The Path of Least Resistance for Artists: The Structure and Spirit of the Creative Process
Robert Fritzamazon.com
The Path of Least Resistance for Artists: The Structure and Spirit of the Creative Process
Neither approach can be productive. We need to have both elements, which means to narrow our attention on what we are creating, while, at the very same time, broaden our awareness to allow unimagined insight to surface.
Laziness must not be confused with lethargy. Lethargy comes with an inclination to be passive. But real laziness is not in conflict with the work ethic. Instead, laziness poses this question: isn’t there a better way to do this thing? That’s a different question from: how can I get out of doing this thing?
Another way of describing an artistic vision is that we create a unique universe in which the audience can live.
Some of the most creative people are both ambitious and lazy. “There’s got to be a better way,” often leads to new strategic steps in which radical ideas sometimes cause dramatic changes. Think Google and countless other internet services that challenged tradition. They can support your creative process. Isn’t it more convenient to Google some area
... See moreThese people have mastered the art of being completely focused, while at the same time, completely relaxed.
Much artistic training enables the artist to create a vehicle that is capable of expressing something true, real, vital, essential, and magnificent, not by trying to control the circumstances, but by being clear, focused, and rigorously concentrated on the desired result (very Yang,) while, simultaneously, being open, relaxed, and free of apprehens
... See more3 Principles First, energy follows the path of least resistance. Second, the underlying structure will determine that path. Third, we can change the underlying structure, and thereby change the path of least resistance.
The love artists have is generative, not responsive. Romantic love is responsive. You meet and then you fall in love. The situation first, the love second. But for the artist, the love predates the situation. The filmmaker loves the film before the film is made. The painter loves the painting before paint touches canvas. The choreographer loves the
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