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Camilla George
Brussels Jazz Festival 2025, Day 6
in collaboration with Jazz re:freshed
15-Jan-2025
Flagey Brussels, studio 1
Camilla George - saxophone
Renato Paris - Keys, vocal
Jihad Darwish - Bass
Rod Youngs - Drums
© Photography Patrick Van Vlerken 2025
George Ezra
Pinkpop Festival 2015 - Day 1
Landgraaf, Megaland, Netherlands NL
12th June 2015
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Questa immagine è protetta da copyright © Roberto Finizio. Tutti i diritti sono riservati. L'immagine non deve essere utilizzata in nessun caso senza autorizzazione scritta dell'autore.
per info e materiale fotografico visita il mio sito www.robertofinizio.it
George Dyson: The Canoe and the Code
George Dyson is lanky and quiet in that way that suggests a life lived both in thought and on the water. On a damp April morning in Bellingham, Washington, he met me dressed in a blue fisherman’s sweater, the color of tide-washed denim, a garment that seemed to belong to both the sea and the sky. There’s something unmistakably familial in his bearing, the long, thoughtful face, the gentle smile. As he grows older, he resembles his father, Freeman Dyson, more and more. But George is, unmistakably, his own man: a writer, historian of technology, boatbuilder, and builder of worlds.
His home sits on the edge of things, close to the sea, surrounded by trees, filled with books and sketches and the soft presence of a cat named Nikita, who lives up to her name. She’s named after Nikita Shumagin, the first of Bering’s crew to die of scurvy in 1741, a nod to George’s deep engagement with exploration, history, and the often-overlooked figures that shaped it. The house feels like a mind made physical: ideas roosting on shelves, a telescope pointed toward the harbor where his boat Ranger rests on blocks. Nearby, a shelf holds a full run of translations of The Starship and the Canoe, Kenneth Brower’s 1978 book about the parallel lives of Freeman and George Dyson. Neal Stephenson, one of many who admire George’s work, wrote the foreword to the 2020 reprint.
George showed me photos of the treehouse he built and lived in from 1972 to 1975, thirty meters up a Douglas fir on the shores of Burrard Inlet. He salvaged every piece of it. There was no electricity, no running water. It was, in every sense, a complete space: a livable idea suspended between the earth and the sky.
That idea of the “complete space” returned again and again throughout our day together. After his home, we walked to his workshop, located in the former Dick’s Tavern, a dive bar with a history of its own. It still has the feel of a gathering place, but now for wood, aluminum, tools, and dreams. This is Dyson, Baidarka & Company, his boatbuilding space. Aleutian kayaks, long and sinewy, sit on platforms in various stages of becoming. Plans are rolled and stacked neatly. Tools hang on the wall like instruments in a sound studio. In the back, a modest bed waits, a reminder that this has been a home.
“I could live here,” he said, almost offhandedly. “And I have.”
There’s no romantic affectation to it, just a fact, as true as a boat’s draft or the pitch of a sail. In this space, George is both naval architect and philosopher, a man building vessels not only to move through water, but to carry meaning.
A few minutes’ walk brought us to the harbor, where Ranger, a Fisher 30 motorsailer built in 1976 in Southampton, sat, lifted from the sea for repair. He visits her nearly every day. This is his favorite place. We climbed the ladder to the cockpit, stepping over the railing, ducking belowdecks where the floorboards were lifted to expose the engine. He was mid-project, sleeves pushed up, parts spread like puzzle pieces. You could see the joy in his eyes. The boat, like the baidarka, like the treehouse, is a world he has made for himself. It doesn’t just move through space, it moves through thought.
Watching him there, crouched over the engine, it all came into view: the treehouse, the baidarka, the workshop, the boat. These are more than places, they are systems. Each one a self-contained cosmos, a structure for living, thinking, observing. They are his way of being in the world, immersed, but also just outside of it. Not disconnected, but differently connected.
Many have called George Dyson “Thoreau-esque,” and it’s true in a sense. But he’s no hermit, and certainly no Luddite. He’s deeply engaged in the discourse around technology. What sets him apart is his vantage point. He’s not caught up in the rush of the tech world’s constant reinvention, but he’s not nostalgic for some pre-digital past either. His critiques come from the waterline, from a mind trained to think structurally, to understand what keeps something afloat.
He’s written several books that trace the evolution of our tools and ideas, from Darwin Among the Machines, which reawakens Samuel Butler’s 19th-century speculation about machine evolution, to Project Orion, about the audacious attempt to launch a nuclear-propelled spaceship, to Turing’s Cathedral, a remarkable deep dive into the origins of digital computing at the Institute for Advanced Study in Princeton. His writing connects kayaks and code, wilderness and algorithms, with a sense of pattern and implication often missing from more narrowly focused accounts of technology.
We talked about artificial intelligence. He’s less concerned about the usual apocalyptic fears and more interested in a quieter erosion: that “Good AI,” the kind that works too well, might slowly displace our capacity to reason. That we’ll gradually delegate too much, our judgment, our critical thinking, even our curiosity, to systems we’ve designed to serve us. It’s not the monster at the gate that troubles him. It’s the soft, helpful voice we welcome in.
His thinking exists within a far-reaching constellation of big thinkers, friends and fellow travelers like Stewart Brand, Kevin Kelly, and Neal Stephenson, people whose work, like his, moves fluidly between history, technology, and imagination. Others, like J. Robert Oppenheimer and Stephen Hawking, were part of his father’s world and, by extension, his own: mentors, correspondents, and passing dinner guests who became part of the background fabric of George’s intellectual life. Some he’s known through decades of conversation, others through the thick web of letters and stories that surrounded Freeman Dyson. Ideas were always in the air, shared across pages, passed around tables, or carried by the tide.
Later in the afternoon, as the light faded over Bellingham Bay, we sat near the harbor, drinking cold beer at a pub that, George noted, used to be a tool rental shop. The conversation drifted, as it tends to with him, from engines to ancestors, from shipbuilding to the shape of the internet. History here doesn’t feel like something behind us, it feels tidal, patient, always flowing underneath.
George Dyson builds boats, yes, but more than that, he builds frameworks. He builds stories. He builds spaces that let us ask, and sometimes even live inside, the essential questions: What are we building? Why? And what will we carry with us when the tide turns?
Co H, 8th Maine Infantry
Enlisted at age 18, residence listed as Biddeford, on 19 Aug 1862. He served until 12 May 1865, receiving a disability discharge.
He died in Newton, MA on 25 May 1925 [from headstone order application].
Green, George, Sergeant, 8775, 2nd Battalion, Notts and Derby Regiment
Born Attenborough, Nottinghamshire
Enlisted Nottingham
Resided Alfreton, Derbyshire
Disembarked for service 10th October 1914
Killed in action 9th August 1915 aged 30
Commemorated on the Ypres (Menin Gate) Memorial
1911 Census
A colliery stationary engineman
Husband of Bellmarina Green, of Winfield Cottages, Newton, Derbyshire
Pension Records
Husband of Bellmarina (born 3rd June 1883), and father of Walter Green (born 15th February 1914)
GEORGE, WA - JULY 12: Sting of The Police perform in Concert at the Gorge Amphitheater on July 12, 2008 in George, Washington. (Photo by Dana Nalbandian/WireImage)
68^ Mostra del Cinema di Venezia 2011 - 68^ Venice Film Festival 2011. Le immagini sono in vendita presso il sito www.chinellatophoto.com e www.chinellatophoto.it . Copyright ChinellatoPhoto 2012. Photos are for sale on the site www.chinellatophoto.com and www.chinellatophoto.it. Copyright ChinellatoPhoto 2011
This tunic fragment with a straight neck opening in the center and one surviving shoulder square may have symbolically protected the wearer from danger. This is suggested by interlacing knots. These delicate decorations in small deep purple discs alternate with human busts in roundels.
Egypt, Byzantine period
plain weave with slit-tapestry weave and supplementary weft wrapping; dyed wool, undyed linen
Overall: 14.3 x 35.6 cm (5 5/8 x 14 in.); Mounted: 22.9 x 43.2 cm (9 x 17 in.)
Gift of George D. Pratt
Marsh, George, Private, 2102, 1st/5th Battalion, Nottinghamshire and Derbyshire Regiment
Born: Belper Derbyshire
Enlisted: Belper
Disembarked 25th February 1915
Killed in action 19th November 1915
Buried in St. Vaast Post Military Cemetery, Richebourg-l'Avoue, France, Grave Reference: II E 2
Service Records
Enlisted on 5th May 1914, Aged 17 years 11 months, employed as a collier with the Denby Iron and Coal Company.
Son of John and Mary Ann Marsh, of Kilburn Road, Belper
On 3rd October 1915, he was given 7 days Field Punishment Number 2, for falling out without permission while in line of march.
1911 Census
Born about 1896
A coal miner ganger below ground
Son of John, a coal miner hewer, and Mary Ann Marsh, of Spencer Road, Belper, Derbyshire