After a grand creative burst, I have fallen and need to reappear. It seems appropriate to share a few learnings and remember why the 'artistic vacation' was in fact a good idea. And then on to the new terrain.
I am still powered by the experience of having a 'character' take over the page. If you can give them space for their voices, they will launch forth and typing is all that's required for the first round. But the editorial position gets dicey. How do we listen and yet apply light rules, help with good structure? I have tried to rewrite what appeared on the vacation pages, but realize that I didn't yield enough content. But sharing more raw content---no, no. So good to know that some privacy is good for all the parties.
On to the new experience...I believe play scenes will present good stuff. Nothing finished, rather like making a new soup that gets 5-10 renditions until the flavor is so good that the recipe is loaded into the archive. This will be a playground for dialog without the requirement for too much context.
Have patience with me. This is where commentary will provide the most value.
Friday, December 25, 2009
Wednesday, October 21, 2009
The Artistic Vacation
2/28/11: Since my original posts, I placed the 'five easy pieces' outside the blog for a tuneup.
***
I'm late in wrapping up. I waited to gather feedback, incubate my own thoughts and got swept up in the next big thing (which is very good, this added new perspective). My immediate thoughts were that some strengths and weaknesses of my vocal performance practice and discipline played out here in a 'character realization' mode.
I had an entrancing time channeling someone else, especially in another time in a city I cherish and about which I continue to learn. Having a regular routine around research and writing really helped, much like researching new music, practicing regular breathing and scale exercises and learning a new piece does. I know to continue this work whether or not it goes well, stop at an alloted time to save on strain or burnout. Yes, it turns out I can remember something on Tuesday that I failed to write about on Monday because time was up. Only it is better there is new creative input if I can hold my horses and write the next day. And I didn't get a sore throat. Limiting writing time, like practice limits, really adds to the experience, the sense of balance and the quality of the products sought.
My current (and lifelong) vocal downfall is that after lots of work to deliver a song arc (the line and lyricism), I sometimes drop out before the finish line. Literally it feels like I can see the finish line before it sees me and I peter out. So work on volume and intensity gets my voice to the last row, but not always for the duration. That was a definite truth about my last post on Inga's behalf. She was too glib, not really as good as the penultimate piece because the artist behind her gave up before the filly came into the final post. At least I am consistent. I suspect I will gain value in my song practice before I can complete this learning as a writer.
Please let me know what you think.
***
I'm late in wrapping up. I waited to gather feedback, incubate my own thoughts and got swept up in the next big thing (which is very good, this added new perspective). My immediate thoughts were that some strengths and weaknesses of my vocal performance practice and discipline played out here in a 'character realization' mode.
I had an entrancing time channeling someone else, especially in another time in a city I cherish and about which I continue to learn. Having a regular routine around research and writing really helped, much like researching new music, practicing regular breathing and scale exercises and learning a new piece does. I know to continue this work whether or not it goes well, stop at an alloted time to save on strain or burnout. Yes, it turns out I can remember something on Tuesday that I failed to write about on Monday because time was up. Only it is better there is new creative input if I can hold my horses and write the next day. And I didn't get a sore throat. Limiting writing time, like practice limits, really adds to the experience, the sense of balance and the quality of the products sought.
My current (and lifelong) vocal downfall is that after lots of work to deliver a song arc (the line and lyricism), I sometimes drop out before the finish line. Literally it feels like I can see the finish line before it sees me and I peter out. So work on volume and intensity gets my voice to the last row, but not always for the duration. That was a definite truth about my last post on Inga's behalf. She was too glib, not really as good as the penultimate piece because the artist behind her gave up before the filly came into the final post. At least I am consistent. I suspect I will gain value in my song practice before I can complete this learning as a writer.
Please let me know what you think.
Saturday, October 3, 2009
The Project - Details for each day (Major Update)
The Challenge: to gather artistic impressions from past, current and fictional experience. I have chosen an avatar who is able to travel through time and space without the pain of passing through the metal detectors at ORD or the need to eat, drink or blend in. Her back story will gather detail as the project progresses, but there are some details available for the first piece. The research notes for creation of these pieces will be stored off-line. They will serve as material for later use, as needed.
Avatar: Inga MacGuinan, a 37 year-old swede married to a Scotsman, settled in Chicago but originally from Sundbyberg, SV. She is a trained singer and amateur artist using pen and ink. She has a special interest in women artists. She is from a humble background, but her wealthy merchant husband (also from the lower ranks) has opened her eyes to the world where an artist might have a patron or be able to sell works or be paid for performing. Few women participate in this artistic world and Inga is still quite dependent upon her husband for any independence she is granted. As she moves through these pieces, she will still bring her mindset along, but she may change as she experiences new ideas, is exposed to new cultures and people.
UPDATE: I decided to keep to a Chicago setting with Inga, but continue the piece over time. Instead of having her travel she will meet visitors one of whom will be from India who is a visitor at the 1893 Columbian Exposition and the Parliament of Religions. I ran into difficulties with Siem Reap because the Wats were in disrepair at the end of the 19th century and China was equally unknown other than the difficulties between the UK and China over the tea trade.
The 5 (not so easy) pieces:
Sunday is set in 1877/Lincoln Park and the new Lily Pond and the greenhouses.
Monday is 1887 and includes a visit to the lavish Marshal Field Shopping Emporium
Tuesday is set in 1891 the day before Inga's wedding, some progress on the conservatory
Wednesday will take place in 1893 after an encounter at the almost complete Lincoln Park Conservatory with a very grand Raja, Swami Vivekenanda from India who is visiting for the Parliament of Religions.
Thursday takes place in 1895, there is an opening gala for the new Lincoln Park conservatory, complete with fireworks an art exhibit and featuring a singing student of Inga's. Followed by LPC in 2017 at the ceremony to dedicate the new space. The narrator will be Inga and Samuel's great, great granddaughter who has been reading Inga's diaries.
Saturday wrap up and thoughts on the process.
Avatar: Inga MacGuinan, a 37 year-old swede married to a Scotsman, settled in Chicago but originally from Sundbyberg, SV. She is a trained singer and amateur artist using pen and ink. She has a special interest in women artists. She is from a humble background, but her wealthy merchant husband (also from the lower ranks) has opened her eyes to the world where an artist might have a patron or be able to sell works or be paid for performing. Few women participate in this artistic world and Inga is still quite dependent upon her husband for any independence she is granted. As she moves through these pieces, she will still bring her mindset along, but she may change as she experiences new ideas, is exposed to new cultures and people.
UPDATE: I decided to keep to a Chicago setting with Inga, but continue the piece over time. Instead of having her travel she will meet visitors one of whom will be from India who is a visitor at the 1893 Columbian Exposition and the Parliament of Religions. I ran into difficulties with Siem Reap because the Wats were in disrepair at the end of the 19th century and China was equally unknown other than the difficulties between the UK and China over the tea trade.
The 5 (not so easy) pieces:
Sunday is set in 1877/Lincoln Park and the new Lily Pond and the greenhouses.
Monday is 1887 and includes a visit to the lavish Marshal Field Shopping Emporium
Tuesday is set in 1891 the day before Inga's wedding, some progress on the conservatory
Wednesday will take place in 1893 after an encounter at the almost complete Lincoln Park Conservatory with a very grand Raja, Swami Vivekenanda from India who is visiting for the Parliament of Religions.
Thursday takes place in 1895, there is an opening gala for the new Lincoln Park conservatory, complete with fireworks an art exhibit and featuring a singing student of Inga's. Followed by LPC in 2017 at the ceremony to dedicate the new space. The narrator will be Inga and Samuel's great, great granddaughter who has been reading Inga's diaries.
Saturday wrap up and thoughts on the process.
Thursday, October 1, 2009
New Project - Taking a vacation from myself
In my last post I set out the parameters for a different sort of vacation. The problem statement requires me to access my other selves and I have a special opportunity of time in which to do it.
Here's the plan so far: I have 'gone off the grid', really only the responsive portion, no business related voice or electronic messages (my blackberry, oh no). I will do the healthy things we do when we take a vacation. Change my pace (faster and slower), look for ways to nurture my spirit and physical self, learn and play.
Saturday will be a day of prep for my 5 upcoming project days. Sunday-Thursday will each feature a project of my choosing. I will create and update my proposed project list, that will be posted Saturday and will be updated over the week as I learn more about how to plan my approach. Some considerations are time travel, locational travel, vocational travel, new selves, access to others with whom I have not traditionally had connections.
A note on time travel: although many of us long for a time machine, I suspect we have those machines already. Taste something from childhood long forgotten and I am transported. The same goes for music, viewing pictures, donning clothing or using tools or structures from other times. Theatre gives us renderings from other times and places. Productions that most delight include successful lighting, set, sound, costume and integration designs (direction). My design for each type of project will include those elements as well as considerations of time, location, my 'self' and those with whom I will interact.
Here's the plan so far: I have 'gone off the grid', really only the responsive portion, no business related voice or electronic messages (my blackberry, oh no). I will do the healthy things we do when we take a vacation. Change my pace (faster and slower), look for ways to nurture my spirit and physical self, learn and play.
Saturday will be a day of prep for my 5 upcoming project days. Sunday-Thursday will each feature a project of my choosing. I will create and update my proposed project list, that will be posted Saturday and will be updated over the week as I learn more about how to plan my approach. Some considerations are time travel, locational travel, vocational travel, new selves, access to others with whom I have not traditionally had connections.
A note on time travel: although many of us long for a time machine, I suspect we have those machines already. Taste something from childhood long forgotten and I am transported. The same goes for music, viewing pictures, donning clothing or using tools or structures from other times. Theatre gives us renderings from other times and places. Productions that most delight include successful lighting, set, sound, costume and integration designs (direction). My design for each type of project will include those elements as well as considerations of time, location, my 'self' and those with whom I will interact.
Monday, September 14, 2009
How design drives process
One way I fight the urge to micro-manage is to head up the slope to 10,000 feet. From there I can see my forest even if the trees are still easy to distinguish. On the trip up I open the car windows, get that great smell of fresh cut grass, autumn herbs and a forest getting ready for the cold season. My Journey into the higher space slows time, resets the lights and reminds me about scents that refresh.
As my earth has been spinning faster and faster I am searching for rocket ship rescue. Some orbital flight options include: pressing the eject button - leaving the scene for awhile (radical change of place); parting the atoms to walk through my walls and spend time in a new room (minor change of place); or morphing into something else (changing self). The more I contemplate a change of scene, the more I find something to distract me in another direction.
But instantaneously changing myself, how will that be effected? This will feel like a game of walk the blindfold, that exercise from childhood where you don a blindfold with a friend who will guide you through familiar spaces and you gain new perspectives on your environment with the loss of a key sense like sight. I propose a design for that process that looks like this.
Big Picture:
- Demarcate a time (aka timeboxing) during which the old self will be placed in an unnamed, secure location for safekeeping (sequestered). Incidentally the true sense of the word demarcate includes setting limits, always a help in the creative process.
Repeated smaller picture:
- Choose a prep or pre-production technique for being ready for an iteration or realization of the new self. Cleanse the mind, access the genie or djin and pluck out an idea. Find props for which to remind the new self of the idea and take a test run. Use "yes and" techniques from improvisation frameworks to build a couple of simple behaviors in the new self. Practice.
...
- Within the cycle, assuming multiple cycles within the time frame allowed, set a 'production' period. When will this self be allowed out and what is the target location. Will the self interact with others, will they react? Is this in physical or virtual space? If the physical space is the same as for the sequestered self, how can preconceptions be removed to inject newness? Go forth and produce. It might be an hour it might be 2 days.
...
- After the production cycle has been completed allow time for reflection. Gather impressions in a plastic format. That can be in writing, pictures or other media that capture images. A color exercise, an expressive musical or interpretive dance piece can work, if some written notes are also collected.
Repeat cycle (new productions)
Stop and close out the process. At the end of the timebox, gather any bigger thoughts unrelated to a specific production. Review learning from each production. Save and get a good night's rest, it's been a busy week.
As my earth has been spinning faster and faster I am searching for rocket ship rescue. Some orbital flight options include: pressing the eject button - leaving the scene for awhile (radical change of place); parting the atoms to walk through my walls and spend time in a new room (minor change of place); or morphing into something else (changing self). The more I contemplate a change of scene, the more I find something to distract me in another direction.
But instantaneously changing myself, how will that be effected? This will feel like a game of walk the blindfold, that exercise from childhood where you don a blindfold with a friend who will guide you through familiar spaces and you gain new perspectives on your environment with the loss of a key sense like sight. I propose a design for that process that looks like this.
Big Picture:
- Demarcate a time (aka timeboxing) during which the old self will be placed in an unnamed, secure location for safekeeping (sequestered). Incidentally the true sense of the word demarcate includes setting limits, always a help in the creative process.
Repeated smaller picture:
- Choose a prep or pre-production technique for being ready for an iteration or realization of the new self. Cleanse the mind, access the genie or djin and pluck out an idea. Find props for which to remind the new self of the idea and take a test run. Use "yes and" techniques from improvisation frameworks to build a couple of simple behaviors in the new self. Practice.
...
- Within the cycle, assuming multiple cycles within the time frame allowed, set a 'production' period. When will this self be allowed out and what is the target location. Will the self interact with others, will they react? Is this in physical or virtual space? If the physical space is the same as for the sequestered self, how can preconceptions be removed to inject newness? Go forth and produce. It might be an hour it might be 2 days.
...
- After the production cycle has been completed allow time for reflection. Gather impressions in a plastic format. That can be in writing, pictures or other media that capture images. A color exercise, an expressive musical or interpretive dance piece can work, if some written notes are also collected.
Repeat cycle (new productions)
Stop and close out the process. At the end of the timebox, gather any bigger thoughts unrelated to a specific production. Review learning from each production. Save and get a good night's rest, it's been a busy week.
Thursday, August 20, 2009
The Dangers of Hiding Out
For all that our muses require us to hang alone and commune, they drive a seductive vehicle that isolates. A prolonged journey into self can in fact be a flight of madness that serves no artistic purpose except as a quick trip to the inner scary spaces. It is within that visit that we might become inspired with new notions, but equally there might be an evil poseur using a hint of catnip to lure us over the edge. Here lies the critic in wait and she's not always helpful.
I have been exploring the effects of isolation on people during a period of great change for myself. As an introverted individual, I find periods alone essential to my well-being. However I have had to gravitate to more group activities in the last few years to find balance for creating my art and other types of work which I do alone.
During this strange period of upheaval in society it is quite easy to identify those persons who are spinning through the universe entirely alone. Some clearly lose their way. The increase of paranoid commentary, polarization in opinion sharing and a general lack in the realm of 'getting along' is making it both more and less difficult to collaborate artistically.
There are more opportunities than ever, but the dangers in the river of options are also greater. It is simple to find places of strong action and then form a reaction. This is happening all over the political landscape. New participants who have not expressed political opinions are popping up and popping each other right in the kisser.
But the realm of fewer opportunities is more troublesome yet. I would describe this space as the new political correctness. As the world becomes more polarized, the provocative artist can be viewed as the contentious artist. Never has it been so easy to invoke dem's fighten' woids just by following through on an artistic notion. And for all but the most robust this can cause us to edit ourselves to oblivion. Thus the new political correctness is utter silence, or at least trivia.
Dare I say more?
I have been exploring the effects of isolation on people during a period of great change for myself. As an introverted individual, I find periods alone essential to my well-being. However I have had to gravitate to more group activities in the last few years to find balance for creating my art and other types of work which I do alone.
During this strange period of upheaval in society it is quite easy to identify those persons who are spinning through the universe entirely alone. Some clearly lose their way. The increase of paranoid commentary, polarization in opinion sharing and a general lack in the realm of 'getting along' is making it both more and less difficult to collaborate artistically.
There are more opportunities than ever, but the dangers in the river of options are also greater. It is simple to find places of strong action and then form a reaction. This is happening all over the political landscape. New participants who have not expressed political opinions are popping up and popping each other right in the kisser.
But the realm of fewer opportunities is more troublesome yet. I would describe this space as the new political correctness. As the world becomes more polarized, the provocative artist can be viewed as the contentious artist. Never has it been so easy to invoke dem's fighten' woids just by following through on an artistic notion. And for all but the most robust this can cause us to edit ourselves to oblivion. Thus the new political correctness is utter silence, or at least trivia.
Dare I say more?
Monday, July 27, 2009
Playing in the dirt
How does working in clay employ a performative element? I think from the artist's perspective, throwing clay pots includes a luxurious component that involves the moments when the wedge actually assumes shape and becomes the basis of its new entity. There is a fulcrum for this experience. At a certain point the piece is placed squarely into its final form and all the rest of the movements are merely elements of finish, decorations, riffs on the central theme.
Size plays into where the 'selfness' of the will be realized. A small piece is truly more self-contained, has less room for those variations. A large piece can acquire a large amount of embellishment without changing at the core. But that revelatory moment of new being is in fact a performance.
Size plays into where the 'selfness' of the will be realized. A small piece is truly more self-contained, has less room for those variations. A large piece can acquire a large amount of embellishment without changing at the core. But that revelatory moment of new being is in fact a performance.
Wednesday, July 22, 2009
Outsourcing snark centers
In reference to Scott Brown's article "Attack of the Clones" in the July issue of Wired Magazine, I wonder if it is possible to outsource cultural commentary. He posits the notion of outsourcing social commentary. How much does the bang-bang of interaction in our cultural worlds change what we feel and think. Can someone who is web 2.0 connected keep up virtually?
As a writer who does a good bit of reading, I feel that my connection to life is often fascilitated on-line, but I can't imagine jetting into town and really fitting right in.
As a writer who does a good bit of reading, I feel that my connection to life is often fascilitated on-line, but I can't imagine jetting into town and really fitting right in.
Friday, July 10, 2009
Shoplifting
What happens when you see something you wish you had not seen? The role of theater and literature is often to examine those things we would rather leave under the big, dank rock. As a writer is it possible to write authentically if the experience is not your own? If you internalize it, rather like a method actor event, how does your own story change the pitch (think music, also think cricket as a spectator, yet it is 'so real').
And then there is the issue of validity: did I see it? Did it happen. I think I'm so rational, but when I reexamine the event it turns out my own memories betray me. Can I rely on my own data once I work through this ugly truth. What role does our subconscious play on how we portray drama?
The role of action in a plot set: am I supposed to do anything about it? The event is making my heart twist, but do I actually need to act. If my action causes future problems...blah, blah. I can see all of this in the surface of the dirt...ok clay. Is rendering in the plastic arts any different than in a performative space?
Is it worse when it happens in a family context...what role does context play? Context can make an event personal, but does that add to the experience? And then there is the role of viewer, audience participation as an anthropological take; does the audience change the experience? And post-production cocktail; viewing a dicey event, with commentary by viewers--it certainly spices up the theater in total. How does live theater differ from the stuff elsewhere?
And then there is the issue of validity: did I see it? Did it happen. I think I'm so rational, but when I reexamine the event it turns out my own memories betray me. Can I rely on my own data once I work through this ugly truth. What role does our subconscious play on how we portray drama?
The role of action in a plot set: am I supposed to do anything about it? The event is making my heart twist, but do I actually need to act. If my action causes future problems...blah, blah. I can see all of this in the surface of the dirt...ok clay. Is rendering in the plastic arts any different than in a performative space?
Is it worse when it happens in a family context...what role does context play? Context can make an event personal, but does that add to the experience? And then there is the role of viewer, audience participation as an anthropological take; does the audience change the experience? And post-production cocktail; viewing a dicey event, with commentary by viewers--it certainly spices up the theater in total. How does live theater differ from the stuff elsewhere?
Tuesday, June 30, 2009
Production Values
When I noted recently that I differentiate between production values and content I was pleased to get a response ping, although I detected a certain amount of sabor rattling to be more accurate. Sitting in the theater 3-4 nights a week, I feel there is a giant 'bounce' that occurs for most shows depending upon production values.
Why is this? Most of us are not heading out to entertainment wearing our form and analysis mindsets. Onsite evaluation of dramatic structure, pacing and character development is difficult. Somewhat less troubling is the search for good dialogue - it you are yawning by the end of the first scene, it is a good bet that character chat does not reveal character value. Authentic revelations only occur with a certain amount of trouble taken or felt by persona dramatis.
Sometimes a promising show gets a first production in really low rent circumstances and it shines because of the content of the show. The actors and director really produce authentic, believable material. The dramatic ebb and flow keep the viewer riveted, the characters have defined arcs that draw us in, the ending is pure joy. Who cares if they use only a refrigerator box, an athletic sock and a flashlight? This is based on the value of performative art delivery based on strong dramatic content and deserves its own discussion.
The import of quality content is paramount and nothing can replace it. A show that has high value content can succeed on stage, in film, on TV. It can take a small or large venue, it flexes to considerations of setting, timeframe, casting and more.
But what happens when the content is solid, but perhaps stuck in a single locale or era or only works with certain cast members? Bring on the designers! Let's have a brilliant set, costume, lighting and sound design. Smell-o-rama is in and out of vogue, but quite electrifying when used to good effect. Good design features can really pop for the audience and a slightly small show can amaze and delight, even if you cannot remember why over dinner at that cool new place.
But here's the real gist of this post. What happens when you have seriously flawed dramatic material in a design space to die for? Think of TV serials that had the 'look' that gets the viewers, but the story is so preposterous that all those gorgeous bods, clothes, houses, etc. are the same week after week? Or that uber-cool opening night where all the participants have friends in the house to give edge to the performance, but you cannot remember the main elements of the show the next day. It looked and smelled great, but your stomach is growling in the early morning.
A gorgeous gown on a runway model has to look grand on normal me in the middle of a dull winter's day, or it is not worth the price of a value meal at Mickey D's. Those luscious costumes help you hear the music of the setting, you can taste the chocolate cake. But turn off the high def, add a wobble in the image and you keep seeing the crumbs on your couch and decide a good vacuuming is in order.
Why is this? Most of us are not heading out to entertainment wearing our form and analysis mindsets. Onsite evaluation of dramatic structure, pacing and character development is difficult. Somewhat less troubling is the search for good dialogue - it you are yawning by the end of the first scene, it is a good bet that character chat does not reveal character value. Authentic revelations only occur with a certain amount of trouble taken or felt by persona dramatis.
Sometimes a promising show gets a first production in really low rent circumstances and it shines because of the content of the show. The actors and director really produce authentic, believable material. The dramatic ebb and flow keep the viewer riveted, the characters have defined arcs that draw us in, the ending is pure joy. Who cares if they use only a refrigerator box, an athletic sock and a flashlight? This is based on the value of performative art delivery based on strong dramatic content and deserves its own discussion.
The import of quality content is paramount and nothing can replace it. A show that has high value content can succeed on stage, in film, on TV. It can take a small or large venue, it flexes to considerations of setting, timeframe, casting and more.
But what happens when the content is solid, but perhaps stuck in a single locale or era or only works with certain cast members? Bring on the designers! Let's have a brilliant set, costume, lighting and sound design. Smell-o-rama is in and out of vogue, but quite electrifying when used to good effect. Good design features can really pop for the audience and a slightly small show can amaze and delight, even if you cannot remember why over dinner at that cool new place.
But here's the real gist of this post. What happens when you have seriously flawed dramatic material in a design space to die for? Think of TV serials that had the 'look' that gets the viewers, but the story is so preposterous that all those gorgeous bods, clothes, houses, etc. are the same week after week? Or that uber-cool opening night where all the participants have friends in the house to give edge to the performance, but you cannot remember the main elements of the show the next day. It looked and smelled great, but your stomach is growling in the early morning.
A gorgeous gown on a runway model has to look grand on normal me in the middle of a dull winter's day, or it is not worth the price of a value meal at Mickey D's. Those luscious costumes help you hear the music of the setting, you can taste the chocolate cake. But turn off the high def, add a wobble in the image and you keep seeing the crumbs on your couch and decide a good vacuuming is in order.
Monday, June 15, 2009
Channeling the voice of Julia Child
Having breezed my way through Julia's last book (written with her grand-nephew), "My Life in France", I was struck by both her approach to creativity and her sensible thoughts on aging. The connection between those two topics might seem rather obscure, but strong creative practices keep us youthful and flexible and sensible approaches to aging support continued creativity.
Creative life requires resiliency, the ability to adjust goals to fend off defeat and depression; a balanced approach to productivity. Recently a visit to my favorite technology laboratory yielded some lively feedback on where creativity and money making share space. Currently too many business types have bored Gen Y to insensibility with guidance on making money with no commentary on keeping alive creatively.
Julia's adventures with her husband in France framed the beginning of her life as a chef and writer. She embraced French cooking in a manner that literally launched what has become the slow food movement in the U.S. Her discipline and thorough analysis of cooking and then producing recipes revolutionized the structure of cookbooks forever and she essentially created the venue for cooking on television. Her portrayal of herself and those around her as maturing, growing, changing individuals has challenged my thinking on how to embrace the march of time with joy.
I have spent the last several months perfecting my own cooking and have found a new mantra for experiencing life and friends. After years of hiatus from professional cooking I have found a new serenity in the kitchen. The content on the plate is enhanced by the presentation, understanding what went into the preparation. My life as an artist is extended from artistic performance, singing, dancing, designing and writing, to presenting an artful picture that nourishes the spirit and the body.
Creative life requires resiliency, the ability to adjust goals to fend off defeat and depression; a balanced approach to productivity. Recently a visit to my favorite technology laboratory yielded some lively feedback on where creativity and money making share space. Currently too many business types have bored Gen Y to insensibility with guidance on making money with no commentary on keeping alive creatively.
Julia's adventures with her husband in France framed the beginning of her life as a chef and writer. She embraced French cooking in a manner that literally launched what has become the slow food movement in the U.S. Her discipline and thorough analysis of cooking and then producing recipes revolutionized the structure of cookbooks forever and she essentially created the venue for cooking on television. Her portrayal of herself and those around her as maturing, growing, changing individuals has challenged my thinking on how to embrace the march of time with joy.
I have spent the last several months perfecting my own cooking and have found a new mantra for experiencing life and friends. After years of hiatus from professional cooking I have found a new serenity in the kitchen. The content on the plate is enhanced by the presentation, understanding what went into the preparation. My life as an artist is extended from artistic performance, singing, dancing, designing and writing, to presenting an artful picture that nourishes the spirit and the body.
Monday, June 1, 2009
Those who can, do -- those who can't, teach?
Balderdash - what a way to begin a post! Let's hope balderdash is still in the vernacular and that this stirs someone up. Here's the real stuff: does the teacher stand between the creative artist and the critic? I think the creative continuum has a special place reserved for those wonderful teachers who press artists to produce and critics to critique and learn and help the public learn. But to be fair to those of us artists who hang ourselves out for pot shots, tar and feathering, etc., being taught, reviewed and chatted about can smart. Teachers and critics do some special stuff for those who are crazy enough to present our benighted children for inspection. How can artists keep supple during this hurricane?
As I reinvent myself for a new round of life I am at a crossroad: am I designer/artist/organizer/communicator? I sweat away anon in search of a self. Can we package ourselves, is that choosing a language or hiding out behind a facade?
As I reinvent myself for a new round of life I am at a crossroad: am I designer/artist/organizer/communicator? I sweat away anon in search of a self. Can we package ourselves, is that choosing a language or hiding out behind a facade?
Saturday, April 11, 2009
The value of professionals
After visiting the set of a certain infamous television show that involves people beating on each other, I had some thoughts on watching amateurs. There has been a proliferation of entertainment (I do not call it art or theater or even theatrical) that is 'reality based'. It involves watching amateurs doing things. Things that require revealing so-called personal information, doing embarrassing or frightening things, being in some sort of moment to draw us in.
Does good production value count enough to gloss over lack of content? Most of the televised versions of reality seem to involve lifelike sets (overproduced for verity) or visits to the real world that are 'managed' by onsite personnel. Interestingly there is a huge amount of process involved in producing these shows, but only one repeated outcome, the same show over and over with different permutations.
How does embarrassment play into the realness of reality? I find myself far too embarrassed for the reality-amateurs to watch. Is this the way I should feel. Am I meant to peek out and shudder but secretly think I can do better? Or are they looking for that 'intensity' that comes with showing something personal that is meant to be kept back.
Does good production value count enough to gloss over lack of content? Most of the televised versions of reality seem to involve lifelike sets (overproduced for verity) or visits to the real world that are 'managed' by onsite personnel. Interestingly there is a huge amount of process involved in producing these shows, but only one repeated outcome, the same show over and over with different permutations.
How does embarrassment play into the realness of reality? I find myself far too embarrassed for the reality-amateurs to watch. Is this the way I should feel. Am I meant to peek out and shudder but secretly think I can do better? Or are they looking for that 'intensity' that comes with showing something personal that is meant to be kept back.
Saturday, March 7, 2009
Moderation and terms thereof
"Those of us in the moderate tradition — the Hamiltonian tradition that believes in limited but energetic government — thus find ourselves facing a void. We moderates are going to have to assert ourselves. We’re going to have to take a centrist tendency that has been politically feckless and intellectually vapid and turn it into an influential force." - David Brooks, NYT March 3, 2009
I do believe there is a difference between being centrist to avoid confrontation and standing in the center in order to see well in all directions. Is it possible to be intense and still centrist? It seems to me it is, but it requires constant researching, seeking, questing. And that active work probably involves a certain amount of arguing or confronting less moderate positions to understand where the value lies. There often blows a strong wind in between the spaces that are more one-directional. Intensity is then required to remain standing in the middle.
I do believe there is a difference between being centrist to avoid confrontation and standing in the center in order to see well in all directions. Is it possible to be intense and still centrist? It seems to me it is, but it requires constant researching, seeking, questing. And that active work probably involves a certain amount of arguing or confronting less moderate positions to understand where the value lies. There often blows a strong wind in between the spaces that are more one-directional. Intensity is then required to remain standing in the middle.
Wednesday, February 11, 2009
Is Creativity Dangerous?
After listening to Elizabeth Gilbert's talk on creative genius at the TED talks this year I am contemplating the dangers of being an artist and in participating in creative life. There is a certain pressure on artists, especially post-successevent of some sort. The role of criticism to stifle artistic expression seems dangerous, but that is not where the danger lies. It is the willingness to expose oneself to the muse, only the muse is a daemon or genius or genie who may or may not have the artist's interests at heart.
3/7/09: It strikes me that creativity poses danger because to do something new is to be unfettered by the rules that keep us safe. The first time I ice skated in an indoor rink, I went really fast as I learned the cross over step and then promptly smashed into a wall that appeared to come at me with blinding speed. As I spent more time at the rink, I learned to take speeds and alternate them for more control. I could not have entertained my skating genie without learning about speed, but I got bruised along the way. The thing thing occurred with skiing and several other sports.
Taking off the filter for safety opens doors to the new, but training to be able to recover seems to be the only way, lacking an overseer or mentor, to allow for new learning that also invites a lack of safety. This seems closely related to trying the same trick multiple times while expecting differing results - the common description of madness.
I will add to this over time.
***
Some excellent talks hosted on TED (Technology, Entertainment, Design Forum).
"Ole to you for continuing to show up." - Elizabeth Gilbert
"A near death experience is good for creativity." -Amy Tan
"Some stories haunt me until I write them." -Isabelle Allende
3/7/09: It strikes me that creativity poses danger because to do something new is to be unfettered by the rules that keep us safe. The first time I ice skated in an indoor rink, I went really fast as I learned the cross over step and then promptly smashed into a wall that appeared to come at me with blinding speed. As I spent more time at the rink, I learned to take speeds and alternate them for more control. I could not have entertained my skating genie without learning about speed, but I got bruised along the way. The thing thing occurred with skiing and several other sports.
Taking off the filter for safety opens doors to the new, but training to be able to recover seems to be the only way, lacking an overseer or mentor, to allow for new learning that also invites a lack of safety. This seems closely related to trying the same trick multiple times while expecting differing results - the common description of madness.
I will add to this over time.
***
Some excellent talks hosted on TED (Technology, Entertainment, Design Forum).
"Ole to you for continuing to show up." - Elizabeth Gilbert
"A near death experience is good for creativity." -Amy Tan
"Some stories haunt me until I write them." -Isabelle Allende
Friday, February 6, 2009
On Form
Borrowing from musical form and analysis terminology I have started to produce a couple of base forms for several reasons. I'm getting a sense of how much clay to grab for a given size and working on a consistent, flared vase shape with the thought that I'll see how much curve I can get without having the top droop. It turns out those early English Normans were right about a heavy bottom when you need an arch (pre-flying buttresses).
So my form for the last two weeks started out the same. Spend a lot of time centering, it really saves drama later. This is true for singing and dancing as well, I suppose any performing art. And wheel work with clay has a definite performative element that I never thought of until now.
From that form I produced two vessels that were 'machined', meaning I chose to use tools other than my hands to finish the outside surface, and I compressed the bottom of the pot multiple times for strength as well. I trimmed the bottom in a separate leather hard state.
The first form was entirely generated on the wheel and is merely a flaring cylinder. To the second piece I added an organic element prior to the leather hard trim session. I removed the vessel from the wheel and let it dry with a fan for about 30 minutes. Then I took a thumb and two fingers and formed the top of the vase into curls. I am still working on that piece and will not trim the bottom until next week. With luck I will also be able to apply a little imprinting using metal dyes for a ring around the bottom and perhaps an emblem of some sort. I might add a little something inside that only I would be aware of, as well. With the imprints, the glaze pools slightly inside and gives a two-tone finish that is alluring and somewhat tactile. With both pieces using a sponge to smooth the surfaces after the piece has dried will give the glaze a smoother finish.
So my form for the last two weeks started out the same. Spend a lot of time centering, it really saves drama later. This is true for singing and dancing as well, I suppose any performing art. And wheel work with clay has a definite performative element that I never thought of until now.
From that form I produced two vessels that were 'machined', meaning I chose to use tools other than my hands to finish the outside surface, and I compressed the bottom of the pot multiple times for strength as well. I trimmed the bottom in a separate leather hard state.
The first form was entirely generated on the wheel and is merely a flaring cylinder. To the second piece I added an organic element prior to the leather hard trim session. I removed the vessel from the wheel and let it dry with a fan for about 30 minutes. Then I took a thumb and two fingers and formed the top of the vase into curls. I am still working on that piece and will not trim the bottom until next week. With luck I will also be able to apply a little imprinting using metal dyes for a ring around the bottom and perhaps an emblem of some sort. I might add a little something inside that only I would be aware of, as well. With the imprints, the glaze pools slightly inside and gives a two-tone finish that is alluring and somewhat tactile. With both pieces using a sponge to smooth the surfaces after the piece has dried will give the glaze a smoother finish.
Thursday, February 5, 2009
Thoughts on process
To get myself out of a rut I started working in clay last year. I found to my delight that I remembered bits about the medium from long ago, but there's lots of unknown space to confront. The studio where I work is full of great energy and caring artists. We're a poor lot with city provided facilities, so there is a big need to share and be nice to each other which is just what I was seeking.
I had no idea that there were so many types of clay, so many firing temperatures, differences with glazes and other decorative techniques to explore. The first week in the studio I was exposed to pinch, slab and coil hand building techniques. As a person with wheel experience it was grand to get a sense of how the chemical makeup of clay works with dryer building approaches.
After a couple of months I settled into the wheel practice as many of my studio mates seem to prefer hand building and there is generally a wheel available. In early sessions I whipped out a lot of product without much thought to process. I concentrated on trying throw a piece that I had conceived of beforehand, but not much else was in the process. Over time I realized that spending the week before looking at other work would make the wheel time more productive and thoughtful.
Turning to thoughts on process itself I find that there is designing and conceiving of the work; this includes materials which consist of clay type, any slip finishes or clay decorations, firing temperature, type of and colors of glaze and any other decorative process that might need to occur at any time. Start to finish a piece is created, trimmed or finished when leather hard, dries to hardness, fired to bisqueware, finished with glaze and fired a second time. It is possible to add more glaze and fire again. There are also some special processes for print transfers, use of wax to keep colors and unglazed sections discrete, raku and more.
I had no idea that there were so many types of clay, so many firing temperatures, differences with glazes and other decorative techniques to explore. The first week in the studio I was exposed to pinch, slab and coil hand building techniques. As a person with wheel experience it was grand to get a sense of how the chemical makeup of clay works with dryer building approaches.
After a couple of months I settled into the wheel practice as many of my studio mates seem to prefer hand building and there is generally a wheel available. In early sessions I whipped out a lot of product without much thought to process. I concentrated on trying throw a piece that I had conceived of beforehand, but not much else was in the process. Over time I realized that spending the week before looking at other work would make the wheel time more productive and thoughtful.
Turning to thoughts on process itself I find that there is designing and conceiving of the work; this includes materials which consist of clay type, any slip finishes or clay decorations, firing temperature, type of and colors of glaze and any other decorative process that might need to occur at any time. Start to finish a piece is created, trimmed or finished when leather hard, dries to hardness, fired to bisqueware, finished with glaze and fired a second time. It is possible to add more glaze and fire again. There are also some special processes for print transfers, use of wax to keep colors and unglazed sections discrete, raku and more.
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