And this is perhaps the most important: Let the tools you make ask questions, not just solve problems.
“But, as [Enzo Mari] taught us, if we want to change the world, then we need a lucid madness, a faith in utopia, and the critical ability to identify what needs changing. Mari was a universe. His lifelong project was to transform the world through a socialisation of design. By freeing us from simply being passive consumers of design, he believed we could reorganise society according to more collectively conscious principles of material and intellectual production. He saw design not as a simple producer of forms for contemplation or consumption, but as an instrument for transformation that needed the active participation of the collective. His ideas for a new form of civilisation were rooted in the cultural and social degradation that he saw around him, and that he fought against his entire life.”
1 – Show up. Many work sessions will feel unproductive which can feel frustrating, but the best creatives sit down to work even when they don't feel like it. Consistency rewards creativity.
2 – Generate a ton of ideas. Your best ideas rarely come early. So when you think you've got it, keep going.
3 – Refine the good ones. If you find yourself over-explaining, it's likely too difficult to digest. The best ideas are simple and easy to understand.
4 – Share the best ones. The potential for criticism forces you to pay attention to the details, and naturally encourages you to improve.
Paralysis again. How I waste my days. I feel a terrific blocking and chilling go through me like anesthesia… If I can’t build up pleasures in myself: seeing and learning about painting, old civilizations, birds, trees, flowers, French, German… To give myself respect, I should study botany, birds and trees: get little booklets and learn them, walk out in the world.
Deserve it, then
Study, do your work. Be honest, frank and fearless and get some grasp of the real values of life.
The main thing is the YOU beneath the clothes and skin — the ability to do, the will to conquer, the determination to understand and know this great, wonderful, curious world.
Don’t shrink from new experiences and custom.
Take the cold bath bravely.
Enter into the spirit of your big bed-room.
Enjoy what is and not pine for what is not.
Read some good, heavy, serious books just for discipline: Take yourself in hand and master yourself.
Make yourself do unpleasant things, so as to gain the upper hand of your soul.
"One must face the despicable vanity which is at the root of all this niggling and haggling. I think the only prescription for me is to have a thousand interests — if one is damaged, to be able instantly to let my energy flow into Russian, or Greek, or the press, or the garden, or people, or some activity disconnected with my own writing."
“One of the lessons that Fawn teaches us is that doubt and fear guard the path of desire. Seen in this light, then we can try to reframe fear and doubt, accepting that these feelings no longer exist as our warning to leave, but rather, the signpost affirming we are going the right direction.” -Kathryn Miller (Inner Vision, July 11th, 2022
"I am in competition with no-one.
My relationship with my muse is a delicate one at the best of times and I feel that it is my duty to protect her from influences that may offend her fragile nature.
She comes to me with the gift of song and in return I treat her with the respect I feel she deserves — in this case this means not subjecting her to the indignities of judgement and competition. My muse is not a horse and I am in no horse race and if indeed I was, still I would not harness her to this tumbrel — this bloody cart of severed heads and glittering prizes. My muse may spook! May bolt! May abandon me completely!"
I told Miyazaki I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.
“We have a word for that in Japanese,” he said. “It’s called ma. Emptiness. It’s there intentionally.”
Is that like the “pillow words” that separate phrases in Japanese poetry?
“I don’t think it’s like the pillow word.” He clapped his hands three or four times. “The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.”