View all posts filed under 'Productivity'

Make the Leap

Sunday, 11. April 2021 21:16

Sooner or later all of us arrive at a metaphorical cliff in our creative lives. We are effectively blocked from going forward—unless we make a leap. What that means exactly is up for discussion. Google says that “to make a leap means to make a choice decision or commitment without any logical reason to do so. To make a leap can also mean to jump and spring forward with force or energy. To make a leap can also mean to commit to a change in the way that you think or in what you do.” Whether or not such a move has a logical reason, it decidedly involves the idea that forward progress requires a commitment and change in the way we think or act that is somewhat out of the ordinary.

Such a move necessarily involves risk of some sort. Otherwise, it’s just another step forward or a short jump “over an obstacle.” “Making a leap” definitely involves the possibility of failure. It is not like Wile E. Coyote falling off a cliff where there is no possibility of getting to the other side. It is more like this image, where there is the possibility of success but the danger of failure as well.

And what does failure mean in this context? It means that, like Wile E. Coyote after the fall, we have to pick ourselves up, dust ourselves off, and climb back to our place on the heights, perhaps learning something along the way. Although it may feel like it at the time, it is not the worst thing that can happen. We may learn about new tools, new techniques, new approaches as we climb back to, not necessarily where we were, but to hopefully some higher place in terms of creativity.  So while taking the leap and failing can be considered a setback, it can also be considered an opportunity.

But what if we succeed in making the leap? Then we can move on to new levels of creativity. Our work can take different directions and make advances, perhaps that we had not foreseen. The momentum of our leap can carry us forward to creative successes we had not imagined. And we can continue forward until we reach the next metaphorical cliff. But, having made one leap successfully, we will be mentally better equipped to make that leap as well, thus ensuring our continued creative evolution.

Possibly the worst thing we can do is to stop on the cliff and decide not to take the risk of making the leap. Then, not only are we blocked from moving forward, but we are, for all practical considerations, stuck on the edge. We may continue to produce the same sort of art that we have produced before, or we may become depressed and despondent because we feel that we cannot move forward. In that case, it is likely that our work will suffer, that we will produce less creatively or that we will cease to produce at all.

So—if we are interested in moving forward with our art—there is really no choice. We have to acknowledge the risk, then make the leap. It is the only way we will be able to move forward creatively. It’s a risk well worth taking.

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Move at Your Own Speed

Sunday, 28. March 2021 22:29

Yesterday, a friend and I were talking about the difficulty of making changes in one’s life. “The thing is,” she said, “you have to move at your own speed.” So very true, and that same advice applies to art as well. We all get caught up in believing that we have to crank out piece after piece because the Internet expects it. We “need to have” x number of postings to whichever platform(s) we are on every day/week/month to remain relevant. And if the quality suffers, well, that’s just the way things are.

Except that’s not true. If the quality suffers, it’s likely that no matter how many pieces we upload, we will lose viewers. We need to move at our own pace, whatever that pace is. It doesn’t matter if we produce three novels or thirty, so long as we are satisfied that they are the highest quality that we can produce at the time. Each artist has their own rhythm. Each artist has their own workflow. And it is the rhythm and the workflow that determine the frequency of quality output of each artist.

And that frequency may be at odds with the “demands of the Internet.” And if it is, that’s okay. I follow some people who post multiple times per day, some who post daily, some who post weekly, some who post monthly, and some who post whenever they have something to say or show, and I find that I don’t appreciate one more than the other. In fact, I would much rather see the quality work of those who post infrequently than mediocre work of some who post daily.

After all, the “demands of the Internet” are nothing more than marketing ideas. Admittedly, we have to market our art, but we don’t have to follow marketing ideas slavishly. Indeed, there are a number of artists who completely ignore Internet marketing advice who do quite well. The question is: are we trying to develop a large social media following or trying to market our art. Those two are not necessarily the same thing, regardless of what social media marketers say. And we need to remember that being active regularly on social media does not necessarily mean posting our work; it can also mean commenting on the work of others or the political situation or any number of other things that keep our names before our followers.

So, perhaps instead of feeling pressured to produce at a rate determined by outside forces, we might take note of our frequency of quality output and then determine the frequency of our public posting of work based on that.

That way we can indeed work at our own speed, and be far more comfortable in producing work of quality instead of feeling pushed and prodded by an external system. Additionally, we can remind ourselves that our speed does not have to match anyone else’s.  Maybe then we can produce and market our best work, saving less successful pieces for reworking and revising until they too meet our personal standard of quality.

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Take Care of Yourself

Sunday, 27. September 2020 23:34

You can’t make art if you don’t. It’s just that simple. But it’s hard, because those of us who are still hunkering down and being careful are working very hard at avoiding risk. That leads us to stay home, which is normally a good thing these days. But self-care demands that we break our pandemic routines.

  • Make and keep your dental appointments. Making art is difficult enough. Making art with a toothache may be close to impossible. Every dentist I know of has strict COVID protocols, so they are among some of the safest places you can go.
  • Keep your appointment with your optometrist or ophthalmologist. While it’s true that some artists, such as Claude Monet have worked with clouded vision, that is far from an ideal situation. For almost every art, our eyes are important; see a vision professional regularly, even in a pandemic. They too have rigid COVID protocols in place.
  • See a medical doctor when you need to. You may not even have to actually go into a clinic for an office visit; now there are phone, video, and e-consultations that can take care of a number of problems, and you don’t have to leave the safety and comfort of your home. And when office visits are required, most clinics have procedures to not only keep us safe, but the doctors we are seeing as well.
  • Along with seeing a medical doctor, avoid putting off necessary surgery. There are whole areas of hospitals that COVID has not penetrated. Operating rooms are among them. Conditions requiring surgery do not usually get better by themselves. We need to do what is necessary to restore our health.
  • Take care of your mental health. Most of us have pandemic fatigue at the very least, with any number of anxieties added on. We have to take time to restore our mental health so we can let our creativity work. In an earlier post, I suggested several things that might improve our mental health. Here they are again:
    • Rest. The stress of our current situation is unrelenting. Sleep in. Take a nap. Disengage. Allow your mind to settle. It will improve both your creativity and your productivity.
    • Take some time for yourself. Along with resting, take some time to do some of the things you haven’t had time to do. That time may involve doing nothing. It may also involve any number of things that you consider enjoyable that you haven’t taken the time for.
    • Watch a movie. Streaming services up and running and will show you virtually anything that you want to see 24/7.
    • Stop and listen to some music. Not background music. Actually stop and listen and enjoy some music Well, now you have the time. It will enrich you in ways you can’t even think about until you do it.
    • Go outside. Let the sun shine on you. Enjoy the grass and flowers and birds. It’s refreshing both physically and mentally, and something we don’t do often enough.

These are just a few things we can do to take care of ourselves, and in doing that we cannot but improve our creativity and our productivity—which, after all, is one of our goals as artists.

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Is It Worth the Trouble?

Monday, 14. September 2020 0:08

A friend of mine is a cold brew fanatic. For every pot he grinds the beans, measures the amount of ground coffee on a scale, and precisely measures the filtered water. And then he waits. Exactly 13 hours later, he drains the coffee concentrate and bottles it for the coming week. Recently we were discussing coffee and the subject of a certain coffee that he likes came up. “I don’t drink that anymore,” he said. When I asked why, he said that it was just “not worth the trouble.” It seems that that particular coffee causes problems for the grinder, which has to be stopped and started and unclogged repeatedly just to get enough coffee to make a pot.

Some of us are feeling that way about our art these days. In the last post, I mentioned some of the difficulties that photographers and theatre artists encounter when they try to pivot to a different way of doing things. Sometimes that new way of doing things comes with a very steep learning curve in addition to the unexpected difficulties. And then, the results are never quite what we had hoped for. The whole experience can be full of anxiety and frustration, and that leads some of us to ask whether what we are doing is actually worth the trouble.

Of course, some of us will answer loudly and immediately, “Yes!” Those are the ones who feel that because it’s art, it’s worth any amount of trouble. All that matters is producing, and circumstances be damned. Others of us might take a more measured approach. There have been, and probably always will be, projects that won’t be under-taken regardless of the external conditions. Those are the projects that are too big for the budget or that are too difficult because of their conceptual requirements. It may be that a project is completely beyond our capabilities. In the past when those cases came up, we would move on to other projects that were—because of their lesser cost or complication or requirements—doable. And we didn’t think less of ourselves for that.

So perhaps when it seems impossible for us to embrace an entirely new methodology and/or a completely new medium, we might want to cut ourselves some slack. Change is often difficult and always stressful, and a forced changed without a modification in schedule can be unmanageably problematic. So we might want to consider altering the schedule or the scope or the range of our work. We might want to find ways to make the situation into a workable one, or we may decide it’s just not worth the trouble.

Making art under the best of conditions is hard, but making art under extraordinary conditions we are experiencing in the US today is doubly difficult. Sometimes it does become a choice between bearing up under crushing stress or, as noted above, figuring out a way to make the situation more workable and thus more tolerable. And, of course, there’s always the third choice: declaring that it’s not worth the trouble and walking away. And we may find that we have different responses to different projects. Ultimately, however, which of these three paths we take will, as always, depend on each individual project and each individual artist.

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Pivot

Tuesday, 1. September 2020 0:04

If there’s one thing that 2020 has taught us thus far, it’s that things are not going to go right. And it’s not just the things that we expect to go wrong; it’s things we didn’t even see coming. No matter what art we are engaged in, we have to be ready to pivot. Some would say that this is just a variation on Bobby Shaftoe’s advice to “display adaptability,” but it’s more than that, or at least it seems that way. Things change and plans fail at a dizzying speed these days. Not only do we have to plan for normal contingencies, but we must plan for the extra-ordinary, and we must be able to do it quickly.

And sometimes that requires a whole new way of thinking, primarily because many of us are now working in uncharted territory. Even artists who are used to working alone are denied their normal in-person social network, or if they still enjoy that luxury, it is changed by the necessity for masks and social distancing. Things are even more difficult for collaborative artists. In addition to normal preparation, photo shoots, for example, now require immense preparation for health and safety reasons. This may include considerations that impact the work, such as lens choice, allowing the model their safe space and still getting the work done—so the pandemic influences the art, perhaps in subtle ways, but the influence is there nonetheless. Other choices for shoots are little better, risking the safety and health of photographers, models, and assistants, or postponing the shoot until who-knows when.

Theatre, perhaps the most collaborative of the arts, brings in a whole new set of issues that can overwhelm the savviest of producing organization. First is the choice of whether to attempt some sort of live performance with not only socially-distanced performers, but a socially-distanced audience as well. Most of us realized that this is not a practical solution. Then we pivot to some sort of virtual performance. And that brings with it a whole host of new considerations and problems. It begins with securing virtual performance rights. Since the agents who control the rights to live performances were, before April of this year, not in the business of granting streaming rights, they have had to pivot to incorporate that into their businesses. Because the process is new and because it requires decisions to be made out-of-house, it can sometimes delay a decision on rights acquisition for weeks.

Then there are the technical considerations: what platform or what combinations of platforms are the best for presenting theatrical fare like we have never done before? For many of us who have worked long in live theatre, there is much to learn—just in order to know what to try and what to reject. Sometimes, the most desirable approaches must be rejected because there is no way to employ them without exposing the performers and technicians to danger. And even after those choices are made, there are difficulties that come up for which we are not prepared: there seems to be no end to connectivity issues and timing problems and scheduling difficulties—because everyone involved in the production is dealing with all of those issues in their own lives, issues that are extra-ordinary, even after months of self-quarantining and coming to terms with the new facts of life.

So we have to be ready for nearly any eventuality—all the time—which means that we must be twice as prepared as we normally are, and prepared for brand new twists and turns. And yes, it can be immensely stressful. But art is what we do, so we, like any good basketball player, must be ready to pivot—sometimes with no notice at all.

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Stop Waiting

Sunday, 2. August 2020 23:11

A lot of us are sitting around waiting for normality to return. Then, we say, we will get back to work; things will be just like they were, and life will go on. And some of us think that will be really soon now. Not to be a doomsayer, but I don’t think that’s going to happen—at least not any time soon. The optimists who are saying that we will be back to normal in a few weeks have not looked at history. The most similar pandemic to the current one was the 1918 flu pandemic. That pandemic had lasted two years, had four waves, infected 500 million people, and killed between 17 and 50 million. If COVID-19 is remotely similar, we are looking at a long time of staying home, social distancing, and mask-wearing.

And we might as well face it: normal is not coming back—at least not normal as we knew it. Even when a vaccine is developed, things will not be the same as they were. The economy will have been altered. Society will be different. We have to remember that we in the US are not only dealing with COVID-19, we are also dealing with an extreme political situation and with a movement calling out racial inequality and police brutality. The world will not be the same on the other side of this; we will not be the same.  And the primary reason for that is that when this is ever over—assuming that it ever is over—we not only will be living in a different world, but we ourselves will have been changed by what we have been through.

You may already feel the difference. Many of us are not the same people that we were five months ago. We have endured stresses that we never expected to encounter. We have had to learn new skills in order to survive. We have changed our lifestyles. Some of us have changed the way we think, particularly about political and social issues.

And the future is fuzzy at best. For example, even when we feel comfortable putting a new play on the stage, the audience may not feel comfortable sitting shoulder-to-shoulder to see it. That may take a while longer. It certainly may take a while before actors are comfortable being intimate either on the stage or in front of a camera. Art galleries where we used to display our painting, sculpture, and photography may no longer exist, their owners having had to find other means of making a living. So we don’t know what the world will be like.

Like Vladimir and Estragon, we are waiting for something that likely is not coming. So perhaps waiting is not the best choice. Perhaps doing is the best choice. There is nothing to keep us from making art: writing, drawing, painting. Just thinking and planning constitute artistic doing, as does adapting our work to the world as it is today (which may be one of the most valuable things we can do).

But what if we spend our time doing all that and it comes to nothing? That is certainly a possibility, but, having exercised our creativity, we are in a much better place, both mentally and artistically, than if we had just sat and waited. Stop waiting; start doing.

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Comfortably Numb

Sunday, 19. July 2020 23:34

It’s almost too much. We in the US are dealing with far too many negatives in our lives at the moment to fully concentrate on creating. First we are trying to stay healthy and safe, which is easier for some than for others. For those of us fortunate enough to be able to work at our day jobs from home, the risk is somewhat diminished; however, that sheltering in place keeps us isolated. And that isolation can be detrimental to our mental health unless we are prepared to deal with it. Working from home presents its own set of challenges even after this length of time. We don’t quite ever have the tools we used to have, so every day is a learning experience as we discover new means and methods to accomplish our tasks.

Added to that, we hear news every day that more and more cases of COVID-19 are occurring and that the death toll continues to rise. Things are not getting better. And that weighs on us because it means that we must look at more weeks and months of isolation—if we are to stay safe and healthy. In addition to that, we also hear every day about police violence and brutality, about systemic racism and its impact on people’s lives, about political campaigns built on fear and lies.

And so we fret and worry and try with everything in us to make some kind of sense out of it all, to come to terms with our own situation and the state of the country. And it’s almost too much.

And then, the one-too-many headline comes and we don’t even bother to read the attendant article. The line has been crossed; it’s finally too much. Tears are not a choice; we are already dry and have been for months. The other choice is to close down, to go numb. Numb is when nothing gets to us; nothing touches us; nothing matters; the world moves on without us, because we are in an unfeeling existence.

Make no mistake, numbness is comfortable. We don’t hurt anymore; we don’t worry anymore; we’re not concerned any more. And it’s easy because we are used to hunkering down alone. There is, however, a down side: since we no longer feel, we don’t create; we don’t produce. We spend our time scrolling through Twitter or Instagram or YouTube or staring off into space and doing mostly nothing. But it’s okay because it doesn’t hurt any more. It can last for days or weeks or months or forever. We are comfortably numb.

The problem is that all the things we were concerned about before are still there, and, if we are to be honest, still need our attention. Even in our isolation there are things we can do. There are posts we can write. There are comments we can make. There are people that we can influence. There is creative work we can do. There are ideas and artifacts we can produce.

So when that one-too-many headline hits, instead of closing down, we might instead take a day off. Turn off The Washington Post, The New York Times, the Twitter and Instagram feeds. Rest. Breathe. Gather ourselves. Remember who we are and what we’re about. Then—do something creative. Perhaps even produce some art. The world will roll on and we can rejoin it when we are able, but in the meantime we must not allow ourselves to become comfortably numb.

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Of Uniforms and Ritual

Sunday, 10. May 2020 21:41

Many things have changed since mid-March. Some of us are working from home; some of us are unemployed; a few of us are performing essential services and exposing ourselves daily to Coronavirus risk. Everyone’s life has changed.  Even those of us who have always been solitary artists have seen some change. Everybody feels off-balance, not exactly knowing what the next step might be. Part of the reason that we are feeling the way we are is the absence of uniforms and ritual in our current lives.

A friend of mine says that all successful people dress in uniforms. She did not mean, of course, literal uniforms, but rather that people whom she considers successful dress so that every day they are dressed similarly, whatever way that happens to be. For some that may be a sports jacket, button-up shirt, and jeans; for others it may be a two-piece suit. For Steve Jobs it was Levis black 501 jeans and a black mock turtle-neck shirt; the shirts were designed specifically for him by Japanese designer Issey Miyake.

Many of us developed “uniforms” that we wore pre-pandemic. One of the first things that happened when we were compelled to stay at home was the abandonment of our uniforms. Many of us quickly opted for T-shirts and pajama bottoms. Comfort seemed to be the order of the day, and changing clothes was just a ridiculous concept. However, a man I know who is one of the best-adjusted newly at-home workers I know told me that he just changed uniforms. Needless to say, he is a firm believer in the uniform concept evinced by Steve Jobs. He says that he adopted yoga pants (the loose ones—very comfortable, but a little more stylish than pajama pants or shorts) and a polo shirt, which enables him to be “camera ready” for the unannounced Skype, Zoom, or Teams calls. And shoes; he says the shoes (sneakers) are very important to feeling “dressed.” That’s his work-from-home outfit; it’s very different from his pre-pandemic wear. He says that when he’s off work, he changes clothes to help him differentiate work time and personal time. He also says having a uniform helps with his outlook and attitude.

A second thing that changed in March was our set of rituals. We all had developed personal rituals that we went through every day. Some were consciously developed; others were unconscious. Some of us did a quiet time or meditation every morning before we began our work day. Others of us went through the ritual of coffee, shower, breakfast, commute as a beginning to our days.

Suddenly, our routines changed and not only were we disconcerted and disoriented by the pandemic and its implications, but we are also absent our daily rituals that helped us begin and get through the day. This, of course, led to even more disorientation and distress. We were hit by a tsunami and at the same time became untethered from our moorings. Is it any wonder that many of us felt lost?

The good news is that we can adopt new uniforms and develop new rituals. We might do well to remember Karl Lagerfeld’s famous quote about sweatpants, which also applies to pajamas: “Sweatpants are a sign of defeat. You lost control of your life so you bought some sweatpants.” Uniforms don’t have to be “dressy” or what we wore when we “went to work,” but they can reflect a style and an attitude that moves us forward.

Likewise we can add ritual to our day. We certainly do not have to “go to work” to have ritual in our existence; we just have to tailor the little pieces of our behavior to our current situation and then repeat those behaviors until they become rituals that inform our days. The thing about rituals is, at least according to Scientific American, is they work. We certainly don’t have to do the same things in the same order that we used to, but it would be well to do the same things in the same order every day.  The routine and the ritual thus established will comfort us if nothing else.

Many think that the pandemic will be with us for a while, certainly far longer than any of us would like. Perhaps developing new rituals and adopting a uniform that matches our new mode of working will help us cope with this new and still-unsettling way of life.

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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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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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