It’s a simple equation, but not necessarily an easy one. You do your best work in any given situation—except when you exceed your expectations, or utterly fail to meet them.
What matters is that you dig dee enough to lose yourself in the creating. Flow will take care of both uncertainty and evaluating the past work. If you try to make something “great,” or similar superlatives, it’s a distraction. What you’re aiming for is to melt away judgment and doubt. That happens when you have a habit of falling into a piece and finding its soul, for lack of a more real term.
This takes time and practice. But it’s a common and easily understood phenomenon for creators of all types. You know when you’ve reached the point when you’re on the other side of it.
Rediscovering Discoveries I Thought I Wasn’t Into Subverts My Assumptions
Assumptions about what I like can quickly become dogma, and it’s especially strong where music is concerned. Like any other preference in art, it’s good to push against your biases and preconceptions, even when you’re the one who made them.
Parquet Courts is a recent example. I like them, but wasn’t as blown away by their last album as a lot of people in my musical sphere of influence. And yet, somehow, this one song played while I was out today, and I didn’t remember they’d done it. It was terrific, different than most of the other songs, and made me want to listen more closely to the whole album.
There. Opinion diverted, openness to explore renewed. I hope I can keep that mindset going in the future.
The wit and wisdom of Ferris Buehler? Probably could have been a bestseller if they’d had the stones to publish it during the 80s when Ferris was hot. But still. It is true, I believe, that you need to keep looking around you at your world and your life. It does move pretty fast. We can easily get caught in our routines and drudges and overlook the weird, the exciting, the beautiful things that just seem to appear right next to us.
I put up a photo on Instagram a few days ago, showing a gorgeous yellow field of ginkgo leaves next to the freeway near my apartment. Now, just days later, it’s not so amazing—just another patch of bare dirt and some piles and patches. Keep watch: beautiful and strange stuff just shows up, briefly, and you need to be ready for it.
Desocial-Mediafying Is One Way to Get Further Into Your Creative Habit
There are a number of people I know of—and friends I know—who are either decoupling from the endless social media feeds completely, experimenting with vacations away from them, or moderating down their use and intake of the same. It’s probably healthy to do one of those things if you find you’re not doing the things you think you want to, or feeling gross after scrolling feeds. John Green, no less, is taking a year off social media completely:
He takes time to point out the good things about social media, too, but overall, wants to spend some time being better at the things he wants and needs to do.
Similarly, Wheezy Waiter (Craig Benzine) and his wife, Chyna Pate, quit the internet entirely for a month and vlogged the results:
I think even if we don’t go the radical route, there’s a lot of food for thought in these vids, and tangible utility in understanding the brain hacks of social media and how we might benefit from circumventing them.
Just a reminder here—because most of us need reminding, now and again—to keep looking at everything around you. Noticing things others don’t notice is part of being an artist. You have to be able to convey a vision to the world, either an internal or a translated external one (come to think of it, inner visions have to be translated themselves).
In order to fully convey your vision to us, you need to have seen and absorbed what you’re putting down for others. You can’t do that unless you’re really good at seeing stuff.
It’ll seem too simple at first. Then, as you keep noticing and looking deeper and longer, you start to see that it’s almost infinitely complex, and you could get lost in the most mundane slice of your day. But don’t stop. The idea for your next thing comes from what you see and how much and how far you see into it.
Here in the U.S., we’ve been entertaining ourselves by letting lots of outrages from factions we oppose stand in for our various personal grudges and grievances. I would like to say I’m hopeful we can find common ground somewhere, but I’m not sure that will happen soon.
I have my own personal beliefs and desires for helping the greatest number of people the most, but some of my beliefs are concerned with ways to live and those aren’t always objective, superior ways. We need some compromising largesse toward each other.
But we can keep sending more art into the world. More expression, more passion, more remixing and recombining old ideas into new ones. When times are troubled, creative work can act as both refuge and inspiration. It’s the place to channel your energy and focus after they’ve been hijacked by TV ads and yelling heads.
There’s Feeling Ineffectual, and Then There’s Feeling Useless
The difference is stark. You matter, and so does your voice. I’m struck by a line from Chris Baty, NaNoWriMo founder:
The world needs your novel!
And, for sure, there’s plenty to unpack surrounding the word, “needs,” because in a strictly survivalist sense, the word doesn’t.
But that statement is a passionate entreaty to start creating. It says your views and thoughts and your own passions matter, and they have something to contribute to humanity at large.
Until and unless you have followers and fans of your work, it’s going to seem a bit lonely, like your voice is mighty small in a very dark and enormous void. You aren’t useless, you’re working, making, creating. You do matter. You’re ineffectual, as far as the outside world is concerned. But that isn’t the important thing. What’s important is that you press on, say what you must say, and give that work to the world.
Because we need it, and we cannot know what effect it will have before it’s out there.
Rambling, Randomness, and the Persistence of Tiredness
Yesterday’s post was quite the incoherent jumble, I realized on waking up. I metaphorically scratched my head for way too long, trying to figure out what I was wanting to say. I’m still not quite sure. I did, however, realize I spelled Hilma af Klint’s name wrong, and mea culpa for that.
Most of life has randomness in some degree. Mistakes, people we meet, decisions made by a thousand people around us that connect in unseen ways. The best we can do is to try to observe it and how it joins ideas and thoughts. That’s the best way to discover newness, which is really just an unusual combination of things that exist in the world already.
I know, it sounds convoluted to me, too. What I’m pondering is how the mindset we have when we encounter something, “an art,” affects how we experience it.
From personal anecdata, pushing aside as much as I can any preconceptions about it. I’d like to think we experience an elevated state from accepting and examining a work, in other words giving it a chance to be its best.
This probably deserves fleshing out further, later.
Group Exhibitions Say a Lot at Once in a Single Space
Why do we care? It’s because it’s a way to think about things like why or how works are chosen, how they fit into a show’s theme, with other artists, and in the space they’re placed. Good things just to think about. If you’re lucky, as in this case, works are good and intriguing, too.