The question of inspiration is one that is central to any creative person. While inspiration might not be thought of in the moment, its lack is one of the most terrifying things to be felt in a creative pursuit. Writer’s block is probably the most commonly heard version of this, but the problem can plague anyone working creatively.
While there is no surefire cure for the problem, there are numerous strategies we can employ to not only prevent it from arising in the first place, but to create a plethora of creativity such that we never approach such a situation. For those of us working on deadlines, like an opening night, we quite literally do not have time to be bogged down with writer’s block. We must simply get to work.
Inspiration can come from any direction and often can hit us by surprise when least looking for it. While we can not ensure that we will be struck by inspiration we can create situations that will increase the chances that we will. In short, we can create our own luck. We may not know what bit of stimulus will spawn a creative flurry, but we can be open to new sources of stimulus, new ideas, new images, new sounds, new people, and new art. Ninety-nine percent of all this will just be enjoyable diversion, but that one percent is invaluable. That one new painting, or new restaurant, or random conversation will spark a creative fire that could not have happened without it.
This kind of luck requires two discrete actions on our part. The first is access to novelty. We must actually experience these things. We must go to the museum, or the movie, or the concert, or the library. This is the easy part. Every day we are exposed to novelty if we are open to seeing it. And that is the second, deeper, and more difficult aspect of this. We must be open to new experiences. We must train ourselves to see things in a new light. Inspiration often comes from seeing the familiar in a new and unique manner. We must take each moment as the new, unique, and novel thing that it is.
I find exposing myself to new art, new music, new people and so forth to be mandatory as an artist. Seeing the old as new, reframing the familiar as the novel, is a powerful exercise to increase novelty in your life and thus increase your luck in discovering the right spark for that next project. Situationists like Guy Debord used techniques like the derive to give new meaning to the familiar environment of their well worn urban streets.
While the SI looks a bit old fashioned from the perspective of the early 21st century, their techniques, or variants on them, can be profoundly powerful. Breaking with routine has an amazing effect on the creative mind. That break in routine can be through something wholly new, or it can come from turning the familiar into the novel.
I find music to be a powerful source of inspiration. While I will certainly listen to a single album, score, or a general genre, one thing I love to do is put my entire music collection on shuffle and hit play. The juxtaposition of a Mozart symphony with minimal techno with gangsta rap presents me with a kind of aural derive drifting between radically different musical styles, causing my mind to reprogram connections as it finds similarities between previously disparate songs.
I remember, years ago, going to a poetry event somewhere in the East Village. There were people reading works, and poems on the walls to be read. There was music, and wine, and shifting lighting. Perhaps a bit more raucous than what many people think of when they think poetry event. But then this is New York. There was a station set up with a typewriter. Guests were encouraged to sit down and write for five minutes. It was timed. When the timer was started, in addition to the lighting and music for the general room, a boom box was played, flashlights were shined on the person, and several books were read aloud right in their ears. The effect of this was to wholly shortcircuit the thinking rational part of the brain and leave only the creative generative part able to function in the sensory barrage. Manufactured Inspiration.
One of the simplest sources of inspiration I find is in living life. Simply being open to experience and aware of one’s surroundings and interactions with others can provide a deep and rich palette upon which to draw. Unfortunately too many people sleepwalk through their interactions in life. With a focus on what could have been or what might be they fail to actually take the time to appreciate what is. Being in the present is where the creative power lives. Cultivating presence of mind is an invaluable exercise to build one’s creative muscles.
The quest for inspiration is eternal. As we move through experiences our perception of different inputs as sources for inspiration will shift and change. It is necessary to be vigilant and create opportunities for inspiration that change with our changing needs.
What inspires you?
As we recall from our basic color wheel there are three Primary Colors of light; Red, Green, and Blue. Those can then be mixed into the three Secondary Colors of light; Magenta, Cyan, and Amber. Obviously by varying the amount of each color, or mixing in slight amounts of the third Primary you can get the full range of possible Hues out of these three colors. Needless to say, you need not limit yourself to six heavily saturated Hues. You can see from the image on the left the basic principals of Additive Color Mixing with light. It is called “additive” because we might take a Red light and ADD Green to it to make Yellow.
If we recall our Primary Color Wheel for light we remember that Blue and Yellow are opposite colors. By adding Yellow to the Magenta we are in essence canceling out the Blue and leaving us with Red. If an algebra equation would help, we are trying to solve M+Y=??? We know that Y=(-B) and M=(B+R) so the equation could be rewritten (B+R)+(-B) or B+R-B=R. Clearly we don’t need to go back to High School Algebra to understand color, but it can help to wrap your brain around the processes involved in Subtractive Color Mixing when first encountering these ideas.
Returning to our Color Wheel we see that Magenta and Green are opposite one another. As we learned in our discussion of Hue, a shadow will take on the opposite color of its light. Because of this, when we put Magenta color media in front of one of the lights it makes the other light appear Green. This is not physics but physiology. How the human eye perceives something is wholly dependent upon the context.
