G. Steve Journal

Doors of Perception

A recent article in the NY TIMES magazine section by Wyatt Mason begins: “A prevailing notion of the lives of artists holds that hedonism is a meaningful part of production,” and goes on to assert that artists may wish to consider an ascetic approach to creativity instead.

I found it unconvincing and felt compelled to respond in a letter to the editor which included these thoughts:

Though it’s true that mind-altering substances are used by many in pursuit of pleasure, I’d suggest that the reason artists typically turn to these substances is utilitarian: to overcome the rational mind - the intellect - which often acts as a barrier to new ways of seeing and thinking. Aldous Huxley’s “Doors of Perception” comes to mind in this regard.

The author somehow fails to see that asceticism and so-called hedonism are merely two sides to the same coin - one in which the creative person seeks alternate paths to the same end: revealing and expressing a latent, but insistent, artistic impulse.

It’s unfortunate that Mr. Mason perpetuates this myth of the hedonistic artist, providing a convenient excuse for society at large to view the artist pursuing their muse with the help of alcohol or drugs as weak and pitiable and, ultimately, deserving of whatever bad ends they may come to.

A Beautiful Form

 

The dry grasses are not dead for me. A beautiful form has as much life at one season as another.

                                                                                                               – Thoreau

 

I Couldn't Say

In keeping with our ongoing theme of asserting that creative expression often flows from a frustration with language as a stand-in for feelings, we offer this excerpt that artist Georgia O'Keefe included in a foreword to a catalog for an exhibition of her work:

I found that I could say things with colour and shapes that I couldn’t say in any other way – things that I had no words for...

[via]

 

And Only Then...

Author Annie Dillard's telling observations on writing are relevant to creative endeavors generally.  As someone who spent years wandering through nature, searching without knowing what exactly I was looking for, this description is spot-on:

At its best, the sensation of writing is that of any unmerited grace. It is handed to you, but only if you look for it. You search, you break your heart, your back, your brain, and then — and only then — it is handed to you.

[via]

Alive

Many, if not most, creative people – poets, musicians, artists – are motivated by a frustration with ordinary language as the sole means of communicating to others the sense of wonder they experience in the world around them.

Came across this poetic insight attributed to the ancient Greek philosopher Thales of Miletus and which speaks to this feeling:

The universe is alive, and has fire in it, and is full of gods.

[via]

A Much Better Place

Came across a TED talk by Lux Narayan who, on a whim, decided to analyze 2000 obituaries to see what, if anything, he could learn about life.  Though his conclusions are not specific to the creative community, they certainly deserve our consideration:

We uncovered, many lessons from lives well-led, and what those people immortalized in print could teach us. The exercise was a fascinating testament to the kaleidoscope that is life, and even more fascinating was the fact that the overwhelming majority of obituaries featured people famous and non-famous, who did seemingly extraordinary things. They made a positive dent in the fabric of life. They helped.

So ask yourselves as you go back to your daily lives: How am I using my talents to help society? Because the most powerful lesson here is, if more people lived their lives trying to be famous in death, the world would be a much better place.

[via]

Not Feeling

Came across some thoughts expressed by poet e.e. cummings on being true to one's inner voice and, in keeping with one of the themes of this blog, namely to trust creative instinct over intellect, I thought this pithy observation relevant not only to poetry, but to the creative process in general:

A lot of people think or believe or know they feel — but that’s thinking or believing or knowing; not feeling. And poetry is feeling — not knowing or believing or thinking.

[via]

What Is Essential

I just watched the recently released biopic of Fred Rogers, “Won’t You Be My Neighbor” and was struck by what a unique and visionary performer he was. I never had the pleasure of viewing “Mr. Roger’s Neighborhood” in real time - I was a few years past the ideal age - and I didn’t quite realize what a seminal figure he was in the advent of children’s television.

There’s a wonderful scene where Fred Rogers is testifying before a taciturn Senator Joe Pastore in an effort to secure $20 million in funding to continue. All the previous testimony has been dry and dogmatic and Senator Pastore has clearly heard enough. When Rogers’ turn comes, he speaks plainly and simply and from the heart. When he is through, there is a moment of silence until Senator Pastore announces: “Well, I guess you just got your $20 million.”

Like many artists and performers referred to in this blog, Fred Rogers exemplified the courage to follow his creative muse, despite there being no previously created template for such a show. The movie includes a particularly telling quote of his that neatly sums up his philosophy:

What is essential in life, is invisible to the eye.

 

Imagination

“I call that man rich,” Henry James’s Ralph Touchett observes in “Portrait of a Lady,” “who can satisfy the requirements of his imagination.”

One may suppose that, for the creative person, meaningful and unique artistic expression is the most compelling requirement...

Poetic Vehicle

As a follow up to our last post, here are filmmaker Ken Burns' thoughtful and enlightening observations on how to tell a story:

In every film we’ve tried to look for a way to allow the audience space to leave the world that they are in…. How do I transit you from your incredibly busy and compelling life…and bring you to this moment.

You can’t force people into it by exaggerated drama, you need to say ‘ This is what happened, this is where we’re going to go, will you take my hand… can I lead you to that place?’

You have the facts in there but you deliver it in a kind of poetic vehicle that makes sense to people.