Creativity
the art of creativity
sari and
Creativity
Yancey Strickler’s Nine Creative Meditations
To me or to the mean - Focus on what makes your work strange or unique rather than trying to fit in with what everyone else is doing.
You are your audience - Create work that satisfies your own desires and interests rather than trying to please an imagined mass audience.
Small is more rewarding than big -
Sara and
Keep the vessel of sharing open
Inspiration is absolutely unnecessary and somehow deceptive. You feel like you need this great idea before you can get down to work, and I find that’s almost never the case.”
Milton Glaser’s words resonate: “There’s no such thing as a creative type. As if creativity is a verb, a very time-consuming verb. It’s about taking an idea in your head, and transforming that idea into something real. And that’s always going to be a long and difficult process. If you’re doing it right, it’s going to feel like work.” As impactful... See more
Nielsen • Design Thinking 101
- The digital world has almost no friction.
- The physical world is full of it.
- And in certain curated space s - like the West Village, or your AI companion -friction has been turned into something you can pay to remove.
Kyla Scanlon • The Most Valuable Commodity in the World Is Friction
You may think that if your studio is tidy, it will free you up to be more efficient, and therefore, you will produce more. Maybe that will help you in the execution stage of your work if you’re, say, a printmaker pulling prints, but it won’t help you come up with an interesting design for the next print. It’s always a mistake to equate productivity
... See moreone of the latest big theories in neuroscience says that humans are fundamentally creatures of prediction, and not only is creativity not at odds with that, but it actually goes hand in hand with improving our predictive power. Life itself, in this view, is one big process of creatively optimizing prediction as a survival strategy in a universe... See more
Oshan Jarow • Your mind needs chaos
Therefore, creativity does not happen inside people’s heads, but in the interaction between a person’s thoughts and a sociocultural context. It is a systemic rather than an individual phenomenon.
Mihaly Csikszentmihalyi • Creativity: Flow and the Psychology of Discovery and Invention
phoebe and
John Berger / Ways of Seeing , Episode 1 (1972)
youtube.comBerger examines the impact of photography and reproduction on our appreciation of art.
Some highlights:
Manipulation by sound, movement, context
Reproductions have allowed images to come to us, vs us going to them. There is no longer one unique position an image belongs to. They are seen through millions of reproductions, in millions of contexts - e.g. through your screen, surrounded by your own furniture etc.
Paitings modified by movement and sound
Meaning is liable to be manipulated and transformed. no longer a constant
Silence and Stillness
The images in paitings are silent, still
the lines on your screen, even pages of a book are ever moving, never still.
But paitings demonstrate silence.
Occasionally, this uninterrupted silence and the stillness of a painting can be very striking.
Corridoors through time
The paiting, absolutely still, soundless becomes a corridoor, connecting the moment it represents, with the moment at which you’re looking at it. Something travels through that corridoor at a speed greater than light - throws in thw question of the way of measuring time itself
Unfolding of time
In a film sequence, the details are selected and re-arranged into a narrative, which depends on unfolding time. In paitings, there is no unfolding time as all elements are present simultaneously.
Accessibility of meaning
While reproductions make paitings accessible, the text (usually by experts) begins to make them inaccessible to our own interpretations. Kids interpret images directly as they are.
Reproduction as a languge beyond images
Using the means of reproduction as though they offered a language, as though pictures were like words rather than holy relics
A need for dialogue
He finishes off saying the images may be like words, but there is no dialogue yet - limiting the possibility of active interperation - he calls out the need for
‘access to tv to be extended beyond its present narrow limits’ for this to be born (1972) and invites the watcher to stay skeptical of the arranged programme he just presented.