[[Artists Method Canvas.canvas|Artists Method Canvas]] **Artist’s Method** ⸻ **I. Foundational Axes: Subject, Object, Tool** subject object art – eg drawing from imagination Object subject art – eg drawing a church brush subject – eg abstract art Subject brush art – drawing from imagination or object ⸻ **II. Art Practice as a System (Systems Theory Framework)** **The Core Concept: Your Art Practice as a System** An application of systems theory. Instead of relying on fleeting motivation, you’ll build a resilient, self-correcting “Art Production System” that makes creating art the default state. Systems theory teaches us to look at the whole, not just the parts. Your art practice isn’t just the time you spend painting; it’s a complex system of inputs, processes, outputs, and feedback loops, all operating within an environment. We’ll model your system using a classic systems theory framework: Inputs: What goes into the system. Throughputs/Processes: What you do with the inputs. Outputs: What the system produces. Feedback Loops: How the outputs inform new inputs and processes. Environment/Context: The space where the system exists. ⸻ **Step 1: Define the System’s Purpose & Goal** First, be specific. “Do more art” is vague. Define it in a way that is Measurable and Meaningful. · Vague: “I want to do more art.” · System-Oriented Goal: “The purpose of this system is to produce one finished artwork per week and to develop a consistent, daily creative habit that feels sustainable and joyful.” ⸻ **Step 2: Map the System Components** **INPUTS (Fueling the System)** These are the resources your art system needs. If these are blocked, the whole system fails. · Inspiration & Ideas: Curated Pinterest boards, a physical “swipe file” of clippings, a dedicated sketchbook for ideas, regular museum/gallery visits (virtual or real). · Time: Scheduled, protected time slots in your calendar. This is a non-negotiable input. · Energy: Adequate sleep, healthy food, mental well-being. You can’t create if you’re exhausted. · Materials: A well-stocked, organized, and accessible art station. You should be able to start within 60 seconds. · Knowledge/Skills: Tutorials, workshops, books, studying other artists. System Action: Audit your inputs. Is your sketchbook empty? Schedule 10 minutes a day to fill it. Is your art station a mess? Spend one afternoon organizing it. Are you always too tired? Protect your sleep as a prerequisite for art. ⸻ **THROUGHPUTS / PROCESSES (The Engine)** · The “Prepared Environment” · The “Trigger Ritual” · The “Tiny Habit” Loop · The “Iterative Process” System Action: Design your processes. Create your trigger ritual. Schedule your “Tiny Habit” time into your calendar as a recurring, non-negotiable appointment. ⸻ **OUTPUTS (The Results)** · Primary Output: Finished artworks. · Secondary Outputs: · Sketches and studies · Social media posts · Inventory of work · Feelings of accomplishment, joy, or frustration (this is data!) System Action: Define what a “finished artwork” means for your system. ⸻ **FEEDBACK LOOPS (The Control Panel)** · Balancing Loop · Reinforcing Loop System Action: Build these loops intentionally. ⸻ **ENVIRONMENT (The Container)** · Physical Environment · Social Environment · Digital Environment System Action: Curate your environment. ⸻ **Putting It All Together: A Sample System in Action** (Monday–Sunday breakdown preserved verbatim) ⸻ **Key Systems Thinking Principles to Remember** · Leverage Points · Interconnectedness · Non-Linearity ⸻ **III. The Shadowed Grove** **An Artistic Method for Dark Ecologies** The Shadowed Grove: An Artistic Method for Dark Ecologies [A] 21:10 – 21:20 The Shadowed Grove This movement, like a Shadowed Grove, is an artists’ method and manifesto combining themes of mimetic desire, anarchistic decentralisation, lateral thinking, and dark ecology. ![[The_Shadowed_Grove_is_an_cf717cb7-f9cf-4395-ac6c-8bb14dd85507_3.jpg]] ⸻ **Core Themes and Practices** **1. Art as Rupture: Breaking Linear Narratives** (Edward de Bono, lateral thinking) **2. The Haunting of Agrilogistics** ⸻ **Principles of the Art Style** 1. Unsettling Continuity 2. Interwoven Phenomena 3. Temporal Disruption 4. Evolving Forms 5. Multisensory Experiences 6. Non-Hierarchical Aesthetics ⸻ **Artistic Practices** 1. Fluid Boundaries 2. Engagement with Temporality 3. Speculative Futures 4. Collaborative Creation 5. Receptive to Chaos ⸻ **Aesthetic Qualities** • Fragmented and Organic Forms • Contrasting Textures • Temporal Layers • Ambiguity ⸻ **Example Applications** • Dynamic Installations • Interactive Media • Speculative Landscapes ⸻ **The Mimetic Mirror: Reflections on Desire** (René Girard) ⸻ **Decentralisation as Creation** ⸻ **Dark Ecology as Aesthetic** (Timothy Morton) ⸻ **Artistic Manifesto of The Shadowed Grove** Rooted in Ruin Entangled Creation Disrupt and Decentralise Embrace the Eerie Seeds, Not Monuments ⸻ **Mediums and Methods** 1. Living Installations 2. Fragmented Narratives 3. Collaborative Land Art 4. Reclaimed Materials ⸻ **Maxims for The Shadowed Grove** (quoted list preserved) ⸻ **IV. Ethics and Practice Framework** **The Shadowed Grove Ethics Checklist** 1. Entanglement Over Isolation 2. Decay as Creation 3. Communal Rooting (Expanded practical sections preserved verbatim) ⸻ **V. Chaos, Energy, and Expressive Freedom** I want to go more wild, more expressive and experimental, eschewing conventional and uninspired work in favour of more [[chaos]], more [[Energy]] and in pursuit of the unique and spontaneous. Leaving behind narrow constraints of historically structured definitions of artistic and cultural aesthetics. Peak creative performance is most likely achieved during periods of relative tranquility… ![[Andre Breton#^ff6fe7]] ⸻ **VI. Epistemological Anarchism and Feyerabend** **Applying Paul Feyerabend’s Philosophy to Art Practice** (Full advisory section preserved) ⸻ **Against Method (Contextual Notes)** [[Against Method]]: Outline of an Anarchistic Theory of Knowledge… (Full quoted material preserved) ⸻ **VII. Devaluing Ideas: Object-Oriented and Cognitive Critique** **“The Tyranny of Ideas: A Flat Ontology of Objects and Minds”** (Object-Oriented Ontology + Nick Chater) (Full philosophical argument preserved) ⸻ **VIII. Complexity, Chance, and Emergence** **Ecological and Epistemological Anarchism-Inspired Methodology** [[Complexity Theory]] [[Brion Gysin]] Practice precedes theory The doing becomes the path – motion is emotion ⸻ **Chance and Intention** ([[Odilon Redon]]) (Serendipity, Exploration, Uncertainty, Collaboration, Intuition, Iteration, Storytelling) ⸻ **IX. Review, Reflection, and Iteration** Reflective Practice Mindful Observation Experimentation Seek Inspiration Embrace Serendipity Visual Journaling Feedback and Critique Iteration and Revision ⸻ **X. Atmosphere and Emergence** [[Atmosphere]] [[mood]] [[emergence]] ⸻ If you wish, Lord Thomas, the next logical step would be one of the following: • **Distillation**: reducing this into a tight 2–3 page personal method • **Diagramming**: mapping systems theory + Shadowed Grove visually • **Manifesto vs Method split**: separating operational practice from poetic doctrine I await your preference. --- Your peak creative performance is most likely achieved during periods of relative tranquility, characterised by a manageable workload and a rested state. This suggests that engaging in your artistic endeavours during times of minimal external demands and prior to reaching a state of exhaustion optimises your creative output. Steps for developing a methodology for artists: ### 1. **Complexity Theory and Natural Process**: - Embrace [[Complexity Theory]] in your artistic approach, akin to [[Brion Gysin]]'s methodology. ![[TheProcess.webp]] - Allow the creative process to unfold naturally, adapting and responding to the present moment. By being present and responsive, creators are engaging with the same fundamental forces that shape the natural world. - Practice precedes theory: prioritise hands-on experience over theoretical constructs. #### 2. **Embracing Chance and Intention**: ##### Draw inspiration from Odilon Redon's interplay of chance and careful planning. Odilon Redon’s practice oscillated between meticulous control and a deliberate courting of chance — an interplay he spoke of with a kind of quiet mysticism. Through his letters, notebooks, and the recollections of contemporaries offer glimpses into how he navigated that tension. --- At some point, sooner than later hopefully, you will throw away any reference material (or not), discard any advice and find your own way, stand on your own two feet and create from your heart, find the energy within you, an inner vision and focus that onto a canvas or whatever medium you are using. ###### **🎨 The accidental beginning of the noirs**  Redon often told visitors that his earliest _noirs_ — the charcoal drawings that made his name — emerged from “the accidents of the black.” He described letting forms arise _out of smudges and shadows_, rather than planning them in advance. One story, repeated by his friend Gustave Fayet, recounts Redon gazing at a charcoal stain that had spread unintentionally across the paper and remarking: > “It is the stain that speaks; I listen.” > He would then refine what chance had suggested into something precise — a floating head, a monstrous eye, a flower. What began as an accident became the seed of an image through slow, exacting elaboration. --- ###### **🪶 His ‘dream’ method** In a letter to his friend Émile Bernard, Redon described his process as _half dream, half discipline_: > “My drawings inspire, and are not to be defined. They place us, as does music, in the ambiguous realm of the undetermined.” He would begin each session by doodling abstract shapes, allowing associations to surface intuitively — but once an image declared itself, he pursued it with almost scientific precision, layering tone and correcting minute gradations for hours. --- ###### **🌸 The floral pastels and a different kind of control** Later, when he turned to colour and especially flowers, he spoke of _“directing chance.”_ Redon’s wife Camille remembered that he would arrange cut flowers in a vase “without looking too closely,” then paint what he called their _apparition_ rather than the actual bouquet. The looseness of the arrangement allowed chance harmonies of form and hue, but his touch on the paper was extremely deliberate. He said: > “I place colour where chance has smiled.” --- ###### **✨ The synthesis: chance as revelation** Critics who visited his studio noted how much he valued the first moments of improvisation. André Mellerio, his biographer, observed Redon scraping back a layer of charcoal to expose an earlier texture, then saying softly: > “Chance is my servant, not my master.” That phrase perhaps best summarises his position. Redon didn’t _trust_ chance blindly; he used it as a veil through which he might glimpse what he called _“the logic of the dream.”_ --- - Incorporate elements of serendipity, exploration, and uncertainty into your work. - Collaborate with others and trust your artistic intuition to guide your creative journey. 3. **Reviewing and Expanding Artwork**: - Engage in reflective practice by critically observing your artwork after each session. - Practice mindful observation to delve into the details and emotions within your pieces. - Foster experimentation, seek inspiration, and embrace serendipity to push creative boundaries. ## George Lakoff - Discipline and Authenticity The tension between discipline and authenticity in artistic life mirrors the inner division that **George Lakoff** describes between the “I” and the “Self.” In creative work, this split is often not theoretical but lived daily. --- ## **1. The Artist as Divided** In artistic practice, the split may appear as: - **The disciplined maker** — the part that sets deadlines, refines technique, edits ruthlessly. - **The expressive self** — the part that feels, intuits, wanders, and generates raw material. The “I” demands structure. The “Self” resists constraint. Many artists oscillate between these poles — either over-controlling the work until it becomes rigid, or indulging impulse until it loses coherence. --- ## **2. Two Moral Styles in Art** This mirrors Lakoff’s broader moral models: - A **Strict** artistic temperament values mastery, craft, control, and endurance. Art becomes the triumph of will over chaos. - A **Nurturant** artistic temperament values authenticity, vulnerability, and emotional truth. Art becomes the unfolding of inner life. Neither mode is sufficient alone. Excess discipline can suffocate vitality. Excess authenticity can dissolve form. --- ## **3. Integration Rather Than Domination** The most compelling artistic practice may not eliminate the split but _integrate_ it. Instead of: - “I must control myself,” It becomes: - “I collaborate with myself.” Discipline becomes a container for intuition. Authenticity gains clarity through structure. The internal authority is no longer punitive but purposeful. --- ## **4. Why This Matters Creatively** An artist who understands this dynamic can avoid moralising their own process: - Periods of intensity are not weakness. - Periods of refinement are not betrayal of spontaneity. - Doubt is not failure but dialogue between parts. Creative maturity may consist in allowing the rational “I” to serve the expressive “Self” — not suppress it — and allowing the expressive “Self” to energise the disciplined “I.” In this sense, art becomes not merely product but reconciliation: a visible trace of inner negotiation made form. If you would like, Lord Thomas, I can relate this more specifically to painting practice — particularly the interplay between constraint and imaginative freedom on the canvas. ### 4. **Journaling and Feedback**: - Maintain a visual journal to document ideas and observations, fostering experimentation and growth. - Seek feedback from peers, mentors, and art communities to gain valuable insights and perspectives. - Embrace iteration and revision, allowing your artwork to evolve and improve over time. By following these steps, you can develop a dynamic and responsive artistic methodology that fosters creativity, exploration, and growth. ____ The work should be done in ‘the field’ and not the laboratory. Always adapting, responding to now and experimenting. Practice precedes theory. The doing becomes the path - motion is emotion. 1. [[Complexity Theory]]: Gysin's approach to art, which often involved building complex systems out of simple elements, has similarities with the study of complexity theory. This field studies the behaviour of complex systems, such as ecosystems or economies, and the emergence of patterns and structures from simple interactions. Gysin's work can be seen as a precursor to the study of complex systems. Allow the process to unfold naturally. Once you have a clear goal in mind, you can begin to let the process guide you along. This means staying open to new ideas and letting your work evolve organically, rather than trying to force it into a preconceived shape. By embracing the creative process and staying open to new possibilities, you can discover new directions and ideas that you may not have considered otherwise. 2. [[Odilon Redon]] In the realm of artistic creation, there exists a parallel to the mysterious interplay of chance and careful planning found in science. Artists, like scientists, can harness this dynamic to enhance their creative process. Here are some words and methods artists can embrace: 1. Serendipity: Allow for serendipitous moments in your work. Embrace unexpected colours, shapes, or ideas that may arise during the creative process. These unplanned elements can infuse your art with uniqueness and vitality. 2. Exploration: Be an explorer of your chosen medium. Experiment with different techniques, materials, and styles. In the midst of exploration, you may stumble upon novel approaches that breathe life into your creations. 3. Embrace Uncertainty: Much like the Uncertainty Principle in science, acknowledge that art too has its inherent uncertainties. Let go of the need for rigid control, and instead, find beauty in the spontaneous and unanticipated aspects of your work. 4. Collaboration: Collaborate with other artists or disciplines. Just as complex systems in science often emerge from diverse interactions, collaborative efforts can lead to fresh perspectives and unexpected inspirations in your art. 5. Intuition: Trust your artistic intuition. Sometimes, the most profound creations arise from a deep connection with your inner self, where instinct and emotion guide your hand and brush. 6. Iteration: Recognise that art, like scientific experimentation, often involves multiple iterations. Be willing to refine and rework your creations, allowing them to evolve and improve over time. 7. Storytelling: Weave narratives into your art. Stories captivate and engage viewers, adding layers of meaning and intrigue to your work. This narrative element can introduce an element of mystery and depth. 8. Embrace the Unplanned: Occasionally, allow yourself to start a piece with no fixed outcome in mind. Begin with a blank canvas, both literal and metaphorical, and see where your creative journey takes you. In the world of art, as in science, the dance between intention and chance can lead to astonishing and beguiling results. Embracing this duality can open doors to new realms of creativity and expression. Here are some suggestions for learning to review and expand upon the marks and images you've created: 1. **Reflective Practice**: Take time after each session to review your artwork. Sit quietly with your pieces and observe them with a critical yet open mind. Consider what elements resonate with you and what aspects you might want to explore further. 2. **Mindful Observation**: Practice mindful observation of your artwork. Notice the details, textures, and compositions within each piece. Pay attention to the emotions and thoughts that arise as you observe your work. 3. **Experimentation**: Embrace experimentation as a key part of your artistic process. Allow yourself to play with different techniques, mediums, and tools. Explore new ways of creating marks and shapes to push the boundaries of your creativity. 4. **Seek Inspiration**: Look for inspiration in a variety of sources, such as nature, other artists' work, literature, or music. Expose yourself to different styles and perspectives to expand your visual vocabulary and spark new ideas. 5. **Embrace Serendipity**: Be open to unexpected discoveries and happy accidents in your artwork. Sometimes, the most interesting ideas emerge from spontaneous gestures or unplanned interactions with your materials. 6. **Visual Journaling**: Keep a visual journal or sketchbook where you can document your thoughts, ideas, and visual observations. Use this space to experiment freely and record your impressions of the world around you. 7. **Feedback and Critique**: Seek feedback from trusted peers, mentors, or art communities. Engage in constructive critique sessions to gain insights into your work and identify areas for growth. 8. **Iteration and Revision**: Don't be afraid to revisit and revise your artwork over time. Allow yourself the freedom to iterate on existing pieces, incorporating new insights and ideas into your creative process. By incorporating these practices into your artistic method, you can cultivate a deeper understanding of your work and open yourself up to a wealth of new possibilities for image creation and expression. --- #### Divide the day into four equal time sections, each lasting 3 hours and 45 minutes, starting at 7:00 AM and concluding at 10:00 PM: 1. **Section 1 (7:00 AM - 10:45 AM):** - 7:00 AM - 10:45 AM (3 hours and 45 minutes): This section provides a substantial block of time for your morning activities, including personal reflection, meditation, and dedicated artistry. 2. **Section 2 (11:00 AM - 2:45 PM):** - 11:00 AM - 2:45 PM (3 hours and 45 minutes): During this period, continue your artistic pursuits with focus and creativity. This allows for substantial progress in your work. 3. **Section 3 (3:00 PM - 6:45 PM):** - 3:00 PM - 6:45 PM (3 hours and 45 minutes): Resume your artistic endeavors, refining your craft and exploring new avenues of creativity. 4. **Section 4 (7:00 PM - 10:45 PM):** - 7:00 PM - 10:45 PM (3 hours and 45 minutes): Conclude your day with a final session of creative work, embracing the tranquility of the evening to bring your artistic visions to life. - ![[Enneagram#^4d4066]] --- Beautiful question. Finding this balance isn't just a productivity hack—it's the heartbeat of sustainable artistry. Your insight frames it perfectly: Rest as the space for experimentation and differentiation, and Work as the realm of exercise and discipline. Let's weave this into a coherent practice. --- The Artist’s Rhythm: A Pendulum Between Two Gardens Imagine your creative life not as a line to be marched, but as a pendulum swinging between two essential gardens. 1. The Garden of Discipline (Work) This is the cultivated plot. It’s tilled soil, straight rows, and daily watering. Here, you exercise your craft. This is where you: · Show up to the blank canvas, page, or file especially when you don't feel like it. · Drill fundamentals (figure studies, color theory exercises, technical tutorials). · Push projects to completion, meeting deadlines and honoring commitments. · Build the muscle memory of your craft. It’s the 10,000 hours. It’s the "art work." 2. The Garden of Wildness (Rest/Experimentation) This is the untamed meadow beside the plot. It’s overgrown, full of unknown flowers, and buzzing with strange insects. Here, you explore without a map. This is where you: · Play with a new medium "just to see what it does." · Follow a tangential curiosity down a rabbit hole with no commercial goal. · Consume art radically different from your own (a new genre of film, an unfamiliar music album, a scientific podcast). · Take a walk, daydream, or visit a museum with zero pressure to produce. This is the "rest" that isn't passive; it’s active receptivity. It’s differentiation. The magic isn't in living in one garden, but in the deliberate swing between them. --- A Practical Framework: The Artist's Weekly Rhythm 1. Designate Your "Work" Days (Discipline & Exercise) These are your structured, output-focused days. The goal here is depth and completion. · Theme: "Execution & Craft" · Mindset: The Artisan. You are building, refining, and finishing. · Action: Work on your core projects. Practice specific skills. Do the repetitions. This is non-negotiable studio time. 2. Designate Your "Rest/Experiment" Days (Differentiation & Play) These are your input and exploration days. The goal here is breadth and novelty. · Theme: "Curiosity & Connection" · Mindset: The Beginner/The Tourist. You are here to be surprised. · Action: No "production" allowed. Only: · Technical Play: Use software "wrong." Mix media that shouldn't go together. · Consumption Safaris: Watch/read/listen to things outside your field. · Nature/Urban Walks: With the sole purpose of noticing (textures, light, sounds). · "Bad Art" Time: Deliberately make something ugly or silly to break the inner critic. 3. The Sacred Transition Ritual The swing between gardens needs a gate. Create a simple ritual to mark the transition. · From Work to Rest: Tidy your primary workspace. Save and close all project files. Write down the first task for your next "Work" day. This physically closes the Garden of Discipline. · From Rest to Work: Review your project notes. Set up your tools. Put on your "focus" music or playlist. This ritually re-enters the Garden of Discipline. --- Signs Your Pendulum is Stuck & How to Correct You're Stuck in "Work" (Burnout, Repetition, Stagnation): · Signs: Work feels stale. You're copying yourself. Ideas feel scarce. You're irritable about creating. · Correction: Force a Rest/Experiment Day. Go to a hardware store, a toy store, or a library. Buy one weird material. Watch a silent film. Do NOT try to make it "useful." You're Stuck in "Rest/Experiment" (Diffusion, Lack of Output, Frustration): · Signs: Lots of starts, no finishes. A graveyard of half-formed ideas. Feeling unmoored or like an imposter. · Correction: Initiate a "Project Sprint." Give yourself a ridiculously small, clear project with a hard 48-hour deadline (e.g., "A 3-panel comic about my morning coffee."). Complete it. Ship it. Re-engage the discipline muscle. --- The Guiding Philosophy: Rest is Part of the Work This is the core insight. The differentiation that happens in the Garden of Wildness is what makes your work in the Garden of Discipline uniquely yours. The rest is not "time off from art." It is artistic R&D. Discipline without experimentation leads to technical proficiency but soulless repetition. Experimentation without discipline leads to brilliant fragments but no coherent voice. Your balance is found not by splitting time 50/50, but by listening to the needs of your current season. Sometimes a project demands 80% discipline for a month. Afterwards, you must then swing to 80% rest/play to replenish and find the next spark. Trust the pendulum. In short: Schedule your discipline. Protect your play. Honor the swing between them as the very process that generates an authentic, evolving, and sustainable artistic life. ![[2024-Q2#^52b315]] # Quarter goals Conjoin this up with my [[Artist Statement]] Certainly, Lord Thomas. If we were to consider art as a practice akin to sports training, one could develop a structured weekly routine to enhance artistic skills. Here's an outline of an art training routine for the week: **Day 1: Monday - Drawing Fundamentals** - Morning: Start with gesture drawing to capture the essence of subjects quickly. - Afternoon: Focus on still life drawings to work on proportions and shading. - Evening: Experiment with various pencil techniques and cross-hatching. **Day 2: Tuesday - Painting Techniques** - Morning: Acrylic or oil painting practice with an emphasis on brushwork and blending. - Afternoon: Watercolor painting to explore transparency and layering. - Evening: Experiment with palette knife techniques. **Day 3: Wednesday - Art History and Critique** - Morning: Study the works of renowned artists, such as Leonardo da Vinci or Hokusai, to understand their techniques and styles. - Afternoon: Analyze your own recent artworks and identify areas for improvement. - Evening: Join a local art critique group or seek feedback online. **Day 4: Thursday - Sculpture and 3D Art** - Morning: Work on a sculpture project using clay or another medium. - Afternoon: Experiment with mixed-media and collage to create three-dimensional art. - Evening: Explore digital 3D art or sculpting if interested. **Day 5: Friday - Creative Exploration** - Morning: Try a different art form you haven't explored much, like printmaking or pottery. - Afternoon: Create art inspired by your emotions or current events to express your feelings. - Evening: Collaborate with other artists or engage in a group art project. **Day 6: Saturday - Outdoor Sketching** - Morning: Visit a local park or scenic location for plein air sketching. - Afternoon: Experiment with urban sketching in a bustling cityscape. - Evening: Reflect on the experiences and sketching challenges encountered during the day. **Day 7: Sunday - Artistic Research and Planning** - Morning: Research upcoming art exhibitions, galleries, or art events in your area. - Afternoon: Plan your future art projects, setting goals and creating a project schedule. - Evening: Relax and gather inspiration from books, films, or other art forms. This weekly routine balances skill development, creative exploration, and self-reflection, much like a sports training regimen. Remember that consistency and dedication are key to improving your artistic abilities. Adjust the routine according to your personal goals and preferences, and, over time, you'll see significant progress in your artistry. ![[2024-W09#^fdbdae]] [[PROJECTS/Formulations/Dataviews/Writing Projects]] [[Art ‘Bucket’ work and discipline]] - Subject object art - eg drawing from imagination - Object subject art - eg drawing a church - Brush subject - eg abstract art - Subject brush art - drawing from imagination or object An application of systems theory. Instead of relying on fleeting motivation, you'll build a resilient, self-correcting "Art Production System" that makes creating art the default state. Systems theory teaches us to look at the whole, not just the parts. Your art practice isn't just the time you spend painting; it's a complex system of inputs, processes, outputs, and feedback loops, all operating within an environment. Here’s how to build that system, step-by-step. The Core Concept: Your Art Practice as a System We'll model your system using a classic systems theory framework: 1. Inputs: What goes into the system. 2. Throughputs/Processes: What you do with the inputs. 3. Outputs: What the system produces. 4. Feedback Loops: How the outputs inform new inputs and processes. 5. Environment/Context: The space where the system exists. --- Step 1: Define the System's Purpose & Goal First, be specific. "Do more art" is vague. Define it in a way that is Measurable and Meaningful. · Vague: "I want to do more art." · System-Oriented Goal: "The purpose of this system is to produce one finished artwork per week and to develop a consistent, daily creative habit that feels sustainable and joyful." --- Step 2: Map the System Components 1. INPUTS (Fueling the System) These are the resources your art system needs. If these are blocked, the whole system fails. · Inspiration & Ideas: Curated Pinterest boards, a physical "swipe file" of clippings, a dedicated sketchbook for ideas, regular museum/gallery visits (virtual or real). · Time: Scheduled, protected time slots in your calendar. This is a non-negotiable input. · Energy: Adequate sleep, healthy food, mental well-being. You can't create if you're exhausted. · Materials: A well-stocked, organized, and accessible art station. You should be able to start within 60 seconds. · Knowledge/Skills: Tutorials, workshops, books, studying other artists. System Action: Audit your inputs. Is your sketchbook empty? Schedule 10 minutes a day to fill it. Is your art station a mess? Spend one afternoon organizing it. Are you always too tired? Protect your sleep as a prerequisite for art. 2. THROUGHPUTS/PROCESSES (The Engine) This is the set of habits and routines that transform inputs into outputs. The key is to make them easy, automatic, and rewarding. · The "Prepared Environment": Your art space is always ready. No clearing the dining table needed. · The "Trigger Ritual": A 2-minute ritual to transition into creative mode. (e.g., "I will make a cup of tea, put on my specific 'studio' playlist, and sharpen one pencil.") This tells your brain "it's art time." · The "Tiny Habit" Loop: Instead of "paint for 3 hours," the goal is "go to the art station for 5 minutes." The barrier to entry is so low you can't say no. Often, 5 minutes turns into 50. · The "Iterative Process": Break down art-making into repeatable stages: 1. Ideation/Sketch -> 2. Block-in -> 3. Refinement -> 4. Finishing. You don't have to do all stages in one sitting. System Action: Design your processes. Create your trigger ritual. Schedule your "Tiny Habit" time into your calendar as a recurring, non-negotiable appointment. 3. OUTPUTS (The Results) Outputs are not just the final artwork. They are everything the system produces. · Primary Output: Finished artworks. · Secondary Outputs: · Sketches and studies (even "failed" ones). · Social media posts sharing your process. · A maintained inventory of your work. · Feelings of accomplishment, joy, or frustration (this is data!). System Action: Define what a "finished artwork" means for your system. Is it a framed piece? A digital file? A signed drawing? Create a simple way to catalog your outputs (a photo folder, a spreadsheet). 4. FEEDBACK LOOPS (The Control Panel) This is the most critical part of systems thinking. Feedback loops allow the system to self-correct and grow. · Balancing Loop (The Stabilizer): This loop corrects deviation. · Example: If you miss two art sessions in a row (the output), the system triggers a feedback signal. The corrective action is to revert to the "Tiny Habit" of just 5 minutes to get back on track. It prevents a total collapse. · Reinforcing Loop (The Amplifier): This loop creates virtuous cycles. · Example: You finish a piece (output) -> You share it online (feedback) -> You get positive comments (feedback) -> This motivates you to start the next piece (input). The system reinforces itself. · Another Example: You practice color theory (input) -> Your next piece looks better (output) -> You feel more confident and excited to practice more (input). System Action: Build these loops intentionally. · For the Balancing Loop: Set a rule: "If I miss two days, I must do a 5-minute sketch the next day, no matter what." · For the Reinforcing Loop: Create a "Victory Log" where you write down every small win. "Mixed a great color," "Drew for 20 minutes," "Finished a background." Review it weekly to feed motivation back into the system. 5. ENVIRONMENT (The Container) The system exists within a larger context. You must manage this environment. · Physical Environment: Your studio space. Is it inviting? Is it separated from distractions? · Social Environment: Do you have a supportive community? An accountability partner? Or are you surrounded by people who see your art as a "hobby"? · Digital Environment: Are your apps and tools set up to facilitate work? Or is your digital space full of distractions (endless scrolling)? System Action: Curate your environment. Join an online art community. Tell a friend about your system and ask them to check in. Use website blockers during your art time. --- Putting It All Together: A Sample System in Action Let's say your goal is one finished illustration per week. · Monday (Input Day): Review your idea sketchbook. Gather 3-4 references for the chosen idea. This is a low-energy input task. · Tuesday (Process Day): "Tiny Habit" trigger ritual -> 5-minute goal -> results in a 45-minute sketching session. The output is a rough composition. · Wednesday (Process Day): Trigger ritual -> focus on inking the sketch. The output is a finished line art. · Thursday (Process Day): Trigger ritual -> focus on flat colors. The output is a colored illustration. · Friday (Process Day): Trigger ritual -> add shading and highlights. The output is a "finished" piece. · Saturday (Feedback Day): Review the week's work. Photograph the piece. Enter it into your inventory. Share it online (seeking reinforcing feedback). What did you learn? What was hard? This feedback informs next week's inputs. · Sunday (Rest/Input): Rest. Consume art, go for a walk, fill your inspiration tank. Key Systems Thinking Principles to Remember: · Leverage Points: Don't just work harder. Change the system's structure. The most powerful leverage points are: · The Goal: A clear, powerful goal (Step 1) is everything. · The Mindset: Shifting from "I need motivation" to "I run a system." · The Rules: The rules you set (e.g., "the 5-minute rule," "the two-day miss rule") govern the system's behavior more than willpower. · Interconnectedness: A bad night's sleep (failed energy input) affects your process throughput, which affects your output quality. See the connections. · Non-Linearity: Small, consistent inputs (5 minutes a day) can lead to disproportionately large outputs (a new portfolio in a year). By designing and tending to this system, you stop being a victim of circumstance and become the architect of your own creative life. You're not just "making art"; you are operating a system that produces art. ## The Shadowed Grove: An Artistic Method for Dark Ecologies - [A] 21:10 - 21:20 The Shadowed Grove This movement, like a Shadowed Grove, is an artists’ method and manifesto combining themes of mimetic desire, anarchistic decentralisation, lateral thinking, and dark ecology. It seeks to interrogate the destructive systems of modernity while offering art as a space of resistance, [[ambiguity]], and transformation. Inviting creators to navigate the haunting beauty of ecological decay, unmasking the illusions of progress and control, and embracing the deep interdependence of all things. ![[The_Shadowed_Grove.jpg]] ### Core Themes and Practices #### 1. Art as Rupture: Breaking Linear Narratives Inspired by Edward de Bono’s lateral thinking, The Shadowed Grove rejects art constrained by predictable, linear progression. Instead, it embraces fragmented, cyclical, and adaptive approaches. Artists are encouraged to create works that destabilise familiar hierarchies and suggest non-linear, decentralised possibilities. • Practice: Create installations or pieces using loops, spirals, or incomplete cycles—physical or thematic—that resist a fixed “end” or resolution. For example, use decaying organic materials or feedback loops in digital media to reflect the collapse of control into entropy. This approach celebrates unpredictability, impermanence, and the beauty of disorder, offering fresh possibilities for both artistic process and meaning. #### 2. The Haunting of Agrilogistics Avoiding linear narratives or fixed resolutions, reflecting a broader acceptance of interconnection, uncertainty, and change. A style that evokes the fragility of systems, the collapse of hierarchies, and the blending of human and non-human phenomena. #### **Principles of the Art Style** ###### 1. **Unsettling Continuity:** Artworks emphasise continuous and cyclical processes rather than distinct beginnings or ends, reflecting the collapse of old structures and the emergence of new, uncharted patterns. The focus is on the interplay of forces rather than singular moments or achievements. ###### 2. **Interwoven Phenomena:** The boundaries between human and non-human, natural and synthetic, stable and unstable are blurred. The work reflects how interconnected systems interact and adapt across time, space, and scales, creating entangled and ambiguous aesthetics. ###### 3. **Temporal Disruption:** Time is not linear but layered, fragmented, and looping. Art can evoke memories of the past while projecting into speculative futures, capturing the tension between historical collapse and the possibility of regeneration or transformation. ###### 4. **Evolving Forms:** Works are designed to shift, grow, decay, or destabilize, echoing the unpredictable evolution of ecological and societal systems. The absence of permanence reflects an embrace of change and the inevitability of entropy. ###### 5. **Multisensory Experiences:** Beyond the visual, the style integrates other sensory elements, such as soundscapes, textures, and motion, to convey the complexities of human and environmental interactions. These can evoke visceral and immersive responses. ###### 6. **Non-Hierarchical Aesthetics:** Rejecting dominance, control, or single points of focus, the compositions are decentralized, drawing attention to the interplay of many elements simultaneously. This approach mirrors ecological webs rather than human-centered perspectives. #### **Artistic Practices** ###### 1. **Fluid Boundaries:** Art forms are open-ended, blending traditional disciplines such as painting, sculpture, and installation with modern or emergent practices. Hybrid forms emphasize the integration of seemingly disparate elements to explore the entanglement of systems. ###### 2. **Engagement with Temporality:** Time becomes a key medium. Artworks could change over their lifespan, becoming more intricate, decayed, or layered as a reflection of adaptive systems. Pieces may also incorporate rhythms or cycles that challenge static interpretation. ###### 3. **Speculative Futures:** Artworks may project scenarios of life beyond the Anthropocene, grappling with ecological collapse and reformation. These speculative dimensions invite viewers to engage with unknown possibilities and alternative realities. ###### 4. **Collaborative Creation:** The interconnectedness of all phenomena can be echoed in collaborative processes. Whether through collective creation or interaction with environmental elements, these practices mirror the entangled nature of existence. ###### 5. **Receptive to Chaos:** Rather than striving for polished control, the style embraces unpredictability, reflecting the uncontrollable forces that shape ecosystems and societies. Chance, decay, and disruption are integral to the creative process. ##### **Aesthetic Qualities** • **Fragmented and Organic Forms:** Reflecting the collision and interplay of various systems, forms might appear fractured yet interconnected. • **Contrasting Textures:** Juxtapositions of smooth and rough, flowing and static, or light and shadow embody systemic contrasts and entanglements. • **Temporal Layers:** Works capture the layering of time, with echoes of the past, presence, and future intertwining in dynamic ways. • **Ambiguity:** By resisting clear-cut narratives or messages, the style provokes thought and challenges assumptions, drawing viewers into a more profound contemplation of their place within larger systems. ##### **Example Applications** 1. **Dynamic Installations:** Evolving spaces that reflect ecological and societal systems’ ongoing and incomplete transformations, inviting viewers to interact with or observe shifting forms over time. 2. **Interactive Media:** Artworks that respond to human interaction, creating feedback loops that symbolize the interconnected consequences of actions. 3. **Speculative Landscapes:** Imagined ecosystems that blend fragments of the familiar with the alien or unknowable, offering glimpses into possible futures or alternate worlds shaped by the Anthropocene’s legacy. By focusing on connection, collapse, and transformation, this style mirrors the complexities of modern existence and the ecological realities that define our uncertain future. It calls for reflection on the entangled phenomena shaping both humanity and the world beyond. #### 3. The Mimetic Mirror: Reflections on Desire René Girard’s mimetic theory teaches us to question what and why we desire. Artists in The Shadowed Grove are urged to explore the desires imposed by society—commodities, beauty standards, power structures—and expose their constructed nature. • Practice: Create pieces that reflect back society’s most destructive desires, subverting their power by exaggerating, distorting, or mirroring them in ways that provoke critical thought. For example, mimic the language of advertising to “sell” resilience, mutual aid, or ecological interdependence instead of products. 4. Decentralisation as Creation Anarchistic and egalitarian principles are not just themes but structural practices. The Shadowed Grove invites artists to co-create, share, and build collective works, dissolving the myth of solitary genius in favour of mutual aid and distributed authorship. • Practice: Collaborative installations, open-source digital art projects, and communal land art all fit this ethos. For example, invite a community to weave invasive plants into living sculptures, showing how collective effort can transform ecological harm into resilience. 5. Dark Ecology as Aesthetic The aesthetics of The Shadowed Grove embrace what Morton calls the “weird and eerie”—the unsettling, uncanny beauty of recognising humanity’s deep entanglement with ecological systems. Works should evoke the sublime fragility and haunting persistence of life. • Practice: Create works that exist in liminal spaces—half-natural, half-human landscapes; abandoned industrial sites reclaimed by nature; or ephemeral pieces that decay or transform over time. Artistic Manifesto of The Shadowed Grove 1. Rooted in Ruin: Let the scars of humanity’s interference with nature become the canvas. Seek beauty in the broken and meaning in the marginal. 2. Entangled Creation: Reflect the interconnectedness of all things. Your work does not stand apart but weaves itself into the fabric of life, decay, and rebirth. 3. Disrupt and Decentralise: Subvert hierarchical norms of creation. Reject linear goals, singular authorship, and polished “completion.” 4. Embrace the Eerie: Let your art haunt. Let it linger on the edge of [[comfort]], reminding the viewer of the fragile and shadowed ecosystems we inhabit. 5. Seeds, Not Monuments: Your work should grow, scatter, and propagate ideas. Leave behind movements, not relics. ### Mediums and Methods ##### 1. Living Installations • Create art that evolves, decays, or is reclaimed by nature over time, such as moss graffiti or mycelium-based sculptures. • Example: A “time-lapse” sculpture where plants grow through cracks in industrial debris, symbolising resistance and renewal. ##### 2. Fragmented Narratives • Use multi-medium [[storytelling]] that avoids clear resolutions. Incorporate zines, podcasts, or projections to tell pieces of a story in different locations or formats. • Example: A series of hidden audio installations scattered through a forest, whispering fragmented ecological myths. ###### 3. Collaborative Land Art • Work with communities to create collective pieces on shared or contested land, blending art and activism. • Example: A “guerrilla meadow” of wildflowers planted in the shape of the infinity symbol, symbolising cycles of growth and decay. ###### 4. Reclaimed Materials • Focus on art made from waste or found objects, transforming the detritus of agrilogistics into evocative pieces. • Example: A multimedia piece using discarded farm machinery, projected with images of wild ecosystems reclaiming agricultural land. #### Maxims for The Shadowed Grove • “From decay, we create; from shadow, we see.” • “The earth whispers; we echo.” • “Art is not escape—it is entanglement.” • “Reject the straight path; find beauty in the labyrinth.” • “To grow is to resist.” This method transforms art into a dialogue with the dark ecology of our time, blending beauty and critique to shift cultural perceptions and seed new ways of thinking about our place in the tangled web of life. # The Shadowed Grove Ethics Checklist ## 1. Entanglement Over Isolation • Practical Check: Does your art reflect interconnectedness, whether through its materials, themes, or process? It should reject the myth of independence, showing how all systems—natural, human, and artificial—are deeply intertwined. • Inspiration: “Your work is a thread in a larger web—ensure it tangles with the world, not above it.” ## 2. Decay as Creation • Practical Check: Does your art embrace transformation, impermanence, or decay? Use materials or ideas that evolve over time, allowing entropy to become part of the work. Avoid static perfection or lifeless permanence. • Inspiration: “Let your art breathe and wither; in its ruin lies its rebirth.” ## 3. Communal Rooting • Practical Check: Does your art invite collaboration, participation, or collective growth? It should decentralise authorship, offering others a role in its creation, interpretation, or continuation. • Inspiration: “Your art is not yours alone; it should grow in the hands of others.” By adhering to these three principles, the art of The Shadowed Grove ensures it resonates deeply with the movement’s ethos while remaining open to evolution and inclusivity. Entanglement Over Isolation 1. Material Sourcing: Use materials that are interconnected with natural or human systems—recycled waste, invasive plant species, or objects with ecological or cultural histories. • Example: Use driftwood or rusted metal from abandoned sites to show their narrative connection to human neglect and nature’s persistence. 2. Thematic Design: Choose subjects that highlight interdependence, such as pollinator-plant relationships, human-wildlife coexistence, or ecological feedback loops. • Example: Create an installation that illustrates how bees and wildflowers co-create ecosystems, such as sculptural forms that mimic pollination patterns. 3. Collaborative Input: Consult with others—scientists, local communities, or fellow artists—to inform your work, ensuring it reflects diverse entanglements rather than a singular perspective. • Example: Work with ecologists to map a local area’s biodiversity and incorporate that data into your piece. Decay as Creation 1. Choose Transformative Materials: Incorporate biodegradable or weather-reactive materials that will change over time, such as wood, natural dyes, mycelium, or untreated metals. • Example: Create a sculpture with untreated iron that rusts and blends into the environment over the seasons. 2. Plan for Change: Design pieces that allow for entropy, growth, or decay. For example, plant-based works that grow or wilt, or installations left outdoors to weather naturally. • Example: A moss graffiti mural that evolves as the moss grows, creating new shapes over time. 3. Document the Journey: Embrace impermanence by documenting the work’s transformation through photography, video, or journaling, allowing the story of its decay to amplify its meaning. • Example: Capture time-lapse footage of a clay sculpture dissolving in the rain, turning destruction into an artistic statement. Communal Rooting 1. Invite Co-Creation: Involve others in the process by hosting workshops, open calls, or public planting sessions to contribute to the work’s creation. • Example: Create a “seed sculpture” where participants bring and plant seeds in a shared space, contributing to a collaborative garden. 2. Open the Work to Evolution: Allow viewers to interact with or alter the piece, ensuring it reflects collective engagement rather than fixed authorship. • Example: An installation where people add their stories, drawings, or natural objects over time to expand the narrative. 3. Give Back to the Community: Design works that benefit their surroundings, such as improving biodiversity, reclaiming neglected spaces, or sparking discussions that empower local voices. • Example: A public art project that transforms an abandoned lot into a wildflower sanctuary for pollinators and people alike. These steps ensure that each piece aligns with the [[ethics]] of The Shadowed Grove, creating art that is alive, collaborative, and deeply embedded in the web of life. I want to go more wild, more expressive and experimental, eschewing conventional and uninspired work in favour of more [[chaos]], more [[Energy]] and in pursuit of the unique and spontaneous. Leaving behind narrow constraints of historically structured definitions of artistic and cultural aesthetics Peak creative performance is most likely achieved during periods of relative tranquility, characterised by a manageable workload and a rested state. This suggests that engaging in your artistic endeavours during times of minimal external demands and prior to reaching a state of exhaustion optimises your creative output. ![[Andre Breton#^ff6fe7]] --- Lord Thomas, applying Paul Feyerabend’s philosophy to art practice suggests embracing a mindset that values experimentation, individuality, and the breaking of traditional norms. Here are some practical ways this idea can be implemented to maximise artistic prowess: 1. Reject Rigid Rules in Art • Advice: Avoid limiting yourself to traditional methods, styles, or materials. Experiment with unconventional tools, mediums, and techniques to challenge established artistic norms and explore new creative avenues. • Example: Combine painting with digital manipulation or sculpture with sound design, even if these combinations are unconventional. 2. Cultivate a Diversity of Influences • Advice: Draw inspiration from various disciplines, cultures, and movements. Don’t confine yourself to the [[history]] of art; incorporate ideas from science, literature, philosophy, and everyday life. • Example: Use scientific concepts, like fractals or chaos theory, as a thematic or visual element in your work. 3. Embrace Contradictions and Fluidity • Advice: Allow your art to evolve without the need for consistency in style, subject matter, or technique. Accept that contradictions within your practice can enhance its richness and depth. • Example: Create pieces that mix abstract and figurative elements or explore both minimalism and maximalism in different projects. 4. Value Intuition as Much as Method • Advice: Trust your instincts and emotional responses during the creative process, rather than adhering strictly to pre-planned methods or outcomes. • Example: Begin a project without a clear end goal and allow it to evolve through improvisation and response to the materials. 5. Foster a Culture of Experimentation • Advice: Design your studio or workspace to encourage playful and experimental creation. Allow space for mistakes, which can often lead to breakthroughs. • Example: Dedicate specific times for “methodless” work sessions, where the only goal is to create something without concern for quality or purpose. 6. Challenge Norms Through Collaboration • Advice: Work with people outside your usual creative circle to gain new perspectives. Collaborations can disrupt ingrained habits and introduce fresh methodologies. • Example: Partner with a coder, dancer, or architect to co-create a project that neither of you could have envisioned alone. 7. Reflect and Revise Freely • Advice: Be open to revisiting and revising past works without fear of betraying their original intent. Consider this evolution a core part of your practice. • Example: Take an old piece and reinterpret it using different techniques or concepts you’ve since developed. ![[The Long History of… Ignorance#^fad91e]] ## Incorporating Paul Feyerabend’s philosophy By embracing [[Paul Feyerabend]] philosophy, you can cultivate a dynamic, flexible art practice that evolves with your ideas and resists stagnation. This approach not only maximises creativity but also keeps your work alive and relevant. Paul Feyerabend’s ideas in _Against Method_ highlight the contrast between rigid methods and creative practice, emphasizing that true progress often arises from flexibility and breaking established rules. In his view, scientific advancements—and by extension, creative practices—thrive not through strict adherence to method, but through pluralism, [[PROJECTS/Art work/Experimentation]], and adapting to context. Feyerabend’s advocacy for an “anarchistic” approach suggests that creativity is best served when multiple approaches are embraced, allowing for innovation and unique expression to flourish beyond traditional constraints. ## Certainly, Lord Thomas. The interplay between [[Object-Oriented Ontology]] (OOO) and the arguments in The Mind is Flat by Nick Chater provides fertile ground for developing a philosophical idea—ironically, about the overvaluation of ideas. Here’s a starting point for this line of thought: “The Tyranny of Ideas: A Flat Ontology of Objects and Minds” Core Claim: Ideas, far from being the ultimate reality or drivers of meaning, are overvalued constructs that obscure the vibrant, material, and relational reality of the world. The Philosophical Foundations 1. Object-Oriented Ontology (OOO): • OOO emphasises that objects—both living and non-living—exist independently of human thought or perception. Objects are not reducible to human ideas about them. • Implication: Ideas, being abstractions created by humans, are secondary to the dynamic, material existence of objects themselves. 2. Nick Chater’s The Mind is Flat: • Chater argues that the mind has no deep layers of ideas or beliefs but instead constructs explanations on the fly. • Implication: The centrality of ideas as “foundational” truths of the mind is a fiction. We improvise meaning moment-to-moment, underscoring the ephemeral nature of ideas. Ironically Devaluing Ideas The Argument: • Ideas as Overrated Mediators: Ideas often act as intermediaries that claim to “capture” reality but actually distort or flatten the richness of the material and relational world. In valuing ideas over objects or processes, we elevate human cognition at the expense of the non-human and the non-ideational. • The Material World Speaks: A chair, a stone, or a cat exists independently of our ideas about them. These objects are rich in meaning and relations without needing our conceptual framing. By overvaluing ideas, we diminish the “thingness” of things. Irony and Practicality To keep this idea ironic, one could point out: • The “idea” that ideas are overvalued is itself an idea, showing the inescapability of the human tendency to conceptualise. • This paradox can be framed as evidence of human arrogance: we are so enraptured by our own abstractions that even the critique of ideas must take place within their realm. Practical Application • Artistic Practice: Focus on objects, textures, and materials themselves rather than their symbolic meanings. Explore their “flatness” as independent entities in your work. • Philosophical Method: Avoid over-reliance on abstract theorising; instead, immerse in observing and interacting with the physical world. Prioritise presence over analysis. Possible Starting Point for Writing or Debate “In valuing ideas as the crown jewels of human culture, we might have forgotten the jewellery box: the objects, processes, and immediate interactions that exist without interpretation or intellectual embellishment. What if the mind’s ‘flatness,’ as Nick Chater suggests, is a clue not to our limitations, but to our unnecessary obsession with making mountains out of molehills of meaning?” This irony-laden framework critiques the pedestal upon which ideas are placed while leaving space for objects and relations to shine in their unadorned complexity. Would you wish to develop this further, Lord Thomas? --- Developing an Ecological and Epistemological Anarchism-Inspired Artistic Methodology: 1. **[[Complexity Theory]] and Natural Process**: - Embrace complexity theory in your artistic approach, akin to [[Brion Gysin]]'s methodology. - Allow the creative process to unfold naturally, adapting and responding to the present moment. - Practice precedes theory: prioritise hands-on experience over theoretical constructs. --- 1. **Embracing Chance and Intention**: - Draw inspiration from [[Odilon Redon]]'s interplay of chance and careful planning. - Incorporate elements of serendipity, exploration, and uncertainty into your work. - Collaborate with others and trust your artistic [[intuition]] to guide your creative journey. --- 1. **Reviewing and Expanding Artwork**: - Engage in reflective practice by critically observing your artwork after each session. - Practice mindful observation to delve into the details and [[emotions]] within your pieces. - Foster [[PROJECTS/Art work/Experimentation]], seek inspiration, and embrace serendipity to push creative boundaries. --- 1. **Journaling and Feedback**: - Maintain a visual journal to document ideas and observations, fostering experimentation and growth. - Seek feedback from peers, mentors, and art communities to gain valuable insights and perspectives. - Embrace iteration and revision, allowing your artwork to evolve and improve over time. --- By following these steps, you can develop a dynamic and responsive artistic methodology that fosters [[creativity]], exploration, and growth. ____ After making notes about [[Brion Gysin]] I have this starting idea for a step by step methodology for artists. The work should be done in ‘the field’ and not the laboratory. Always adapting, responding to now and experimenting. Practice precedes theory. --- The doing becomes the path - motion is emotion. 1. [[Complexity Theory]]: Gysin's approach to art, which often involved building complex systems out of simple elements, has similarities with the study of complexity theory. This field studies the behaviour of complex systems, such as ecosystems or economies, and the [[emergence]] of patterns and structures from simple interactions. Gysin's work can be seen as a precursor to the study of complex systems. --- Allow the process to unfold naturally. Once you have a clear goal in mind, you can begin to let the process guide you along. This means staying open to new ideas and letting your work evolve organically, rather than trying to force it into a preconceived shape. By embracing the creative process and staying open to new possibilities, you can discover new directions and ideas that you may not have considered otherwise. --- 2. [[Odilon Redon]] In the realm of artistic creation, there exists a parallel to the mysterious interplay of chance and careful planning found in science. Artists, like scientists, can harness this dynamic to enhance their creative process. Here are some words and methods artists can embrace: --- ##### 1. Serendipity: Allow for serendipitous moments in your work. Embrace unexpected [[colours]], shapes, or ideas that may arise during the creative process. These unplanned elements can infuse your art with uniqueness and vitality. ##### 2. Exploration: Be an explorer of your chosen medium. Experiment with different techniques, materials, and styles. In the midst of exploration, you may stumble upon novel approaches that breathe life into your creations. --- ##### 3. Embrace Uncertainty: Much like the Uncertainty Principle in [[Science]], acknowledge that art too has its inherent uncertainties. Let go of the need for rigid [[Control]], and instead, find beauty in the spontaneous and unanticipated aspects of your work. --- ##### 4. Collaboration: Collaborate with other artists or disciplines. Just as complex systems in science often emerge from diverse interactions, collaborative efforts can lead to fresh perspectives and unexpected inspirations in your art. --- ##### 5. [[Intuition]]: Trust your artistic [[intuition]]. Sometimes, the most profound creations arise from a deep connection with your inner self, where instinct and emotion guide your hand and brush. --- ##### 6. Iteration: Recognise that art, like scientific experimentation, often involves multiple iterations. Be willing to refine and rework your creations, allowing them to evolve and improve over time. --- ##### 7. Storytelling: Weave narratives into your art. Stories captivate and engage viewers, adding layers of meaning and intrigue to your work. This narrative element can introduce an element of mystery and depth. --- ##### 8. Embrace the Unplanned: Occasionally, allow yourself to start a piece with no fixed outcome in mind. Begin with a blank canvas, both literal and metaphorical, and see where your creative journey takes you. --- In the world of art, as in science, the dance between intention and chance can lead to astonishing and beguiling results. Embracing this duality can open doors to new realms of creativity and expression. --- Here are some suggestions for learning to review and expand upon the marks and images you've created: 1. **Reflective Practice**: Take time after each session to review your artwork. Sit quietly with your pieces and observe them with a critical yet open mind. Consider what elements resonate with you and what aspects you might want to explore further. --- 2. **Mindful Observation**: Practice mindful observation of your artwork. Notice the details, textures, and compositions within each piece. Pay attention to the [[emotions]] and thoughts that arise as you observe your work. --- 3. **Experimentation**: Embrace experimentation as a key part of your artistic process. Allow yourself to play with different techniques, mediums, and tools. Explore new ways of creating marks and shapes to push the boundaries of your creativity. --- 4. **Seek Inspiration**: Look for inspiration in a variety of sources, such as nature, other artists' work, literature, or music. Expose yourself to different styles and perspectives to expand your visual vocabulary and spark new ideas. --- 5. **Embrace Serendipity**: Be open to unexpected discoveries and happy accidents in your artwork. Sometimes, the most interesting ideas emerge from spontaneous gestures or unplanned interactions with your materials. --- 6. **Visual Journaling**: Keep a visual journal or sketchbook where you can document your thoughts, ideas, and visual observations. Use this space to experiment freely and record your impressions of the world around you. --- 7. **Feedback and Critique**: Seek feedback from trusted peers, mentors, or art communities. Engage in constructive critique sessions to gain insights into your work and identify areas for growth. --- 8. **Iteration and Revision**: Don't be afraid to revisit and revise your artwork over time. Allow yourself the freedom to iterate on existing pieces, incorporating new insights and ideas into your creative process. --- By incorporating these practices into your artistic method, you can cultivate a deeper understanding of your work and open yourself up to a wealth of new possibilities for image creation and expression. --- ![[Enneagram#^4d4066]] --- [[Against Method]]: Outline of an Anarchistic Theory of Knowledge is a 1975 book by Austrian philosopher of science Paul Feyerabend. The central thesis of the book is that science should become an anarchic enterprise. In the context of the work, the term "[[anarchy]]" refers to epistemological anarchy, which does not remain within one single prescriptive scientific method on the grounds that any such method would restrict scientific progress. The work is notable in the [[history]] and philosophy of science partially due to its detailed case study of Galileo's hypothesis that the earth rotates on its axis and has since become a staple reading in introduction to philosophy of science courses at undergraduate and graduate levels. Against Method contains many verbatim excerpts from Feyerabend's earlier papers including "Explanation, Reduction, and Empiricism", "How to be a Good Empiricist: A Plea for Tolerance in Matters Epistemological", and "Problems of Empiricism, Part I." Because of this, Feyerabend claims that "Against Method is not a book, it is a collage." Later editions of Against Method included passages from Science in a Free Society. "An anarchist is like an undercover agent who plays the game of Reason in order to undercut the authority of Reason (Truth, Honesty, Justice and so on)." Paul Feyerabend. [[Atmosphere]] [[mood]] [[emergence]] ### Artist’s Method - [x] Write Neil Hannons words from podcast >2024-08-15 (about 10mins in.. bbc sounds download) Niel Hannon says: Some of the best work I have ever done in my career was at the start. He’s not depressed by this but just realises that it was because he was coming at things afresh, with a sense of ignorance if you like. He says when musicians get a new instrument they like to instantly write a new song with it. Again, you can almost attribute this to the ‘ignorance’ and freshness. A lack of fear. You try and copy your favourite artists and come up short, but actually create something more ‘you.’ The more you learn your instrument somehow the more it seems to push away the possibility of imagination. > Ignorance brings something knowledge can’t The first blush of love you are just finding out the tip of the iceberg and full of wonder about how much you are going to know about this person. T.S.Elliot > The knowledge imposes a pattern, and falsifies, for the pattern is new in every moment. And every moment is a new and shocking valuation of all we have been. Like the The Patterning Instinct The Master and his Emissary The right brain is the true master. The left however has taken over in our culture, and thinks it’s in control. --- ### **The Manifesto of Poetic Symbiosis** **I. The Unleashing of the Unconscious** We stand at the threshold of the unsaid, where the unconscious mind—untamed and vast—rises as the primal force in the creation of meaning. In this realm, logic dissolves, and the barriers between thought, dream, and instinct blur into an ecstatic symphony. Poetic symbiosis is the art of surrendering to this force, allowing it to weave connections between the known and the unknown, the human and the non-human, the seen and the unseen. **II. The Dance of Interconnectedness** We reject the isolation of symbols, words, and images. Instead, we embrace the interconnectedness of all things—across time, space, and form. Every object, every creature, every thought, and emotion is a node in a vast, living web of meaning. Through poetic symbiosis, we illuminate these connections, drawing threads between the natural and the artificial, the organic and the mechanical, the living and the inanimate. **III. The Voice of the Voiceless** In our art, the voiceless find their voice. We listen to the whispers of the earth, the murmur of water, the rustle of leaves, the silence of stones. We channel these voices through our work, giving expression to the non-human world that pulses with life and meaning, yet often goes unheard. In doing so, we blur the boundaries between species, between the sentient and the insentient, revealing the shared essence that permeates all existence. **IV. The Fusion of Form and Essence** Poetic symbiosis seeks to transcend the dualism of form and essence. We do not merely represent the world—we embody it, infuse it with the raw energy of our unconscious. Our creations are not static artifacts but living organisms, evolving with every interaction, every interpretation. The essence of our work is fluid, dynamic, constantly reshaping itself in response to the flow of life. **V. The Embrace of Chaos and Complexity** We reject the tyranny of order, the false clarity of rationality. In chaos, we find the seed of creation; in complexity, we discover the richness of meaning. Poetic symbiosis is an embrace of the wild, the unpredictable, the multifaceted. Our art is a mirror to the chaotic dance of the universe, reflecting its beauty and terror, its harmony and dissonance. **VI. The Ritual of Creation** Creation is a ritual, a sacred act of communion with the unconscious and the cosmos. In this ritual, we dissolve the ego, allowing the deeper, collective mind to guide our hand. Our tools are not mere instruments—they are extensions of our being, conduits through which the primal forces of nature and psyche flow. Each act of creation is an invocation, a summoning of the hidden forces that shape reality. **VII. The Rebirth of Symbols** In poetic symbiosis, symbols are not fixed; they are born, die, and are reborn in an endless cycle of metamorphosis. We reclaim ancient symbols, infuse them with new life, and allow them to evolve. We create new symbols from the depths of the unconscious, drawing on the shared wellspring of human experience and beyond. Our symbols are living entities, constantly transforming, constantly speaking in new tongues. **VIII. The Communion of All Beings** We recognize the unity of all beings—human, animal, plant, mineral, and spirit. In our art, we seek to bridge the gaps between these worlds, fostering a deep communion that transcends the artificial boundaries imposed by culture and consciousness. Through poetic symbiosis, we create a space where all forms of life can interact, influence, and enrich one another. **IX. The Quest for the Sublime** Our ultimate aim is the sublime—the moment where the finite touches the infinite, where the personal merges with the universal, where the mundane is transfigured into the extraordinary. Poetic symbiosis is the path to this transcendence, a journey into the heart of mystery, where the unconscious reveals the hidden connections that bind the cosmos together. **X. The Legacy of the Eternal Now** We reject the linearity of time, embracing instead the eternal now—a moment where past, present, and future coexist in a symbiotic dance. Our art is not bound by history or prophecy; it exists in the timeless realm of the unconscious, where all moments converge. In this space, we create works that resonate across ages, speaking to the eternal human condition and the ever-changing face of the world. #### **In Poetic Symbiosis, We Declare:** We are not mere creators; we are conduits, vessels through which the unconscious and the cosmos flow. Our art is not a product; it is a process, a living, breathing entity that evolves with every thought, every gesture, every breath. We invite all to join us in this symbiotic dance, to unleash the unconscious, to explore the hidden connections of life, and to create a world where all meanings are intertwined, all beings are united, and all existence is celebrated. --- Obsidian is a powerful tool for fostering creative ideas, especially by helping to make random connections between notes, ideas, and concepts. Here are a few ways you could use it to boost creativity: 1. Backlinking and Unlinked Mentions: Obsidian’s core strength lies in its backlinking feature. When you create a new note, Obsidian will show you which other notes have linked to this one and even suggest unlinked mentions of the note’s title across your vault. This can help you discover unexpected connections between ideas. 2. Random Note Function: You can use Obsidian’s Random Note plugin to open a note at random. This randomization can spark new associations between ideas that you might not have consciously connected before. 3. Graph View: The Graph View visualizes how your notes are interconnected. By exploring this map, you can spot clusters of related ideas and explore areas where connections between concepts might be weak or nonexistent, giving you an opportunity to foster new links. 4. Tag System for Creative Patterns: By tagging notes with categories like “inspiration,” “idea,” or “random thought,” you can create a pattern of thoughts that can be revisited when brainstorming. When reviewing all your notes tagged “idea,” you may begin to see patterns, repetitions, or contradictions that lead to new insights. 5. Templates for Idea Generation: Create templates that prompt creative thinking, such as “What would happen if…?”, “How is this connected to…?”, or “What’s the opposite of this idea?” By routinely filling out these templates for your notes, you can force yourself to think about the material in novel ways. 6. Dataview Plugin for Unexpected Links: Using the Dataview plugin, you can query your notes based on specific criteria (like the date created, tags, or keywords) and generate new lists or tables of related notes. This can surface ideas you hadn’t thought about together before. 7. Daily Notes for Freewriting: Use daily notes as a space for freewriting or idea dumping. You can later review these entries and use backlinks to link spontaneous thoughts to more structured notes. 8. Periodic Reprocessing: Regularly revisit your notes by using features like MOCs (Maps of Content) or simply reviewing older entries to connect them with newer thoughts. This ensures that earlier ideas are always part of your creative process and not forgotten. These approaches allow you to use Obsidian’s structure to organize randomness, leading to fresh insights and innovative connections. `Knowledge Base:` [[Art]] <iframe src="-"></iframe>