Knacks for #creativity & Art Homework

I told my daughters a few tricks when in school they have to invent something and have no idea, in Art for example.

The first one is to play with a face. You can draw this and that, a bridge or a house or a butterfly, that’s cool, but if you take a face and make it weird, you’ll have a bigger impact. Like melting, or too big eyes, or a mouth on a forehead. It’s too easy : one day she copy-pasted her own eyes on her cheeks, 8 times like a spider, and got a 20/20 (you’d say A+ in US, I think), best note of her class.

The other trick is meta. “If you don’t know what to tell, tell about you not knowing what to tell”. So one day she had to write a story and had not clue of a beginning of any story. So she wrote something about a teen in a classroom writing a story. Then… the rest came fantastically easily.

Well, if you don’t know what you could blog about today, tell us about you about blogging, or your blank page, OK?

Thanks for reading!

 

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Fecundity of Limits

If you’re a creative person, you encountered the “Fecundity of Limits” concept, obviously. Fruition. I’d distinguish :

  1. the limits you choose yourself
  2. the limits given to you by someone in charge
  3. the limits you encounter while you’re building your stuff.

Choosing your own limits is such… a pleasure. It’s about preparing your work. Paint something with 3 colors only. Write a book in a month. Travel, but no more than 5 miles a day.

Limits coming as instructions can be a relief. Many actors talk about the freedom you have while you have to obey strict orders. It’s about unfolding inside a frame : perfect for certain personalities.

The limits you encounter are parts of the building process. Your technical shortfalls is a good example. You then move forward “within” your capacities – trying maybe to push them back. The budget can be a limit. You’ll discover the others while you work : It’s a stream, a current!

Tool : Choose, change them, ask someone for limits (as seeds), think about them while your create, and then… forget your feedback : you’re in the flow, a good one!

Thanks for reading! Work well! Travaillez bien !

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Working with what you have… today

When I was 25 I complained to a friend of mine who was 40, a painter. I was composing music slowly and in a bitter way because I was missing instruments, equipment, etc. I had a Macintosh, a mic, a synth, a reverb and a flute.

In art or life, sometimes we feel stuck, therefore we don’t do anything, because we “miss something”, we don’t have enough of this or that : we just wait, bored like a lonely koala in the taiga.

So we just “watch a goal”, a state or a line where, at last, we will be able to begin.

THEN we will have enough time, enough money, enough energy to do it!

I will… paint, compose, be happy, invent, write, blog, learn, the day I will have this or that, blah blah blah…

This is procrastination, laziness & threnody. Sometimes it’s useful to wait, though…

My friend told me I was silly, and, as a painter, that if she only had a pen and paper she would work. “Do something with your flute and your keyboard, instead of complaining, silly!”.

Okey. Watch around. Pick up a tool. Begin. To begin : begin, as they say. Now. That’s true!

…unless you don’t work for another reason, using this syndrome to do nothing. Rhoooo this is baaaad!

Bonne journée!

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Fruitful Constraints & Creativity

It’s an old tool many artists know : many constraints are fruitful. Mainly because a constraint is a problem calling for a solution, therefore you have to move, to be creative.

All jobs and activities have constraints : budget, environment, other people, time, space, your skills, your tools.

If it’s too loose, though, you feel a freedom, which can be messy. You can not catch anything. Stuck. You maybe need to tight something up, to find “your” freedom within a new frame.

Brian Eno invent the Oblique Strategies (mainly for musicians) as a card game. You pick a card and you have to obey (sometimes it’s terrible!). Some directors are well known to tell the actors to follow precisely something (the dialogs, or the places they have to move on the set, etc) before shooting. Some digital artists sometimes go out in a park with a pencil and a notebook. A photographer can go outside with the limit of 20 pictures taken, not much. And G. Perec wrote an entire book without the letter “e”.

 

Constraints are fruitful. You probably have many disposable levers for these. A poet can obey : write something in alexandrine; without any letter “p”, in less than 5 minutes. You may have to present a project in ONE minute only, and… with no words. What are your levers?

You can pull a lever to Zero, it’s the Total Constraint. For example, you’re a photographer and you go out without any camera. Just your eye. You’ll feel the need, you’ll feel your brain simmering. As you can only watch and… think, you’ll maybe have bursts of ideas (instead of taking pictures).

Of course it’s an example of “Amor Fati”, being content with what happens to you, even if it seems bad. Embracing fate : every constraint, if you can’t avoid it, should (and will have to) be danced with.

Thanks for reading!

 

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Goth Subculture Predictability

The good old world of romantic love imagery is a clear map. Everything is : Smiles, Pink color, Kisses, Flowers, Couples, Spring or Holidays and all kind of tender togetherness.

The good old world of Goth Subculture or Metal imagery is a clear map. Everything is : Mist, Skulls, Black color, Red Roses, Tatoos, Blood and Death.

You just have to move the lever from this to that. Hop.

Then, music, outfits, accessories, tatoos, it’s a whole moronic burtonian set of always-the-same I know what you’re doing…

I knowwww, sometime we just need to be… recognized.

If you need more subtilities, something less predictable, go away!

Why is predictability so repellent, to some persons?

Why “We’re different, let’s gather to… resemble”, to look alike peas in a pot, is so awful, for certain minds?

After all, Goths are said to be sensible persons!…

 

Tool & Dial : Predictability. What about ourselves? What about your product? How to find, in what you do (poetry, web, marketing, music, painting, photography?) the MAYA balance between being NOT predictable (because it’s boring) and being acceptable?

Thanks for reading!

#instamood #mist
#instamood #mist

 

The Serendipity Moment

The “Serendipity Moment”, it’s when you search something, then you accidentally find something else, and you realize that what you found is more important than what you were looking for in the first place…

But… are you ready for this?

“Chance favors only the prepared minds”, says Pasteur…

So it would be here : “searching something but keeping your mind opened enough to be able to notice an interesting “something else””?

Ohlalaaaa!

Bonne journée ! Bonnes trouvailles ! Thanks for reading!

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Umberto Eco & the Open Work

Umberto Eco wrote an entire book about the idea of Open Work. I just present you here this idea, as a seed, that a “work” has an openness.

A work “appears” like this or like that, but has a number of ways of being read (seen, viewed, watched, decoded, interpreted, appreciated, contemplated, analyzed). This seems obvious for the sheet music, the score, or for a play, right?

  1. There’s maybe an “obvious” openness, a prescribed way to read a work, but it can be a little more vague, like a set of possibilities – until complete crypticness : find what you can, if you dare to do it, then.
  2. Some elements are often chosen by the artist to let the audience appropriate the work their way, but not “that” their way. Symbolic novels are obviously made for this purpose (Kafka is an example given by Eco).
  3. Opened or not, some people do what they want with a piece of work. It’s a whole decision, it requires culture, or tools, or ways of finding things.
  4. Some works, this way, can be enriched by a clever spectator, who would be delighted by elements, details, structures… the artist himself ignore!
  5. In classical music or theater, there’s a place between the work (the score) and the audience. The players (or the actors) have a big role about “how they see it”. But after that level, the audience will also interpret things…
  6. We probably want to find bonds between the work we study and our own searches, flaws, experiences…
  7. Add yours in the comments, please?

 

Tool : If you work out of the “artistic field”, in blogging, marketing, conversation, fashion, coaching, I’m sure you consider many parameters. You can make a list, right? Timeline, colours, variety, energy, waits, etc, there are many levers to pull. But have you considered the “openness” of what you propose?

 

Thanks for reading!

“Nommer un objet c’est supprimer les trois quarts de la jouissance du poème, qui est faite du bonheur de deviner peu a peu : le suggérer . . . voila le rêve”

“To name an object is to suppress three-fourths of the enjoyment of the poem, which is composed of the pleasure of guessing little by little: to suggest . . . there is the dream”

Mallarmé

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