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Stop Focusing on the Future

Sunday, 5. July 2020 23:28

Lately there is a lot of concern about the future; just plug “future of” into Google and look at the drop-down. We are concerned about the future of live theatre, live music, learning, visual arts, libraries, plastic arts, restaurants, bars, art galleries, movies, story-telling in general, and on and on. Not only are we worried about whether all of those activities and institutions will survive COVID-19, but what they will look like when and if they do.

And there’s the problem of dealing with the virus itself, of trying to stay healthy and safe and at the same time continuing to live when the means of making a living have for many simply ceased to be. Many in the service sector have seen their businesses closed because of coronavirus lockdowns. Artists are without venues or patrons or customers. All are wondering when things are going to get better.

Then there’s the political situation: wondering what the country will look like after November. Will the current administration stay in power, and if so, what will that look like? If the current administration is removed from office, will it follow tradition and pass power peacefully to the winning party or will the transition be difficult and strife-torn? And what changes will that winning party bring?

And that’s not the only political issue on people’s minds. There is the push for finally achieving racial equality as well as reducing police violence and abuse. These movements are intertwined and connected to the overall political questions, but they are separate issues that occupy the thoughts of many. And while small steps are being made, most people see these as future goals.

One thing that all of these concerns have in common is that they fill us with confusion, uncertainty, anxiety, stress, and for some, depression. That we are trying to deal with them all at once only adds to those feelings. Another thing that they all have in common is that they are focused on the future, so they take our minds to a place that is even more uncertain than our present. We humans are a very adaptable species, but we really need to know what we are adapting to, and the ambiguity of the future leaves us at a loss that only adds to our anxiety.

One solution is to stop focusing on that undefined future and focus on the present. But our focus needs to be even further refined. Some who look to the present give their attention to what they can’t do. In communicating recently with actors, musicians, directors, designers, I have heard over and over again what they couldn’t do. In some cases these complaints were serious in that they restrained income; in other cases, it seemed to amount to whining. In any case, concentrating on what can’t be done is not useful.

What is useful is letting go of not only the future, but of what can’t be accomplished. What we need to do is concentrate on the present—on what we can do. For example, I know of an actor who is writing poetry, another who is writing a play, a photographer who is making Christmas cards, a writer who is tending a garden. In none of these cases are the artists doing what they would like to be doing, but they are doing something positive, and it provides much needed work for their hands and for their heads.

And like them, we may choose to focus on a project that may not be what we want to do; it may not be what will increase our income, but it will give us a better state of mind. It will allow us to engage our creativity. It will reduce our feeling of helplessness. It will allow us to make it through another day. It might provide us a moment of accomplishment. It might engender our next big project. Whatever it does, it will allow us to make art—even in the middle of all this.

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The Appropriate Response

Sunday, 7. June 2020 23:08

The events of the last two weeks have been overwhelming. What began as a protest in Minneapolis has now spread literally world-wide and shows no sign of lessening. The question for the artist is how to respond to such events (assuming that one is not so traumatized that one cannot act). There have been a number of artistic responses, and each seems valid in its own way.

One could simply post a solid black image on social media or change one’s profile picture to a black image as many have done. As a matter of fact that was what I had thought of doing for this post. It’s simple; it’s elegant. And it’s easy—at least it would have been for me. Then I wouldn’t be sitting here struggling for what to say. And while that is certainly valid for some artists, for me it seem to be a dodge—an easy way to avoid talking about the situation.

One could shut up and listen to the voices of protest. That’s what artists from late night talk show hosts to Instagram star Leslie Jordan did this past week. They turned their microphones and their cameras over to people of color who explained the protests and the reasons from their own points of view. The hosts listened as did their audiences.

Internationally-known graffiti artist Banksy, said that his first response was to shut up and listen as well, but then he decided that “It’s not their problem, it’s mine.” He went on to say the problem was really a white problem that white people need to fix. He also did what he does best. He created art about the situation. It can be seen here along with his full statement, but the three-image Instagram presentation is more powerful.

Other powerful images have quickly appeared on walls all over the world (see here and here) as mural and graffiti artists have memorialized George Floyd and the issues of racial inequality and police brutality.  Perhaps the largest mural was a street-painting commissioned by DC mayor Muriel E. Bowser; it’s so large it can be seen from space.

Some artists, in addition to speaking out, have physically joined the protests. Others have donated to various nonprofits that provide bail relief for protesters. Others have said little and have ostensibly continued with their non-political art-making. And that too is valid.

Yet other artists are quietly absorbing impressions and information and letting it simmer in the cauldron of creativity until they bring forth works that speak to these issues in a more thoughtful way, perhaps in ways that we cannot yet imagine. I am reminded of how the “staunchly apolitical” Jean Anouilh, during the Nazi occupation of France, penned Antigone. Although it presents both sides of the argument over the rejection of authority, most have come to read it as a subversive anti-authoritarian work.

What new art these events may produce is, of course, as yet unknown. Some of it will have to gestate, and that is a good thing; it means that the art that will be made will not be of the shoot-from-the-hip variety, but will be more considered and perhaps speak more powerfully to the issues.

Still, we must beware of the shoulds. There is no “correct” response to recent events. Each of us is an individual artist who can only be concerned with his/her own response and certainly not whether it meets someone else’s criteria. The appropriate response is really an individual decision.

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You Can Make It

Monday, 25. May 2020 0:08

The past several weeks have presented many of us the opportunity for rumination. One of the topics that I have given some thought to recently is artistic success. So when I ran across Florida Congresswoman Val Demings’ quote in the Washington Post, it gave me pause. Representative Deming is quoted by Jonathan Capehart as saying that her mother told her, “You can make it. If you work hard and play by the rules, you can be anything you wanna be and do anything you wanna do.”  That quote led me to think about a number of people in the arts who are pretty sure they followed the rules and worked hard, but feel that they are not yet anywhere close to their dreams. That seemed to warrant examination.

Perhaps they never really defined what they wanted to do or be. To want to be a Broadway actor is a very different thing from just wanting to be a working actor who makes his/her living on the stage, which is a very different thing from wanting to be a working film actor, which is a very different thing from wanting to be an internationally-known movie star. It’s not that it’s better to be one or another of these categories of actor; it’s just that they are different and the paths to getting there are different and have different sets of rules that must be followed. So it may be that a person dreamed of being one of these, but followed the path for another, and thus ended up in a place different from where s/he wanted to be. Something similar happened to Jerry Saltz. In his book, How to Be an Artist, he discusses all the paths he tried before deciding that writing about art was what he really wanted to do.

As long as we’re talking about rules, there’s that whole “playing by the rules” thing. Again, if someone is playing by the wrong set of rules, s/he may not be headed where s/he thinks she is going, but another place entirely. It is up to each individual artist to determine what the rules are for the path s/he has chosen. The rules for becoming an outstanding teaching artist in painting are very different from the rules for becoming an artist whose work is collected by museums and auctioned at Christie’s or Sotheby’s. Before someone can “play by the rules,” s/he must first know what the rules are for where s/he is headed.

As for working hard, that too means different things according to the track one is following. Most serious photographers work hard at learning the craft aspects of their field, and many work hard at developing a high level of artistry in their images. If all a person is interested in is making excellent images, the hard work can be constrained to those areas; however, if one wants to do fashion photography, there are a number of other areas that will require hard work of several kinds in order to position oneself successfully in that particular area of photographic art. Similarly, other kinds of hard work are required by other areas of specialization.

One thing that is not referenced in the Representative Demings’ quotation is a time frame. Some artists do not find success until they have lived a while. And we are talking about a fair number of artists.  Jerry Saltz, in the book mentioned above, for example, talks about the difficulties he had in arriving at his goal of being an art critic finally at the age of 41.

So maybe those who are feeling they are not close to their dreams just aren’t there—yet. Or perhaps they don’t want to work so hard at ancillary things, or don’t want to follow a particular set of rules or find that the dream they started with is not the one they now want. They just need to remember that dreams, like everything else, can always be adjusted.

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Beware of the Shoulds

Sunday, 26. April 2020 22:53

So, you’re sheltering in place or you’re going to your essential job or you’re working from home or you’re passing the pandemic in some way or the other. Your situation likely is not like your neighbors’. As a matter of fact your situation is unique to you, and that’s why you ought to beware of the shoulds.

Every time you open an arts web site, some “authority” or the other is telling you what you should be doing during this time of international stress and disease. And many of them press the point so hard that if you were to take them seriously, you would feel guilty if you didn’t follow their advice. “Shakespeare wrote King Lear while quarantined; Sir Isaac Newton invented calculus while quarantined. You should do something equally spectacular.” “Make art, even if it’s bad art.” “Now that you have time on your hands, use it constructively.” “What a perfect opportunity to do research for that story you want to write.” “This could be the time for you to make your best art!” “It’s a perfect time to learn those dance steps you were talking about.” “Now you can set up that home studio.” “Now is the time to write that novel.” “This is a perfect opportunity to work on that difficult piece you want to play.” “Now you have all this time to edit that last photo shoot.” “Why don’t you work on that sculpture now that you have the time?”

STOP LISTENING TO THOSE PEOPLE!

They are not you and do not know what you are dealing with. You may feel like the world has changed completely; it has. You may feel that the rug has been pulled out from under your existence; it has. You may be spending so much time dealing with exigencies of doing your job on line that you don’t have time for anything resembling art-making. That’s okay. You may be dealing with the unbelievable stress of having to completely change your lifestyle just to survive. That’s okay too. You may just not feel like making any art today, or this week, or this month, much less attempting a masterpiece. And even that’s okay.

Those you-should-be-doings are other people’s; they are not yours. Only you know what is right for you at this particular moment in time, and, if you are anything like me, it changes from day to day. Some days you may be super-energetic about developing new ways to work from home or approaching some other project. Other days may be hum-drum. On yet other days you may be totally depressed. There is no one-size-fits-all formula. You have to take each day as it comes and deal with yourself and your situation on that day only.

And on some days you may make art, or you may not. Although it feels like we have been doing this forever, we are still just feeling our way along, trying to deal with the shock and grief and uncertainty as best as we can on a day-to-day basis. We have no idea where we’re going, but we keep inching forward. What we do NOT need to do is beat ourselves up for not being creative and productive every minute of our existence. What we are going through takes some time to come to terms with—if we ever can. Our minds will turn to art and making it when it is appropriate for us—as individuals—not according to an admonition by some smug Internet pundit.

Chapter 24 of Jerry Saltz’s How to Be an Artist, is entitled “There are no Wasted Days.” In this very brief chapter he says that “your artist’s mind is always working, even when you think it’s idling….You are your method; your life is part of your work.” And it’s true. All that time when you are trying to cope with the new reality, your creative mind is working, absorbing, combining, understanding. When it’s time for you to produce, you will produce. And just as each person’s art is unique, each artist’s method and timing is personal and distinctive.

You will make art when you feel it is time, and it will be as good as it can be. Until then, just keep living and learning—and ignoring the shoulds.

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Overload

Monday, 13. April 2020 0:19

It seems that there is only one topic these days. That, of course, is the Coronavirus/COVID-19 pandemic-social distancing-quarantine triad. And it’s understandable. It’s fair to say that this triad of connected issues has impacted our lives probably more and more profoundly than any other “event” we have experienced since we first drew breath. It has changed the way we live and is even now changing the way that we think and react. As I suggested in the last post, it will certainly affect our futures in ways yet to be determined. Everything that we see and hear seems to be related to one or all three of these topics. And, combined with what we are personally enduring, it’s just too much.

Not that some good things have not come from this situation, much of it virtual. Many of the responses to this situation have been truly beautiful. For example there have been some moving virtual musical productions done from quarantine, such as the Rotterdam Philharmonic’s abbreviated version of Beethoven’s 9th  Symphony or the Italian youth choir il coro che non c’è performing Crosby, Stills, and Nash’s “Helplessly Hoping,” which is impossible to experience without crying.

In art there is the remarkable Izoizolyacia Facebook group, where Russians and Russian-speakers are engaged in a project to replicate artworks while in isolation. The rules are only that entrants must only use items on hand and that the work cannot be digitally manipulated. The range, quality, and quantity of the recreated art works is astounding.  (And you don’t have to read Russian to understand and appreciate the images.)

It may be too early for fiction, but a number of excellent essays are being published every day. For example, David Patrick Stearns has written a timely article on “Why Beethoven is so relatable right now.” Stanford professor of classics and history Walter Scheidel has written an intriguing article on “Why the Wealthy Fear Pandemics.” And there is also a thought-provoking piece by novelist R.O. Kwon that suggests that part of the mental problems we are facing is because, without knowing it, we are grieving. And these are but a few.

Every day artists and thinkers in all disciplines are responding to the pandemic. Much of that work is moving and thoughtful and intelligent. And many of these artists and thinkers are looking at different sides of the situation, but it is still only about one thing. Even “Saturday Night Live” produced a virtual “At Home Edition” on April 11, which was all about the pandemic.

Perhaps it is too much to ask that artists and thinkers look in a different direction, consider other topics. Perhaps the pandemic is simply too big to be able to do that. But I am beginning to feel saturated, over-saturated. Whatever we see, read, listen to is about the pandemic. It is almost impossible to get away from without isolating ourselves even more than we already are.

And I can’t say that I’m recommending that. The head-in-the-sand approach is never desirable. What is desirable is that we—for our own mental health—take a break: turn off the TV, shut down the news feeds, listen to some favorite music, watch a movie—for a while. Yes, we need to grieve; yes, we may need to cry, but we also need to lessen the overload on our psyches. Now might be the time for us to think about a project completely unrelated to what we are enduring.

It may not be time yet to activate those sorts of projects, but it is certainly time that we spent a little while away from the current state of the world and think about some other possibilities for our arts.

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The Morning After

Sunday, 29. March 2020 22:41

The world is different these days. People—smart people anyway—are practicing social distancing and sheltering in place, isolating themselves in their homes in order to reduce the spread of COVID-19 and keep from getting the disease themselves. Some of us whose work depends on gathering in groups are trying to figure out what to do with ourselves. Others of us who teach find ourselves working harder and longer hours than we have in years, trying to figure out how to teach things online that would have been deemed impossible just a month ago. Still others of us who work essentially alone find little change in our lives other than perhaps the way we communicate with others and don’t socialize.

What is on our minds varies from person to person. Many of us are concerned for our personal safety and sanity. Others are concerned with the enormity of the situation. Still others are concerned with the politics that are evident as the US tries to deal with the crisis. Some of us seem totally unconcerned about what is going on and are continuing to live life as though there were nothing wrong while our neighbors are trying to adjust to working from home. Some are viewing the situation as an opportunity to catch up on projects they have not had time for. Others of us are completely panicked and hopeless, wondering how we are going to eat and pay the rent.

Still, there are those who take a philosophical approach to the situation. The number of articles available on the internet about how this global pandemic provides us an opportunity is expanding as rapidly as the virus itself. The type of opportunities pundits think are available are as numerous as the articles and range from self-introspection to transforming the way we live. Some, like David Suzuki think the virus represents an opportunity to make changes in our behavior that will benefit the planet.

This post falls more into this last category. As I was prepping for my first full online lecture on film noir, I ran across the statement that the notion returning to prewar America after World War II turned out to be a myth. It occurred to me that this situation is much the same. Never since World War II, has the nation, the world, been so completely absorbed by a crisis.  We cannot and will not return to a post-COVID-19 that will be the same as the pre-COVID-19 world in which we used to live. What we are now in is not the new normal, but rather the new interim. And it seems impossible to predict what the post-COVID-19 world will be like, how this virus and the crisis that it has engendered will have changed the country and our perceptions of nearly every aspect of reality.

And that’s the point. If we are still breathing, we have already been thinking about how this crisis has impacted our art. Some of us in the arts are wondering if or when we will work again. However, this is going to be over one day, and what I am suggesting is that we ought to turn our attention to what the situation might be after the pandemic. It is almost guaranteed that the world will be different—not just for artists, but for everyone. It has happened before. It is equally almost certain that what we have done before will likely not fit the new normal, whatever that turns out to be. The questions become how our art is going to fit into that new world, and how we are going to have to adapt what we do in order to be relevant in that future.

As Maureen McGovern’s The Morning After assures us, “there’s got to be a morning after.” Unfortunately, since we have no idea what the new world will look like, all we can do is stay adaptable. The time, however, to be thinking and preparing for that morning after in that new world is now.

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Survival Suggestions

Sunday, 15. March 2020 23:28

The coronavirus pandemic has forced many of us into isolation. If you are an artist who usually works alone, a writer or painter perhaps, this is nothing new. You are used to spending the day mostly alone. For others of us in the arts, this a new and not necessarily welcome turn of events. Suddenly, many of us who are used to working with others are being forced into solitude.  This represents a significant disruption to our daily routine and requires some changes in thinking and doing. We are forced to, in the words of the Shaftoes, “display some adaptability.” Here are a few suggestions that may help you come to terms with your new reality.

  • Turn off the television—and your Twitter feed and any other news feed you have. It’s really easy to obsess over the news which tries to grab our attention 24/7. That’s too much. I’m not suggesting that you isolate yourself completely from all news (although that might not be a terrible idea), rather that you decide which news shows/feeds you will watch and when you will watch them and when that time is up, turn them off. It is not likely that you will need minute-by-minute coverage of the current situation. You can use the time for something productive or enjoyable or both, but only if you are able to tune out of the news. The following suggestions will be possible only if you do this one first.
  • No matter your situation, it has been and will be stressful. Now that you have a little more time for yourself, use it to rest. Sleep in. Take a nap. Disengage. Allow your mind to settle. Only then can you deal realistically with your situation.
  • Take some time for yourself. Along with resting, you can use some of this unexpected “free” time to do some of the things you haven’t had time to do. That time may involve doing nothing. It may involve relaxing in the sunshine. It may involve any number of things that you consider enjoyable that you just haven’t had time for. Now you have the time; use it for your benefit.
  • Watch a movie. You know, the one that you have been meaning to watch, but couldn’t spare the time for. Streaming services are still working and will show you the movie that you’ve been wanting to see no matter the time of day or night.
  • Listen to some music. Yes, most of us have music on in the background most of the time. But when was the last time you stopped and really listened to some music? Well, now you have the time. Do it. It will enrich you in ways you can’t even think about until you do it. It will make your day better.
  • Pick a project from your list and do it. You have no excuse, so you might as well do that thing that has been on your list forever—or for a few days. Use the time that you find that you suddenly have on your hands.
  • Go outside. Let the sun shine on you. Enjoy the grass and flowers and birds. It’s refreshing both physically and mentally, and probably something you don’t do often enough. Do it now.
  • Get to that book. Whether it’s a book that you have promised yourself you would read or a book that you promised yourself you would write, now is the time to tackle it. You don’t have to do it all at once, but this is the perfect opportunity to begin.
  • Make a schedule for yourself—build a routine. While some unstructured time can be a blessing, too much can be a curse. Most of us like to operate on a schedule whether we admit it or not, so faced with an indefinite amount of unstructured time, make yourself a schedule to give that time shape and form. Not a list, a schedule—what to do when. You will find that a schedule will allow you to more productively use your time. If you are a teaching artist, you might even simulate your school schedule since you are used to it. Having a schedule and developing a routine can make all the difference in whether your newly-found “spare” time is productive or not.

Certainly these are not the only suggestions for artists to survive our new socially isolated reality, but hopefully these will help if you are having difficulty adapting to the new, hopefully temporary, normal.

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Define It

Sunday, 1. March 2020 23:55

Several weeks ago, a photographer, a writer, and I were having a drink. (Sounds like the beginning of a bad joke, doesn’t it?) We talked about this and that, and finally the photographer, who does a lot of floral images, said that he wanted all his images to be sensual, but was having trouble making that happen.

“What do you mean by sensual?” I asked. It turned out that he did not know exactly what he meant by the word; it was more one of those “you’ll know it when you see it” kinds of things. We batted it around for a while and mostly discovered, at least for him, what sensuality wasn’t. It was sort of this and sort of that and a little of the other thing. He said it was a feeling but couldn’t get much more concrete than that.

“Have you ever tried to really define it in words?” the writer finally asked.

“Well…not really.” was the response.

“Maybe you should try.” she said. And we moved on to other things.

It turned out that the writer’s advice struck the photographer, who has spoken to me about it several times since. First he asked me if I thought it was really a worthwhile pursuit. I told him that, in my opinion, if he did not know where he was going, he could get there only by accident, and went on to explain to him the principle of the “directorial image,” a concrete image that many stage directors use to encapsulate their interpretation and guide the play toward a specific audience reaction. I understand that he is talking about a body of work rather than a specific picture, but the principle to me seemed to be the same.

In our next conversation, he told me that he had been doing some research—mostly into the dictionary definitions. He had explored sensual (of course) and sensory and sexual and erotic and titillating and carnal and on and on. None of the definitions had fit exactly the response he was looking for, but he had decided that knowing where he was trying to go was more likely to yield results than striking out blindly, although it was far less romantic.

In our third conversation, he said that he was very close to having a definition but that it was currently “too many words” for his comfort and “not exactly right yet,” and that he was trying to refine it. “More important,” he said, “it’s already affecting what I’m doing. I think about shoots differently, and my work is consistently getting closer and closer to what I want it to be. It actually helps my creativity; it’s like having an abstract aiming point. This is really a worthwhile exercise.”

And that last conversation made me think that this story was worth sharing. Many of us who work in the arts have never actually defined what it is that we are striving to accomplish. We move from project to project trying to realize the potential of each individual project without stopping to define exactly what we are trying to do. We, like the photographer, may not find an exact definition for what we want to do, but just the attempt to define our artistic goals can help focus our work.

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And the Winner Is…

Monday, 17. February 2020 0:56

The Academy Awards marked the end of the awards season for films, but not the end of the discussion and controversy surrounding the awards and the films, actors, and directors who did and did not get nominated or who did and did not win this or that award. Coupled with that are the discussions of who or what film should have won this or that award, and there is discussion of the snubs and the possible reasons for them.

There were two lessons to be taken from this year’s award season. The first is that nominations, wins, and snubs are political as well as aesthetic.

Artists who do not work in film understand that the various awards shows are simply spectacles attached to juried film contests. Unlike standard juried art shows, however, film awards programs are fostered by a series of advertisements not unlike electioneering. The reason is, of course, the potential income that winning such awards can bring. Still, at the bottom, the awards are nothing but grandly publicized juried contests with a great number of jurors.

As such, they are subject to all the vagaries of any juried show. Each juror has not only a personal aesthetic which informs his/her judgement, i.e. what is artistically worthy of an award, but a personal political view as well. That political view may include any number of considerations of what is politically appropriate at the moment with respect to the contestants and the milieu in which they work. Of course some of these considerations will overlap juror-to-juror; some will not. Multiply these concerns by the number of jurors and it is easy to see why some films rise to the top and some do not in any particular year.

Awards are voted and announced and then there is great indignation that someone’s choice did not win. However, if pressed, that person cannot tell you why this film should have won over the one that was chosen. The second lesson to be learned is that many film enthusiasts cannot articulate why they think one film is better than another one; they just think it is.

Perhaps the first problem to acknowledge is that comparing films is like comparing apples and roses and tricycles. Films are one-off creations, much like any handcrafted artifact. Yes, there are series and franchises, but each film is expected to stand on its own just like each painting or sculpture or photograph is expected to stand on its own.

If we are to compare a film about a “members of a poor family who scheme to become employed by a wealthy family” and a film about “a stand-up comedian…whose history of abuse causes him to become a nihilistic criminal” and a film about “two young British soldiers during the First World war who are ordered to deliver a message” we must have some sort of set of standards as to what makes a film good. Most people seem to have that, but are unable to articulate it. When questioned, they simply say, “It was just better.”

So my two take-aways from this year’s film awards seasons are: (1) these awards shows are simply hoopla associated with juried contests for films. There are hundreds of jurors, and they all come with their own aesthetics and political positions which influence their votes. (2) Non-jurors (and perhaps jurors as well) also have their own aesthetics and political positions with regards to the evaluation of film, but they cannot articulate their standards.

We should take these two considerations into account the next time we submit pieces to juried shows; it is likely that responses to our work will incorporate them.

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Change Just One Thing

Sunday, 2. February 2020 23:54

Most pundits agree that to be really creative, we must step outside our comfort zones. Some even argue that “being an artist is about living in the uncomfortable zone.” Even writers who take issue with this idea think that to be creative in our comfort zones we must regularly get out of them to gain “new experiences and learning,” and to be more productive. Regardless of what we read on the topic, it seems that having something fresh and different in our environments can be of great service to both our creativity and productivity.

At the same time, we read over and over again that to be creative and productive we should be working in comfortable places and adhering to a fairly strict routines. How are we to reconcile this opposition of views?

The most obvious way to do this is to change something within our comfortable places and strict routines. The easiest thing to change is something physical. The rationale for this approach is that we become very accustomed to having things in certain places—to the point that we don’t have to think about them. If we move something, it is still present and useful, but it is in a different place and that creates a newness in the environment that can sometimes have surprising results.

As it turns out, several people have mentioned doing this very thing over the last several weeks. One is a theatre artist who decided to move a salt lamp that was on a very small table beside a recliner. Suddenly the very small table was able to hold a book and a coffee cup, and a new reading nook had been created. This changed where she did some of her reading, which, in turn changed some of her reading habits and general traffic patterns. She is still getting used to this new reading place and is tracking how many other changes will flow from just this simple modification.

A photographer I know who has two “changeable” walls in his home. He says that he changes out pictures on these two walls at irregular intervals, and that those changes are so powerful that they transform the spaces, which in turn causes his thinking to change when he’s in those rooms. This, he claims, makes the environments more creative.

Another photographer I know does essentially the same thing with wall calendars. She says that the changing of several images once a month spark ideas that she would not otherwise have had.

And yet another person, a writer, says that in the past he has had trouble getting to end of non-fiction books. What he did to overcome the problem was to move the current non-fiction from his reading spot or bookcase to a very conspicuous place where he would have to pass it regularly. This would discomfit him and he would be compelled to pick the book up and proceed toward the end.

What all these people have in common is that they changed a very small part of their environments, and those changes provided just enough newness or difference to make a creative difference in their work. A small change is enough to push us just a little outside our comfort zone for a short amount of time, so we can have the best of both worlds.

All we have to do is change just one thing. Try it.

Category:Creativity, Productivity | Comment (0) | Autor: