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How I started out as a Creative Director and an Entrepreneur || START UP STORY

Welcome to die. Gnashing wants to do. My name is on the creative diet of vanishing art, I’m enjoying sculpture, Felicity. I can go and go somewhere. I think, like mobiums copying copying and the life as a young entrepreneur motivated to study stuff low back pain whenever the school that was promised to when I do those two drawn to turn to what course, which also motivated me but going to.

The second issue was a game-changer for me by by letting learn the basics and also going to the Yabba Tech College of Technology during the nd. It was also deep game changes from by mineral and elemental things enjoying I started. A national heart was an encouragement from friends and family, which also gave me the energy to actually put some things together and actually gave me the motivation to to become a sculptor.

A well no scoped out with is my facility. You scream. This is why anything I don’t I don’t know what it’s called, because I’m not an actor, but I see you spend sooo to do some people from factory yet back in the days second high school, I sculpted so many different places popular places like a bus. My jaw to Nobu and the liars and different kind of traditional dancers and instrumentalist, one of the challenges which I faced is actually in this country.

It is difficult for people to actually actually appreciate art in other was in this country, thereby devaluing our efforts and what I’ll also the challenges, which also faces the past reply and a lot of phones as a young entrepreneur. I needed other phones to actually bring us produce at work. What I intend I achieve is to work with prominent edges, and I intend in doing the exhibition and having a vision at least twice a year and out actually having startup classes for interested faster than that, and also you know, working with prominent artists were to increase.

My experience and also to be selling my art work for my silver sculptor, I would say a llama de la moda has become a source of strength and motivation to me. He gives me this freedom to express myself to the fullest, and he also is a free man thing. He also wants you to know him and know how we can. Actually, you can actually lead to you to your walk. One of the visa like giannis, is so right. So right this you, you think it’s not it’s not your work, but when you actually open your mind and your eyes to this work, you still know in other activities inside the same world.

My advice, younger to pronounce is first of all have division because the vision that drives you through the mission but in sensitive mission that need to have the zeal and a passion to give you that the great resort that, if a lasting on tending resort, that would Make you to get your fine angle because, as for me, my dreams are contract.


 

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8 Ways to Ignite Creativity (2015, radio documentary)

When creativity flows by itself, all is well When it does not artists and others pursuing Creative and innovative endeavours develop techniques To get unstuck methods to somehow reposition Their minds and get back to their creative work fresh And anew In this documentary we are looking at eight Recipes for creativity, tricks of the trade, how to jump over a wall; twelve meters high When trapped inside without inspiration, Method, one constraints Intuitively one would assume that the more Freedom, an artist, has the easier it becomes to create something interesting, But regularly.

The opposite is true. As we shall hear in the following story, Neil Biggin is a producer of music for article Games He tells me how his compositions were shaped. By technical limitations, when he just started, In the early nineties, because computers could Only spit out bare electronic sounds in a scanty Sequence, It was a fun time of being pushed to be inventive When article games first started Things had just moved on from sounding like a digital read to.

.., to sounding Uh… Like four high-quality digital reades playing at the same time so… In-in theory. It was joyless, but it became Um…, it became a really exciting uh… Challenge. To-To try and create something as… From-from, something as restricted as that. To compete with the other guys that had… That were already out there, So yeah Squeeze in as much… As I possibly could. Out of a very tight situation, It was a lot of joy.

I never sat there bored. I never sat there. Thinking ”Oh, well, there is nothing to do here. There is no…”. There was always something In 1994 Neil got a phone call from the Amiga Corporation, He had produced music for one of their article Games a year earlier, which ran on the Amiga 500 Home computer, They had good news. ”We are about to release our newest machine, the more powerful Amiga CD32.

”. So they wanted a bunch of games. ( lets say ten: fifteen games ) to be for sale on the opening day of the machine, So they picked their favourite Amiga games. And said: “: Okay,,” (, the biggest selling ones ) “. We wan na sell these. So can you remake this game? With CD music, more sound effects,.” And all of a sudden I’ve-I can use a full Studio, I couldn’t believe that opportunity, No restrictions in terms of sound any more.

I could get a guitarist in a singer in Whatever I wanted, I could have endless sound effects. And I could have… Endless music, Neil’s manager told him they wanted. A full orchestral composition, something that is a cross between The soundtrack of this movie and that movie, Although Neil, was a talented bloke Up until then, he needed no great musical knowledge, But now having complete freedom. Neil did not know where to start I’ll, never forget it I’ll, never forget the position I was sat in I’ll.

Never forget the look of the keys. I literally sat and stared open mouth The keys and thought “ I’m done, That’s is The last idea is gone.” In stead of feeling more creativity, Having now the luxury to compose anything, he wanted Resulted in an overkill of choices Today, decades later Neil regularly, Still is aware of how constraints can actually be fruitful. It’s an interesting point. I think..

. The subject of this conversation about restrictions. And creativity, and things like that, I think… You know necessity – is the mother Of invention and all that stuff, I think when-when you… When you [ are ]. Faced With a lot of challenges, when you really have To… Squeeze something to get… Get some joy out. Of it, when it’s harder, you work harder at it When it’s easy, when it’s all on a plate.

You get lazy And I am including myself in this. Does this work S… S…? I could… Now. This is my dad composer and musician. Alan Laurillard: Okay Constraints in the creative process: Have really been handy for me and I think… And I I actually believe in it. It makes you… Focus on what’s left over And you can go much deeper and you are not worried about the… About uh…, all the information, all the possibilities But constraint, [ ments,.

.. ]. It doesn’t limit your creative process at All I think…, and I am thinking about it now – It makes your creative process… More depth, more focused And your final product b… Might be better. That’s you kn…. In any case, that’s my story. Yah… Using constraints, possibly works so well. Because human creativity seems to have its origin In precisely that solving practical problems, You know you can t.

.., you can put all All the stuff on the table – or you can just put a couple of things – On the table, when you are going to cook, You can make real good food with Just a couple of ingredients also, you know…, You have created a game for yourself. So you got to work within those parameters. It’s really… Um,…, uh… Gives you freedom Makes it easier. This is also what the French writers Raymond Queneau and Fran瀀ois Le Lionnais searched for when They founded in 1960, a group called Oulipo which practised And studied potential literature techniques centred around Deliberate constraints, For example, the novel La Disparition Translated into English, with the title, A Void by Georges Perec, a notable member of Oulipo A book written entirely without the letter’ e’ The relationship with the audience is one Worth looking at, If the artist wants to he can consider the Outsider as part of the configuration of the artistic Expression and play with it Not letting the expectations of the audience.

Control what you do, but deciding some of those things ahead of time. And allowing them to be constraints that inspire you Making lasagna is not a random creation. It is subject to presets. Your freedom is limited. If you deviate too much, it is not longer. Lasagna, We are looking here at form which -is- a Constraint, albeit a conventional one, It is a bit more of an assignment, An agreement between the maker and the audience Here.

My friend Ole Juul joins the discussion. He is…. He is… Not so easy to classify A man with many interests. Danish by birth, A sonnet is a constraint. Some people can speak fluently. A lot of sonnets I don’t know Edna Saint Vincent Millay: she is brilliant Uh, whether you like her or not. Uh, uh and and Shakespeare certainly was Uh uh uh uh, uh uh um…. In that form, You you take a form a-a-a-and and uh uh Uh Uhhh, you take deliberate constraints, A-a-a-an-an-and uh.

What does that give it? It gives it tonality I-I think it does other things. The constraints are the language Because without the language y [ ou ]…, it’s… It difficult to communicate. To somebody I… Really believe in that kind of thing, Although I do see the beauty of conformity I personally am unsure of the value of caring at all. About what the observer finds of your work But -if-, you somehow decide to deliver a specific Type of art your form is set, and now you can only ponder Over the parameters within the boundaries of your selected, art, Form, That is not to say you cannot temporarily Shift? On the contrary, as I put it forward here, As technique number two shapeshifting Think of an architect stuck without inspiration, Committed to design a building for a client can use this technique to first sit down to Design a piece of jewellery which he then later transforms Into a building Such a shift is substantial, But also possible.

Is a relatively smaller shift, An advertising copywriter being paid to Write a sales letter persuading housewives to Buy a laundry machine could decide to first write. A letter to his own wife, in which he tries to Interest her into buying one We want to disturb conventionalism. There are Typical ways to start a reggae song typical shapes and patterns on totem, poles, Typical topics to cover in stand-up comedy Form, And that is all fine if you are comfortable With doctrine and never get bored with the tolerance That is left over, But making something conform.

Expectation can Remove suspense – And that is what this documentary is about – How to fight artistic stagnation and bring back excitement To start producing again So shape shifting By assigning a different form. Even just for the moment, you trick yourself into a world with different laws. And thereby free yourself from common assumptions Here I am in dialogue with Emmy nominated Screen writer novelist song writer and vocalist Pauline Le Bel, who describes having used Such a form metamorphosis, I had to write something.

I was writing… A-a book And I had to write about something that was Really really a painful experience and hard to write. About So I wrote it as a poem first, And it was kind of um…. I-it suggested what had happened, And you certainly got the feeling of Um of sadness and distress by reading it. So when I put that in the book, And then the editor had a look at it and she said “ I’d really like you, To expand on this and do it in prose.

”, But I could not have done it in prose. If I had not done it as a… As a poem first And then I could work from that Because it allowed me to… Um… To feel it and to move through it Kedrick James poet, musician, multi-media, Artist, professor at the University of British Columbia, In the faculty of Language & Literacy teaches this method to his students. I use a term for that which I think of as ‘Genre bending’, Okay, Which is you know, a joke, really A play on gender bending, But um.

.. Genre bending, would speak to exactly the same Uh… Practice of stepping outside of the form In which you are most familiar or which you have made a routine practice, Of in order to reinvigorate that form and find Something new, But if I were to uh, write a sonnet How can I use genre bending for that Uh? You could use genre bending I think in a whole lot of ways, So you may decide to generate your sonnet Out of uh other texts, You might decide to combine two of these different Uh.

.. Provocations or creative provocations, You might decide…. Ah I have a good friend named Wreford Miller. Who is also a poet who wrote a whole series of sonnets in which he would take two different Texts often counterposed against each other, so… A-a-a romantic text and you know maybe ( I’ll exaggerate, this isn’t a real example ), but Like a Harlequin romance and a [ n ] engineering textbook, And then he would create them using those Rhyme schemes, so you know Shakespearean or Petrarchan Or what have you.

.., Um…, so that the A-line, the A rhyming line? Would be from say the Harlequin romance and the B rhyming Line would come from the engineering text And he would very carefully go through And weave those… Sew them together And they flowed as if it were one… Voice, But the language keeps shifting gears on you And…. So that’s you know just…. Just one example: Of if you were going to write a sonnet, How could you.

.. Uh… Use genre bending Or form hopping to do so That…, that would be one example of… That Being done, Each tiny part freed from desire unbranched Being one itself, a complete flower Self is untouched, so finely divided in seeing Hearing touching smelling eating walking, sleeping breathing speaking Small scaly white flowers, opening and closing on the poorer Soils Others offer all “ ray” and the yellow, “ disk” In the fire of deepending on the ideas of the individual Arching blooms about June kindled here in This life, the weed concept, arises from the wide Achillea Conquered by those present everywhere, pungent Brahman, if crushed This was the first half of the poem called ‘Yarrow’ by Wreford Miller, with sentences taken from ‘trees, Shrubs and Flowers to Know in British Columbia’ And’the Bhagavad Gita,.

‘ Wreford Miller, took splinters of text He found and reused them to make something new. We stumble here upon a third methodology for Escaping a creative headlock theft Incorporate someone else’s work, either temporarily Midway the creative process or permanently and either blatantly or after a graceful transformation Doing it blatantly, that is to say, without Doing much modification will easily receive criticism, But there are also examples wherein the original Artist expresses appreciation of the minimal twist The tube he assumed to be empty.

Still appeared to squirt toothpaste, Bass, player and composer Tony Overwater With his idea on the contrast between acceptable and unacceptable artistic borrowing, I think the selecting of the idea of somebody Else and… And putting it into a new context, is Never really theft Uh. I think it’s theft, When you sort of copy a result, When you… Copy… Somebody’s success, When you want to create a certain success for yourself, By using somebody else, his uh.

.. Achievements – I mean music is language. Uh and language is constructed And th [ e ]…. These constructions are…. Is the grammar that we use to musical grammar And we cannot prevents to use certain sentences? Uh…, or to use certain structures that… That we all Use every day or that is being used, Um…, if you…, and if you name that you were Inspired by them,… I mean there is compositions by Sch怀nberg That are based on the music of Johann Sebastian Bach And uh.

…, that’s an honour For both of them. You know… T-to use and to reuse [ Singing ] Before lord god made the sea and The land he held all the stars in the palm of his hand,… Pauline Le Bel [, Singing ]…, and they ran through his fingers. Like grains of sand And one little star fell alone, So one of the songs that I love singing… Have sung for many years is called Lost In The Stars: It’s by Kurt Weill, A part of his um musical, called Beloved.

.., The Beloved Country. So I love this song, It’s just so beautiful And so what I did… – And this was the first time I have done this This was a couple of years ago…. I took the… Cause. I love the harmonic structure ― it Is so exquisite…, So I took that harmonic structure and just Started playing with it Just started playing with it, And then I came up… With a song… About Kissing Ha, so the melody is completely different.

You’d never know that this was related in Any way And it’s about a completely different topic And uh… Yah. So that’s my biggest theft And the thing is th-the ha [, rmonics ], the chord Structure was even pretty d: [ ifficult ]… (, and I am playing It on the piano ). It was pretty difficult… To play, So I… It wasn’t exactly a copy. Just because… I knew when I recorded it, I was going to have to play it, so I had to make it.

.. Dumb it down a bit, But it’s still like… And people just say: “, Oh I love it. I love it.” And it does have a really really beautiful…. I mean the chords. Are exquisite… Every time I play it… Just I get. You know,… The hair… On… And it’s because of Kurt Weill. Thank you very much One of my… One of the most wonderful composers. So this is the original sung by Todd Duncan Who was in the original cast of the musical, And here is what Pauline made of it? With her song A Kiss By Any Other Name, Could it be a sign of the times There is so much there already, Rather than creating things rare and unusual You simply add things to a gigantic pipeline full of information.

We have parallels of clutter and overload Between our information environment from horizon To horizon available stuff, you can — read — experience; –, look at –, listen to And our physical environment like when you live In an overcrowded city Here again Kedrick James, I think, that’s to a degree Why remix-culture became so significant [ It ] was the idea that you are already barraged And to create something original or new.

.. (, maybe not new ), but to create something original seemed almost impossible. You’re…, It’s always already been done And uh…. So people started looking at ways. That you could work with what was out there gathered up Reprocess it and make it something: new Reuse, You know in a sense that whole idea of Reduce reuse And recycle applies really well to the information environment. As it does to the uh.

.. Natural environment, uh…, [, mut,…, ] physical environment, You can buffoon all you want when reusing And here again it is the creative you in charge. Of deciding how to reuse someone else’s work, Don’t copy but modify You attach, get fertilised detach and cultivate Design. A hat in addition to an existing Dress Then omit this dress. And create fashion that matches the hat Hum a solo on top of an existing music piece.

Omit this music piece Play that solo, but now on bass and in Reverse And then write your full composition on Top of that, How typical principles of an art form really Are is much easier to see when you are an outsider? Does all tango music seem the same to you All graffiti, All types of licorice On the flip side, as visitors in a world of Cultural esoterica: we are blind to details that the insiders Value The people who listen to tango a lot Can quickly say for themselves which tango music piece, they value The musical form (.

What makes tango tango, ) -Shelters-, the internal creativity and many artists do not usually touch such Essential criteria They do not redefine what tango really should. Be, And this refers back to my segment about form The creativity is applied on common attributes. And that is how you make tango that has enough authenticity to get respect from the insiders. Everybody happy Everybody happy, But if are you going through an artistic Depression then, let’s not only play with common attributes, Go beyond expression within the normal realm.

Discover your blind spots Take note of the things you have not questioned. And notice how much room there is for ideas of an unusual sort, Expand into different dimensions by being Playful with atypical attributes, Change the rules of the game And thကt is our fourth way to ignite creativity. What is cola you ask Pepsi and Coke. Well. Cola is a delicious soft drink. And it has an identity, a brand Coca Cola’s brand for a long time was stronger.

Than that of Pepsi, Then back in 1970, Pepsi made a smart move. That falls into this category of prescriptions for creativity, They changed an attribute outside of where the normal competition Took place Here is what they did: A big part of the identity. Of Coke was its distinctive trademark. The hourglass-shaped Bottle And for many years at the cost of millions, Of dollars, Pepsi fruitlessly studied new designs of their Own But then – and here comes the clever move – They introduced for the first time 2 litre bottles, Which it had discovered consumers found more convenient.

Coke had apparently not seen this consumer Interest, possibly because it was blinded by its own Success concluding that it was on the right path. There was no good way for Coke to sell 2 litre. Bottles and maintain their unique design because it would make the bottle too tall. For shelves in supermarkets And so Pepsi beat Coke by nullifying Coke’s Advantage and changing the rules of the game. How do we apply this in art? You change something that you usually don’t.

Okay, I can think of something here. This is improvising piano player, And composer Lisa Cay Miller, who talks with me about modifying her piano To change the actual sound It involves, for example, placing objects Inside the piano touching the strings so that they dampen Or vibrate when certain keys are played, And so I’ve done quite a bit of work, researching With um some of my colleagues, Rachel Iwassa (, pianist In town ) and also a friend of mind in Rio, his name Is Claudio Dauelsberg and uh learning how to Do these things in the piano without damaging the piano at all, The piano is normally this certain sound And when you.

.. Place… These objects in the piano And things aren’t, as you expect them, when you play them, They come out differently And it’s quite surprising, uh and…. It can Be quite…, um…, quite… A surprise to hear… The-The sounds that-that. You can make with the piano Especially some of the… The things I also work with Denman Maroney in New York, City, He showed me a few things that are really Wonderful, where you can actually make the piano sound, A little bit like a motorcycle or like chainsaw And you are not actually hurting it.

Because of all this research to do it carefully, Uh…, But the things where you prepare the notes. Where they don’t sound like how you are expecting or… In the course of playing things, shift Slightly and the note that used to be a sweet note, Is no longer a sweet note and um…. I think that that sort of tension that that Creates um is really wonderful as a performer And then when you are playing something And it doesn’t sound,.

.. The-it’s almost seems sort of mystical Where these sounds come back at you, that seem to almost have very little to do. With what your hands are doing, [… ], [,… ], and you can have this relationship with The sound that is really fresh, My father’s music group, The Noodband, consisted Of a double trio, Two drummers, two bass players and two saxophone Players Just that setting alone something plenty Bands do nothing interesting with made everything Else that followed in opposition to the expected overall Sound First of all, it was a practical choice.

There was a… Two good bass players around And there w [ ere ] some good drummers friends. Good players And one other good saxophone, [ player and Also ], I played saxophone And the kind of music which I kind of envisioned. Even before I started writing um…, And I wanted to do something different – also It’s nice…, So…, But I k [,… ] I and that… With that case, I really envisioned the music before I started, making it, And I can do that with hey two bass.

.. I can w [… ]. I can work One low one high. These characters are good characters for this Music, These two drummers – I just tell him… And That was the hardest part telling drummers what To do So, one drummer does one thing: And the other drummer has to do something complimen-mentary That was tough Cause. The drummers are difficult. Now the sax players just play What they’re supposed to play now that was easy In one particular piece.

My dad did something Else that is usually left alone in modern Western Music So-so wha-what…. I did one piece: It was supposed to s…, sound kind of it is…, it was called Vietnam. The piece And we tunes ourselves a quarter of a tone: [ a ] part, So pulling the mouthpiece out So that the notes are quarter tone, difference, Yah, they’re, off…, they’re off perfect pitch Off-pitch yah, Oh, but right, b, [ ut ] for.

.. For somebody with Ears like mine, uh,…, uh-I…. I am not even going to to notice that Yah. You are going to notice. Because it is going to sound really out of tune the two saxophones, But if you…, Oh from each other From each other yah yah, yah, yah, Okay. So then, if ya…, if ya have like twelve Notes in one saxophone scale and the next sapho… Saxophone begins a quarter tone [ lower ], so you got Twenty-Four notes, It’s not all that easy as it sounds.

But that was the plan. In any case, Perhaps you can detect what he is talking. About in this recording performed live in Berlin, In 1982, The vocals are by Greetje Bijma Technique. Number five Alternate Craftsmanship. When I was 19, I started a small advertising. Agency and fell in love with copywriting. I noticed that writing on an old typewriter Produced an essentially different text than when writing on a computer.

My typewriter was ancient and did not have A backspace key, So you better know what to write before you. Start typing And if you regret the first words of a sentence: You are then, faced with the challenge to somehow continue anyway. If you do not want to get messy with correction fluid, And so this is what I mean with alternate Craftsmanship Find an irregular way to accomplish the same Thing Disturb conditioned automatisms by using a Different instrument – Medium procedure – Or working environment to evoke new fertility and avoid paved cowpaths With Pauline Le Bel.

I talk about various ways: To use the human voice Uh, is there… A different way of singing, For example, with a corset or with… After inhaling helium Uh…, You would sing very high. He he he Yah…. Well, I had to sing in a corset. It was this awful show I had to do. It was terrible You just… Yah, it’s pretty hard to sing with a corset. Because you… You’re not getting the massage of your internal organs that you really need.

To sing well, I don’t know how they did it in the old days… How about hanging upside-down? Ah, no, I don’t really like hanging upside-down, But it would certainly change your voice. It would I mean yes…, Maybe not for the better C [ ause ]…. Should I try it now Sure? Okay, Let me just see what I could do… As long as it’s…, Oh I’ll, just hang over this in here Ya. Well, actually, it makes my voice deeper Doesn’t it Ha ha ha ha ha.

Okay. Now I know how to do… I’m at… This afternoon I am going to record A friend’s song Because uh he’s recorded it before In English, but he’s written it… It w [ as ] translated In [ to ] French ― cause, he is approaching Radio, Canada With this… Plaything, he’s-uh-‘s got So um. Oh, this will be very good for actually Singing uh singing that song Cause I-I think I wan na have gravitas. When I am singing that song so eh, that’s a good Thing to try Thank you very much, Tristan Ha ha ha.

So we are adjusting the variables of fabrication. Composition or just generally how to go about doing what you do A different procedure: Doing at the very end, what you normally do in the beginning: A different working environment, And I am not talking here about getting inspiration from working in unusual surroundings. (, because we shall look at that too ), but here I just mean changing the lighting In your workshop wearing ear, plugs or sitting In another chair Using different instruments and material Like attempting calligraphy by imprinting, your boots into show, In my own example of writing text on an old Typewriter this mark made by the production process, obviously Remains also, if the words are then later transferred To a different medium Here is Kedrick James about such permanently.

Enclosed distinct, aroma of a text Um the materiality of a text We need to under [ stand ]…. It is almost that idea that Walter, Benjamin Has when he uh talks about um…, the idea of The materiality of the text having an aura and That…, You know he is making a comparison. Um About works of art, where there is a unique example of it, Or a mass-produced example of it and its original state… Sort of absorbs A lot of the energy around it, I think that the material processes involved In any production, um imbue the final product with intent And then [ in ] tent continues to resonate uh Long after that thing has, you know, left its original creator.

Or what have you…, Um that and… And-and th-the material circumstances? Of its creation are… Deeply significant There-there is a big part of the spirit. Or, as you mentioned, the kind of soul of… The work that comes through its manufacture, The actual a-a working things, um…, shaping them So operation elements impregnate, The work and will continue to reside there comfortably and noticeably Look at a piece of furniture made with hand.

Tools where the woodworker had to carefully select The wood sharpen his chisel strike his mallet, This chair or table, will come alive. Develop personality in the process and radiate it for good ― the conditions. Of the craftsmanship with which you can goof around And the emotive force the artist put into it, the intent Intent Can we make art without it? Yes, we can, and it even has a name aleatoricism And this is number six in my list of creativity.

Kick starters Yes, aleatoric, meaning uh dice And a roll of the die uh, which of course, Get its… Glorious, uh birth in Un Coup de Dés Jamais N’Abolira Le Chance,… [ sic ] Kedrick memorises the title of this work: Slightly incorrectly, That should be Un Coup de Dés Jamais N’Abolira Le Hasard, which translates to A Throw of the Dice, will Never Abolish Chance a work by the French symbolist poet, Stéphane Mallarmé Um, in which he creates a poem, rolling dice And using the dice to select the lines and The words and.

.. To me it’s-it’s, a beautiful…, It’s a beautiful uh concept and I-I-I…. You know I can’t put the exact date on it. But I think it’s about…, It’s the 1860’s. He publishes that – And I mean just… – opens a whole world to…. How…, not only literature, can be constructed, but How it can look, Mallarmé was brilliant. At being able to do that particular… Thing of just radicalising our engagement, With language and what it could possibly be, Mallarmé went quite far.

But did remain selective and responsible with where to incorporate random elements, And you must to not produce unidentifiable. Meaningless garbage You may feel introducing something randomly Generated removes authorship, But it is questionable how Much authorship you have in general as we easily and without always being aware. Of it use ideas picked up elsewhere, Unconscious theft, As also discussed earlier And alright, let’s say you become less the Creator, the one giving life – perhaps it is okay, To shift to the role of the selector With the right software, you could quickly Generate a hundred ideas, a thousand and then you Need to look at them all absorb them and select Only a few interesting ones Serendipity And then there is Always the option to still change what you find You are starting with something.

.. Anything Somewhat usable to then apply creativity while you overthrow And reconstruct The source of your input does not need to Be human or computer generated randomness per Se, It can be just data from an unrelated source When you have water damage or other urban Or domestic decay somewhere take a photo. There are beautiful, shapes there, Walk through a forest and see How tree stumps look like castles Or how about choreographing a dance based On natural, primitive movements already known to the human Body such as those seen in footage of riots, Improvising, piano player and composer Lisa Cay Miller wrote her doctoral thesis about the emergence Of language in her infant son and recorded musical compositions To go with it, So there were seven movements And the first one was called.

I Cry. And it was all about crying (, I don’t have them all. Memorised ) Uh uh-one was Scribble Talk, which was the Uh inflective kind of speech that children have When they don’t have… They’re [ going ] mne ne me ne ne, So it… The-the inflection has meaning But there is no words yet And then there was… He for… Um when He was about…, eight months to a year and a half or something He spoke in sound effects.

So he had about forty different Sounds and they were consistent, Um…, so I wrote a…. That’s one of the movements. And it was called Da Tuk [, The Truck ] because… He had… Um…. Well, that was one of his first Words, But he had Ghop-Ghop-Ghop-Ghop was duck and sss-sss-sss was sweep Um… Krrr-krrr was bike, eeeh was bird And there… It was wonderful. We tried to teach him… Um sign language, Because that’s a thing that you do now.

You teach your kid sign language And he never grabbed onto that, But he gra…. He had these sound effects. That he spoke with, and that was really really fun… Period when he… He was doing this And some of the other movements move onto A more abstract representation of grammar, So there is a whole album for me. That’s…! That was inspired by… My son’s… Emergence of Language And my doctoral thesis was about that.

It will be clear that such a pursuit is also About mimicry, But central is to at least for the time being, Take away decisions of the artist as she goes: hunting For secret, hidden creative currency in unexpected places, That are not the realm of her own art form, as would be the case with technique. Number Three theft: We move on to the next method, to ignite creativity, Immersion Inviting artistic crosscurrent by exposing Oneself to a different infusion or placing oneself in a different Environment as this could fuel your own novel ideas, It is not about grabbing and incorporating Something you discover in the wild, but about using it to set astir the soul.

I ask article game music producer, Neil Biggin, If he had the task to make music for a horror, article game, Would it help to first go sit in a dark cellar or walk around on a spooky graveyard? In my opinion, it absolutely works. I have very specific environments that I, like To write music in And if my environment changes My music changes, No doubt [ a ] bout that There came a time I had to do a game.

Called Loaded for… The PlayStation And they said we… We’d – need it to be Dark aggressive moody, Well I’d, never really written dark, aggressive Moody, So they were all written at night In the winter, with the blinds shut And just a little orange or red light on in The room Really a dark, closed environment, Uh, writing, dark music in the dark; I couldn’t do that in a field full of flowers. It wouldn’t.

.. Wouldn’t happen. I think a lot of musicians are influenced. By their environment, but I really really am And… As a…, I’m a photographer as well. And uh-uh, if I am wanting to shoot scary shots, I have on scary music. There is a horror blog I find online that does really experimental, horror, music And I listen to that And the work is really really influence by… The soundtrack So even though there is no sound On the photographs you can tell by looking at the Photographs that.

.. That-that there is a…. There was a mood there at the time. Similarly, I… Always found it difficult. To… To create the more… Disney, cartoony type things Because I am serious person I-I’m a… Funny person too, but I…. I am not a kid and I am not into kiddie things. And I don’t like…, I don’t listen to cartoons. I don’t read cartoons So for me to create in that kind of vacuum. A jolly happy uh,.

.., childlike piece,… Very, very difficult, But I’m…, I imagine, and if I want and sat in a kindergarten, For a week among all those… Sights and sounds and smells And then set my gear up in a kindergarten, then that would have an influence and away We go So I… I’d…. I definitely believe in that To soak up the right, creative arousal for His work as an artist and for a regular, fresh Puff of air in his personal and professional life as a Professor Kedrick James decided to buy a ranch in the Canadian wilderness, So I am constantly setting up this ranch And to go and commune with a whole lot.

Of animals cause it’s full of wildlife And the wildlife is exceptionally uh…., I don’t know… Present, You know when I say I’m… Having trouble Relating to the… Current state of affairs uh, partly because I’m developing disciplines That… Take me as far out as I can get… I-I think that’s sort of what I am referring. To Like different… Approaches to being able To uh… Be enraptured with.

.., you know the Whole of creation so to speak And that that’s… My drive Like without that I don’t know how I can continue to… Create my weird, obscure artwork. It needs that sense of real otherness In order to keep driving it in order to keep the sense that… You got… This time on earth. You should make really really good use of It Um but…. The… Sense for me now is that… Those practices showed me what’s.

.. Possible And…. You investigate what that leaves open. To you, Um…, the… Whole physical uh,…, environment,…, Takes on a very personal,…, a-uh-eh-a…, a… Aspect: It becomes engaging Clouds, become muscular And everything is interacting with you: And-and, that’s very close to the experience. I have when I’m actually… Doing that kind of retreat. And experiencing my time with all the animals that.

.. It’s a very… Communicative space, The aim is to absorb something foreign Deny yourself: the oxygen you have grown used. To because today you will dive in a pool of liquid Curiosities drown suck new concepts into your lungs And crawl ashore, with unassumed stamina as an artistic beast, whose existence has not Been proven, There are worlds you do not know of And until you go there there are parts of You you do not know of In my interviews about immersion At this point, the topic of discussion regularly ballooned into using drugs And other forms of manipulating the mind getting into a different zone.

Which is the last approach? We shall look at unusual mental states For Kedrick. This is a topic of some importance Coming of age in the late seventies, He is of the opinion that the art world or society itself, Has gradually forgotten about the value of changing The very apparatus with which it functions the human mind There seemed to be a brief glimmer. When that was a subject worthy of investigation I-I-I, I think we’re now.

.. Just way too Far up the creek without a paddle to…, you know give much credence to people Wanting to explore altered states um of mind, Though… I-uh-uh. You know. I think that How, then do you have new thoughts if we’ve… Already discussed the sense that With the barrage of what is already there, everything is already there. Well, how do you have new thoughts? Well, I think sometimes it’s by completely Altering.

.. The perception (, that is, the reception and the processing ) of those thoughts, Because you won’t come up with new ones. If you’re using the same… Perceptions and the same processing techniques and tools, That…, you know, are being kind of foisted on you. If you’re, using the automatic version of it as opposed to going and exploring it, And trying to work it out for yourself Um, you are not going to quickly or easily.

.. Uh find the new… Or the radically the…. You know life changing techniques, Artificially adjusting perception, thought Processes affect and drive is for some an art form in Itself, An inventive pursuit to design devices or Practices to overcome wonderlessness Induce bizarre states and possibly open up otherwise obscure mental Faculties, All the beautiful… Work of the Sixties and seventies psychologists before they buried all their work.

So people like Masters and Houston um Charles Tart people, like that Building their witch’s cradles and things Finding ways to alter perception that were Non-Pharmaceutical or non drug related, Um I-I-I think it’s important to Experience those states… To go out there. I mean I-I…. You know found myself through A phase of my life where I was running an art Gallery with the opportunity to build a lot of those and experimented with things like You know um the Burroughs Gysin Dreamachine uh stuff Created some of my own mirror rooms and Um.

.., where you could spin… On a disc Among a whole series of mirrors that had flashing light so that… You’d experience this movement out of your body, Um…, An-an-and…. I think those…. You know uh-uh-uh States of mind when you make them really dynamic, You start to be able to see through the really formidable walls of perception that we build And you can actually start to know… There is that Y’know, you can’t teach.

.. The shamanic journey. I-Uh-Uh… People try to I-uh… Don’t-not, really Sure how that goes for them, but…, um,… Y-you, can’t teach those journeys Those journeys happen or they don’t So at the same time, while we must be committed,… To… Allowing…, not scientific,… Or non s, […, ] What’s the word… Allowing rapturous states To inform us more generally, So we got to stop being afraid of all that.

Stuff And thereby the list of eight means to stimulate Creativity in times of feeling like a punctured beach, Ball is complete. What would be technique? Number nine or ten Pauline Le Bel wanted to include rituals Bass player. Tony Overwater saw value in mental Digestion, a conclusive resting and contemplation phase, Possibly making kitsch, would loosen up tension. Of playfulness design, something that entirely lacks authenticity, But offers instantaneous gratification Prick that bubble of your own standards.

Just for the day, I left out some obvious ones, such as Collaboration and training yourself, But I do want to play one last – clip Wherein my friend Ole Juul describes the benefits of getting to a point. Where you can work friction-free, You need to get… A lot of things. To-To be Automatic It is r… Really difficult to write a novel. With a dictionary in one hand, and a grammar book, In the other hand, and trying to figure out how to make a sentence every time you’re making A sentence If.

.. I-I-I-It, really… A certain basic level of skill, makes things Flow really in a way that is more likely, to-to be…. To have that warmth of… That fullness of b-oh… And the coherence o-of-o-of coming from someone’s heart…, coming from someone’s heart Lidless, This heart turns inside out And just now the artist feels good A melody is born and the world dances along. You have been listening to The Nots.

A total of eighteen hours of interviews have Been recorded and all are available online, Professor poet and musician Kedrick James [,… ], and I think that…, these different Artistic practices and disciplines are ways of getting… Through All the mediations so that there is direct connection with the Creative proces Video game music producer, Neil Biggin, When I was… When I felt… Comfortably enough In the position that I could just write, my own music and [ thought ]’to hell with everybody else,’.

I think I wrote My best stuff, A round table discussion with both Neil and Kedrick, as well as Giorgio Magnanensi creative director Of Vancouver New Music [… ] and-and – for me, that’s joy,…, Liberating…, liberating possible way of being. The thing is that there is this Counter… Argument that I would voice Pianist Lisa Cay Miller. We just heard a… Police car uh…. If they would ask you to design a new.

.. Sure That could be fun Or make it like. Weng-ကကကH-Eng-ကကကH Like I don’t know He-he he he he Writer and vocalist Pauline Le Bel, [… ] and I f…. I felt immediately asleep And I slept deeply for fifteen minutes. I woke up. I knew exactly what that scene. Needed Bass player Tony Overwater In India, there is uh what they call the Delhi Belly So sometimes some of us would have it. And you would have a.

.. Okay, let’s have a drum solo. And then… The others guys would run to the toilet. Ha ha get back on stage My friend Ole Juul. Could you get that I’m in the middle of an interview? But uh…, why? Not? Oh dear I’m, sorry Hallo hallo, It’s not Jennifer, It’s a recording of Jennifer Jennifer you’re, a machine. You should listen to me. He he he See. Somebody was being really creative there. There is also a dialogue with art, collector Trout, Johnson, So I went to her studio.

She said. Oh, this is a piece I am working. On right now I looked at where I left my cup of coffee This morning and I liked the pattern it left-left in the Napkin – And I was like Oh Now, I know that I don’t like it And my father Alan Laurillard, When you tie your shoes in the morning. Do you sometimes try to do it in a totally… Different way? I have done that, But I always go back to Like I did when I learned it when I was.

.., five Ha ha ha ha or four ha ha, That’s a faster way, but I haven’t… Perfected it yet Ha ha ha ha ha All these original recordings. And a transcript of the full documentary can be found at the website thenots.Com, And it is The Nots not’knots’ T.H.E.N.O.T.S-dot-com Episode 1 released in 2015