud and assembling the sequence within a book and among books.
We can watch it remember and watch it forget, as it abandons thoughts
and books and then later revisits them.

It’s this newfound ability for the project to watch itself that gives it
a tiny glimmer of self-consciousness. From our perch in front of the
screen, we can watch ourselves say something as a collective, and we
can see half-formed thoughts begin to move through the network as
they are assembled, page by page, into a lasting work of art.

If all the finished journals came to rest in one place, it would not
contain the full project. Only the interactive Web can do that. Part of
the project is the anticipation, worry, and joy of tracking the books
on their journeys. Part of it is the mystery of when a book goes dark.
And part of it is simply the energy of a book in motion. Mostly, the
project resides in watching, and the self- reflection that the Web inter¬
face enables. All this will be missing when you gaze upon the bound
pages of a journal.

Then what about this book you’re holding in your hands? It is the
thousand-and-first journal, a compilation extracted from the other
books, a journal derived from watching the roaming, growing trail
of pages. It acts like a self- reflection of the project, a thought about
the other thoughts, a meta-book about books. It employs the same
associative logic between its pages as the thousand other journals,
but this thousand-and-first journal is the first completely finished
book in the series. As you will witness in the pages that follow, its
glorious combination of diary, visual wit, intense expression, and bril¬
liant cleverness reflect the stunning power of the full set of journals.
In a curious way, this compilation may spark many of the unfinished
books to continue on their journey. It may remind those who have
left their gifted book under their bed to move it on, or it may remind
friends of friends to finish their pages. Who can remain inert after
seeing this book of wonders, or hearing of this project?

It is the power of participation unleashed by the 1000 Journals Project

that is its lasting achievement. Many more than the thousands who
drew or wrote in the books were able to participate as they monitored
and tracked its progress. Their engagement is an act of creation as
powerful as pasting a note onto a page. And this participation will
widen as the project expands into 1001, 1002, 1003 Journals. Following
the same path, tens of thousands more folks, no more expert than
Someguy, will independently launch their own blank books into the
wild, to be animated by the hive mind and touched by the hands of
the world as they roam the postal and social networks. For it is the
high-technology networks that disperse and guide these romantic
tactile books.

Someday journals will have chips in them, making their location clearer,
and the task of tracking them easier. Someday the idea of 1000 Journals

will seem so obvious. But you don’t have to wait for someday, because
within the covers of this book are thoughts from the global hive mind
of today.

It’s a grand, wonderful, brilliant, and satisfying experiment, and you

are part of it.

— Kevin Kelly
Introduction

I’ve always been fascinated with graffiti,

whether scrawled on bathroom walls or

carved into park benches — anonymous

conversations and arguments held in public
spaces for the world to see.

With raw and spontaneous scribblings, the walls become a forum of

sorts, a collection of opinions about drugs, politics, sex, war, racism,
and a healthy dose of drunken poetry.

Translating that energy into a collaborative art project became an

obsession of mine. I remember walking home from work one day,
running through ideas in my head. It finally occurred to me that a
journal was the perfect medium to engage, and, unlike a wall, it could
travel around the world. On June 17, 2000, a typically cool San
Francisco summer day, the 1000 Journals Project was born.

In August of that year, I began distributing blank journals around San

Francisco. I left them in bar bathrooms, at cafes, and on the bus, and
gave them to friends and strangers. Each journal contained instructions
inviting participants to contribute something to the journal, and then
to pass it along to someone else. There were no rules, and the only limi¬
tations were those that participants set for themselves. The process was

a mix of a message in a bottle and the “exquisite corpse” technique used

by the surrealists. The technique is based on an old parlor game and
requires rhat each participant write or draw on a sheet of paper, fold it
to conceal their work, then pass it to the next participant. The end

result is a product of the group’s collective consciousness.

When I started this project, I had no idea if the journals would ever

return. I suppose that’s one of the reasons there are a thousand of them
(that, and it seemed like such an absurd number, I had to do it). Like
baby turtles moving across the sand in a mad dash for the ocean, not
all of them would make it, I knew. With each journal I released, there

came a feeling of anxiety, a fear that I’d never see it again. This was
always followed by hope, though, as I imagined the potential each
journal had, the lives it might touch, and the journey it would take.
Some journals would find their way into closets or storage boxes,
while others would go on tour with bands, rack up frequent-flier miles,
or end up in the middle of a war.

Each journal is roughly the size of this book, with a cover design
mounted on the front and back. It was important for the journals to
be something people would want to pick up, but not so precious that

they’d never let them go (it remains to be seen how well this second
goal was accomplished). Each design appeared on ten of the journals,
for a total of one hundred unique covers. I designed a few, but most
were contributed by well-known and emerging artists from around
the world — including Amy Franceschini of Futurefarmers, renowned
rock poster artist Mark Arminski, illustrator Gary Baseman, and
digital guru Joshua Davis, to name just a few.
Word of the 1000 Journals Project spread, and emails poured in asking
for journals. I started mailing them to folks, spending my weekends
toting grocery bags full of journals to the post office. As people began
to send in scans of their entries, I came to realize the full potential of the
project. The pages were filled with amazing artwork, secret confessions,
political rants, and everything in between. One person shared his experi¬
ences of growing up in Bahrain (V57), while another wrote a letter to a
loved one (*001). Someone cut up a map of Africa and rearranged the con¬
tinent (*438); someone else used spray paint stencils to redesign a journal
cover (*884). Inspirational advice, personal sorrow, anger, love, and pure
creativity poured into the journals and were shared with strangers.

What has happened to the journals is a story itself. They’ve come to rest in
hostels, cafes, and law offices; they’ve been lost and found, forgotten and
remembered. They’ve been the subject of treasure hunts (*354), brought
to remote mountaintops (*323), abandoned at airports (*001), left in the
lost-and-found (*300), and stolen at gunpoint (*949). In journal *587,
someone wrote a heartfelt apology and then sent the journal to the friend

they had wronged. Unfortunately, the apology wasn’t accepted.

There is no set completion date for the project, and it may very well go on
indefinitely as the journals continue to hop the globe, making their way
in and out of individual lives. What you see here is just a small sampling
of the thousands of contributions from more than forty countries and
every U.S. state. I imagine that twenty years from now, there will still be
journals floating around, trying to make their way back home.

Based on flux and faith, the 1000 Journals Project is an experiment

where the journals themselves are a museum and every participant
is an artist.

-Someguy

project creator
This is an experiment,
and you are part of it.
 IF

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Journal 493

Ottawa, Canada

I was at Ravinia (a great summer festival

of music — classical, jazz, pop, Latin, etc.)

and I was watching Oscar Peterson play
some mean jazz piano. This real artsy couple
that was sitting next to me on the grass

was poring over a book — I was trying not

to watch them, but they were interesting,
so I was writing about them in my own

journal. The guy must’ve noticed, because

as I was leaving he handed me M93.
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Journal 949

Savannah, Georgia

I’m sorry to everyone. I was robbed at

gunpoint earlier today. They took my bag.
In the bag was the journal. Many apologies.
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Journal 300

Anaheim, California

I found this journal at the restaurant I work

at in a hotel. I just started working there
maybe a month ago. Today I was collecting
the stuff people had left behind to take it to
lost and found. I came across this journal
and read the cover. Someone told me it had

been sitting there for the last two months,

so instead of taking it to lost and found,
I took it home with me. I wrote a little

something in it and tomorrow I will send

it on its way!!
 9

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What is your idea of perfect happiness?
fC-AfC-CT wAPfi'itS'; K PC'-otm.

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Journal 463

Minneapolis, Minnesota

A year ago at this time I was planning a trip

to Amsterdam and France that turned out

a hell of a lot differently than I expected.

It was on that trip that I planned to send '*463 on its merry way across
Europe; when I asked the proprietor of the English bookstore in Antibes

to take it off my hands she refused. Maybe I didn’t do a very good job
of explaining whar this project was all about or maybe she thoughr rhat
some hardship or cost was involved. In any event, the journal made two
transatlantic flights in my bag and was never set free in France as I
had hoped.

Since then, my life has changed dramatically. After I returned from

France I dumped my boyfriend, went all Independent Woman lor a few
months, met the absolute love of my life a few months after that, and
married him eighr weeks later. What does this have to do with the 1000

Journals Project, you ask. Like every journal I’ve ever had (and I’ve kept
a written journal since I was twelve, circa 1988) I formed an attachment

to the content that I couldn’t quite bear ro part with. In the pages of
*463 is a description ol every bottle of wine we drank, instructions on
how to play the Forehead Game; it’s a record of a time before I turned
my life upside down. Of course I wanted to hold on to it for just a little
bit longer than I should have.

Now, though, my life is changing again and for the better; I’ve finally
reached a place where I am OK with letting that experience and the
record of that experience go. I gave it to the woman who is subletting
my apartment and I hope that she will also use it to document a time
of change in her life.
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Journal 049

Prague, Czech Republic

The journal was a huge hit. Everyone I ran

into wanted to write in it. It was tough, but
I held on to it until I got to Prague, in the
Czech Republic. I left it on a scripture table
that is on a vista of the modern city.
SEPTEMBER
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Journal 667

Los Angeles, California

Strange forms of collaboration, these books.

Interesting interactions created. I can prom¬

ise I never would have spoken to “Razzzberry

Swirl,” a.k.a. Marguerite, without the book
as a medium. No matter how surreal the

interaction, I can say that there is something

fantastic about being the catalyst for that
interaction (Someguy creates 1,000 journals
from thin air, sends them out to the world,

and they run around wreaking havoc, getting

lost at train stations, running with the bulls
in Pamplona, sailing around the world, etc.
You have created something from nothing).
 ' A
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-^pyrigl^

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Rights

canon, ot
inner whf
g from

rr-i tr

PEOPLE
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United State* of America
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 FLUO Pfl.lCAiniONS

a discipline des
with the ethica
biological re^
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especi^in

visrroRs
2 pw patimt
n* limK at tha dIaefaUoa.
of tha nurring itaff.
One tpoltMparian par
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/^A^rOivie^-vr^/ oP M'|
Journal 265

Ramallah, Occupied Palestine

The journal was brought to me by my

girlfriend from Holland. I wrote in it about
daily experiences of Palestinians under a
brutal military occupation. I passed it on to
one of my dearest friends, who works for
the same human rights organization.
 - Vj-

DEBIT
MOUNT DATE

W1 A
^ttle might have to be
me settlement, with reg- h
w cowhands at a time from
were
(A few trail bosses, like the
trail I ^

to c "^,1" ^

mgm
when i ' :

jerry-bu .
crammec
 COLOR
DEVELOPS
BB=0RE
FULLY BREWED
99i117-1

Ui lie
age

concentrated •MPl II ' M

smoke or diffused banks, power or phone-line breaks,

the electric cable is a breeze when

f an attic or make an addition
You install the cables after the
is in place and before the walls
There are none of the "snak-
robiems that you face in an existing
Here’s how a typical job looks.

area of f,500 sq; ft, . 1,400

five rooms . 9,000
watts.....’. . . .
O-amp kitchen . 4,500
nditioner . you want to add.. ..2,300
1 range . :al watts . 39,680
Continued

)f ready-made ceiling-box brackets and one made from wood

RAFTER OR JOIST BOTTOM NUTS ON MOUNTING BOLTS

NAIL
j><NAlL

CLEAT

! brackets shown above let you shift
iy spacing you want between rafters,
icked in position by tightening a nut
ox from below. The tab on the bracket
lot found on all brands) is designed
l come flush with the
the box down a little (after rafter-notching) so it
will still come flush with the ceiling. A cross¬
piece supported on cleats provides a firm sup¬
port for standard heavy ceiling fixtures. Set the
crosspiece so the box is flush with the ceiling
surface after the wallboard is in place. If you plan
life would te (K mess* I

(Li
ir U
bri*^ ^o^r
Umb€v''^U ft I

re

re*»ew,key'
pain 8f+ew
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r I'ol- e^iemiVs

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1 1 SEP 2001
-me love
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Journal 001

Hagatna, Guam

Being one of the first is a big responsibility,

but I think I handled it well. I wrote a letter

to my grandfather, who I had never met. I

promised him that someday, like the journal,
I will end up where I belong and that he
and I will probably get along great. I left
^001 at the Guam International Airport.

Update;

I finally went to the airport a couple months

ago to check the lost and found for the
journal. They run a tight ship and log all
found items in one big book. I scanned the
book. No entry. Either an airport employee
picked it up and is passing it around or a
traveler took it.
- ■ i.' ^

fc^WAS

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' 'Go'

■ jPfi.v^" ^ ®!^SSk ■*
A VERY LITTLE CHILD’
BOOK OF STORIES
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along with Saddam

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A CO<S\A suitin'
v^Quat'b coffee ^
Journal 354

St. Louis, Missouri

My crew and I were headed down the

Mississippi River on a pirate ship that we

cleverly disguised as a river barge, on our
way out to sea.

Our final destination is to rob and pillage Cuba of their hidden gold
reservoirs. It has already been several days since we set out from our post

in Canada (sorry, I can’t tell you more; it’s a secret location), and my
soldiers are already getting restless. We have decided to visit St. Louis for
a while. St. Louis is a fabulous place filled with many strange sights and
wonders. The first obvious landmark is the arch, which, albeit seen as a
tourist attraction and general waste of space, truth be told: at midnight,
it is often used as a trans-dimensional gateway.

The men split apart to study different areas of the land. Cadet Staples,
our experienced guide and eldest of all of us, set off by himself to visit
Forest Park. He plans to visit the great statue of Saint Louis himself,
who (as legend would have it) guards the art museum from evil spirits.

Another group of men have been sent to invade the botanical gardens
to pick exotic floral decorations, which we will use to woo the luscious
Cuban women. The largest group of men went in search of a pub with
good aged rum. They have been instructed to return with no less than
ten barrels. Lastly, I have sent ten men to the city museum (which was
designed by Cassilly, a former crew member of mine) to kidnap a large,
burlap sack full of children to barbecue for our dinner tonight. The
city museum was secretly designed for that specific purpose alone.
Only eight hours have passed since we landed in St. Louis, and already
we are running into problems. Our bookkeeper, Ransom, has spent all
of our money at the President casino. My battalion expert was killed
by the crime lord of St. Louis, rap star Nelly, and hundreds of swash¬
buckling crew members have fallen into an open vortex at the St. Louis
Science Center, which is cleverly disguised as an observatory. To make
matters worse, my boat. The Natasha, was compromised into the hands
of local authorities when a spy tipped them off to our mission. I swear
if I find out who is responsible for this mutiny, I shall cut out his tongue
and feed it to my dogs! I avoided capture by hiding in Dogtown and
I plan to hijack a landship for transportation. This is my last hope.

I must free myself of all luggage, including this, my ship’s log. 1 am

going to hide it in the throat of a giant snapping turtle named “Dick.”
I pray that it be returned to me in the future. If not, please fulfill my
quest and log your account in this book.

With great sorrow.

Captain Long Jon Silver
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V
Journal 497

Barrington, Illinois

I took my journal on a bar crawl. Among

many entries, I got a drawing done by a
quadriplegic man who drew using his mouth
to hold the pen. The two girls who worked
the bar took three hours to cut up their girly
magazine and assemble a collage. I drew a

big carrot. I sent it to an architect in Florida.

 TAKEtHiS JOURMAL AND ADO S0METKIN6 TO tT. SU

PMO^eRAraS. ORAWINOS, OPINIONS. ANVTH.'Ne GOES.

VIStYTHE WES SnE AND TEU EVERYOM .THERE YOU POUND

rr. IF POSSISLE, scam what you ADDED AIJ J SEND IT TO US. "

IF THE JOURNAL IS FULL. EMaiL US, AND WE'LL ARRANGE FOR

ITS' RETURN. CONTENTS WILL BE SHARED WITH TRE WORLO.

IF THE JOURNAL ISNT FULL. GO TO THE SITE A JO CONNECT WITN

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Journal 587

Tucson, Arizona

The journal was given to me in Brooklyn.

I then left for Arizona with my girlfriend.
Me and the woman are no more, but I

finished my part of the journal. I am now

sending it to a friend that I hurt so much
he is no longer my friend. Hopefully this
will make him happy.

New York, New York

It came wrapped in white computer paper

bearing my name, without postage, and
I knew immediately who it was from, that
asshole who I had already forgiven for
ruining our friendship, but was still not
going to waver in my decision to tell him
to fuck off.
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Journal 013

San Francisco, California

In the spirit of the “wicked” book, I’m afraid

it’s predestined to have a very scandalous
and depraved existence. In my hands, the
journal accumulated:

- a drawing of the balcony grillwork at

Maya Taqueria in San Francisco.

- an unsigned sketch by the artist Skriblz

- a diary entry of a night out with three

friends (including a story about a house

party that had an unfortunate experience

with tracked-in dog poo - ick!)

- a picture of a girl who I think lived in

my house before me, but I am not sure.

- a photo from a journey to Sedona, AZ.

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Journal 913

Brooklyn, New York

It s not as easy as it looks. IVe seen some

AMAZING things in the pages of these

journals. Just wait until it’s your turn; and

it keeps staring at you, calling to you. Put
something worthy on these pages to show

the world. It’s the albatross around your

neck, begging for potential greatness. It
becomes your adopted baby, for that time.

Or not. Maybe it’s my personal neurosis.

It’s scanned. It’s off It’s all GOOD things.
I pass it on with the utmost sentimentality.
Take care of her.
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 stilie
my cough when the lady gave a peep into it; so it
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 yf ^ aiLoCniUcIll. L'j LliC Itiauia lai/O/, i-ini xciioui iwo iiiiitx «_
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Journal 981

Fremont, California

Journal ’^981 reached me a day before I left

for New England to look at college pros¬
pects. I wrote a lot about my experience,
sharing it with friends there. It was stolen
from me back home in California, in a book

bag. I am sorry I haven’t spoken up before

now, and that this robs you of a chance to

participate. Hopefully whoever has it now

joins in the project.

Update:

Today journal ^981 showed up in my school’s

lost and found! I’ve been checking, and
couldn’t believe it. It hadn’t been added to,

but now that I have it back again. I’m send¬

ing it on immediately.
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Journal 786

Brooklyn, New York

I received the journal just before departing to the Tibetan parts of
Qinghai, China. Kept it for the two days of plane/train travel and
finally added to it in a little village called Yushu. I gave the journal to
a nice French backpacker girl named Selinde who was headed for
Xiahe via Tongren. She said she would pass it on . . . and upon returning
home to L.A. this morning I found a postcard from her that said she
gave it to a German.

Tokyo, Japan
The journal came to me somewhat magically in the Kinokuniya
bookstore in the Akihabara district of Tokyo on March 30th. I was
reading a magazine called Brutus when a young Japanese girl
gave it to me. She said her name was Tomoko, but otherwise offered
little information. After I took it, she bowed and scurried off.

On April 2nd, I flew back to the U.S., where I passed through Los
Angeles. Being curious, I delivered the journal in person to the
address in Norrh Hollywood listed on the first page. Nobody was
home so I left it on the doorstep.

North Hollywood, California

1 came home and it was on my doorstep. No signs of any postage or
handling, just like someone came by and dropped it off. It took me a

day or so to figure out what to contribute (“24 hours”?) but the next
night, at a party, I had a dozen or so of my friends write down three
words, their message to the world. I thought it was a pretty clever idea,
but it didn’t turn out well.
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Journal 323

Zagreb, Croatia

I left the journal on the top of a Croatian

mountain (Tuhobic) on July 30th. I hope
that someone who cares will find it. . .

Update:

I visited Tuhobic exactly one year later. The

journal was still there. Mountaineers were

using it as a sign-in book. So I took it with

me and now it is somewhere in Zagreb.
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Journal Cover Designs
 GeofF Ahtnann e. Amy Franceschini n. Michael Mabry
akac rea t ivegro u p. co m futurefarmers.com michaelmabry.com
Palo Alto, CA, USA San Francisco, CA, USA Emeryville, CA, USA
Richard May
Mark Amiinski m. Craig Frazier
arminski.com craigfrazier.coni richard-may.com
Royal Oak, Ml, USA Mill Villey, CA, USA London, UK

j. Michael Bartalos Jemma Hostetler Tim McLaughlin

bartalos.com (nee Gura) boxl9.ca/tmcl
San Francisco, CA, USA jemmahostetler.com Grantham’s Laitding,
BC, Canada
k. Gary Baseman prate.com
NYC/Toledo, NY, USA
baseman.com Craig Metzger
Los Angeles, CA, USA John Hersey enginesystem.com
hersey.com Los Angeles, CA, USA
Briana Bolger San Anselmo, CA, USA Moderndog
monkeypile.com
Chicago, IL, USA Anders Hornstrup moderndog.com
stuka.dk Seattle, WA, USA
0. Stephan Britt
sbritt.com Copenhagen, Denmark
Jason Munn
thesmallstakes.com
Sacramento, CA, USA d. Cody Hudson
Oakland, CA, USA
i. Thomas Brodahl struggleinc.com
surlstation.lu Chicago, IL, USA
Christopher Pacetti
Mamer, Luxembourg Andrew Johnstone P20utput.com
San Francisco, CA, USA
Mike Cina designiskinky.com
weworkforthem.com Coogcc, NSW, Australia Simon Powell

youworkforthem.com Hitomi Kimura flameprooforg.uk

Ro.seville, MN, USA London, UK
Saitama, Japan

Joshua Davis Shirin Kouladjie Christopher Robbins

joshuadavis.com designhistoryinabox.net
Mineola, NY, USA photomontage.com London, UK
Seattle, WA, USA

Gregory Durrell Luc Latulippe c. Claire Robertson

xrtions.com
luclatulippe.com loobylu.com
Ontario, Canada Blackburn South,
Vancouver, BC, Canada
Australia
Vanessa Enriquez
p. Simone Legno
Brooklyn, NY, USA tokidoki.com
Los Angeles, CA, USA
 Jeff Rooney Niko Stumpo Journal cover designs were
capacitornet\vork.com abnormal behav'iorchild contributed by well-known
Burlington, VT, USA .com
Milan, Italy and emerging artists from
around the world. F2ach
A1 Sacui
cover is used on ten of the
nosepilot.com Joshua Swanbeck
New York, NY, USA Morgan Hill, CA, USA journals, for a total of one
hundred unique designs.
Jon Sander Kevin Tam To view all the covers, visit
St. Louis, MO, USA disoriental.com
I000journals.com.
Palo Alto, CA, USA
Tim Sander
asmallpercent.com Russell Tate
Gloucester, MA, USA russelltate.com
Clovelly, NSW, Australia
h. Olga Scholten
doorolga.com f. Gary Taxali
Amsterdam, Netherlands
garytaxali.com
Toronto, ON, Canada
a. Thomas Schostok
ths.nu
q. Rick Valacenti +
Essen, Germany Brian McMullen
3st.com
Ward Schnmaker
Barrington, IL, USA
warddraw.com
San Francisco, CA, USA Vasava Artworks
vasava.es
Dash Shaw Barcelona, Spain
dashshaw.com
New York, NY, USA Tom Vincent
t-worlds.com
/. Whitney Sherman Toky'o, Japan
whitneysherman.com
Baltimore, MD, USA ;; Vicki Wong
meomi.com
Derek Shnmate
Los Angeles, CA, USA
derekshumate.com
Houston, TX, USA
g. Linda Zacks
extra-oomph.com
h. Mark T. Smith
Brooklyn, NY, USA
marktsmith.com
Fairfox, VA, USA Judith Zissman
20things.org
Brett Stiles San Francisco, CA, USA
665brand.com
Austin, TX, USA
Acknowledgments

To the thousands of people who poured

their hearts and souls into the journals, and
those still to come, this project is nothing
without you. Thank you.

I’d also like to thank the following people: My family, who has
supported me in all of my endeavors, even the misguided ones. Joshua
Swanbeck, for sneaking me into his office on the weekend to print
out that first batch of journal covers. Nate Koechley and Erik Benson,
for helping to create the Web presence, and Charles Mastin, for his
hard work on the next generation of the project, 1001journals.com.
Andrea Kreuzhage for believing in the project, and taking it to places
I’d never imagined possible. Each and every one of the cover designers,
who selflessly gave their time and energy to the project. Ruth Keffer,
for her continued support and advice. Matt Thompson, for his com¬
mand of the English language. Fred Gray, for helping out in tracking
down journal contributors. Hollie Rose, for returning the first journal,
*526. Diane Reese, Michaela Darling, and the other wonderful ladies
for returning the second journal, *550. Leslie Jonath, Kevin Toyama,
Brooke Johnson, Doug Ogan, Evan Hulka, Yolanda Accinelli, and
everyone else at Chronicle Books, for making this book on the craziest
schedule ever. Everyone who emailed me with kind words and
support — you kept me going through the rough times. My friends
(you know who you are), for your friendship and support over the

years. Finally, to everyone who’s ever kept a diary, journal, or sketch¬

book, or just likes to doodle during company meetings, thank you
for keeping creativity alive.
 unknown Simone Legano
tokidoki.it

649
801
unknown unknown

664
g;-' ; 664
I Juliana Coles Juliana Coles
! meandpete.com meandpete.com

610
Melissa McCohb Huhbell 550
Diane Reese
mootmoni.editthispage
magikglasses.com

884
unknown 311
Eva Jaeger
tatendrang-design.de

311
unknown 751
Kris Henderson
studiohen.com

685

unknown
^ Richard Pasqua, 2003
I 960 rrortype.com
richt^e

829 ■•aiJillii
890
13 Tanya Zani
Ryan Junell
BB
junell.net tanyazani.com

526
mam 915
Matvei Yankelevich
Cheryll Del Rosario

784
Andrew Trague 912
Lindsay Shutt

707
Deborah Weber

988 987
Pamela Joutras Hanna-Reeta Koivaara

610
Meike Topperwien
Julie Sadler 311
tatendrang-design.de
magikglasses.com
 Witold Riedel
vvicoldriedel.com

987
Hanna-Reeta Koivaara

915

m-mock.com
Megan Mock

610
Aislins; D Art

Andrew Tragiie

707

Leslie Dinaberg
lesliedinaberg.com

930
Kepi, Groovie Ghoulies

gogreendoor.com

unknown
960

953

Tanya Sprowl,
Jeremy Reid

Linda Zacks
960
extra-oomph.com

986

Christopher Palazzo

854
George

648 664
Michele Romero
Juliana Coles
1M ^ J meandpete.com

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610
unknown

801
Sarah Mark,

Jessica Eden

664
Natalia Smirnov

987
Tract' V. Moore
zettiology.com

Erin Elizabeth Partridge

664
Valerie Roybal
valerieroybal.com

987
Hanna-Reeta Koivaara

610

Julie Sadler
magikglasses.com

172
Sean Clinton

872
Cristiane Ciamas

988
Pamela Joutras

967
Phil Hill
 ^S
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912
unknown

Aaron Heicleman

915
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Daniel Tickner

B.
 Due to the nature of the project, it’s
Chrisropher Cuseo impossible to determine who contributed
exactly w'hat to each and every page.

Many of the contributions are anony¬

988 mous, or collaborations between several
Sonora DaNelle Haynes people. It is not my intent to highlight the
work of any individual, but to
showcase what we all created together.
995
unknown
That said, I also think it’s important to
give credit where credit is due. I made
every effort to track down participants
who contributed to the iniages included
960
l.inda Zacks in this book and credit them properly.
extra-oomph.coni
If you see an image of yours, and aren’t
credited, please contact me to be included
in future printings of the book.
536
Teesha Moore
teeshamoore.com Visit die Web site at 1000journals.com for
a more thorough record of the journals.

Someguy is the creator Kevin Kelly is Senior

of the 1000 Journals Maverick at Wired

Project, which he magazine. He helped

launched in August
of 2000. People have
speculated that he’s
actually a “she,” or even
a room full of monkeys with typewriters,
but the truth is much less romantic. Dur¬
ing the day, he dons his alternate identity
as a graphic designer in San Francisco.
Wlien he was ten years old, he acciden¬
tally killed a frog by dropping it into a
coffee can filled with hot water.
launch Wired 'm 1993,
and sers'ed as its Execu¬
tive Editor until January
1999. Fie is currently
editor and publisher of the Cool Tools
Web site, which gets 1 million visitors
per month. From 1984 to 1990 Kelly
was publisher and editor of the Whole
karth Review, a journal of unorthodox
technical news. He co-founded the
ongoing Hackers’ Conference, and was
involved with the launch of the WELL,

His work has been recognized by AIGA: a pioneering online service started in
The Professional Association for Design, 1985. He authored the best-selling
Communication Arts, Grapbis, Print, How, New Rules for the New Economy, and the
and Step, among others. For the record, classic book on decentralized emergent
his head is not actually jellybean-shaped. systems. Out of Control
The experiment continues:
1001journals.com
 ninwt/vi

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What would hapi^eii if you unleashed a thousand

blank journals into th-^ wodd, beckoning an

unsuspecting public to share their innermost

thoughts and unbridled creativj^ty? What would

people put in them? Where would they travel?
Would they ever return home?

This is an experiment,
and you are part of it.
\ -