It’s a terrific development in human history that so many people should have the means and mechanisms to create images and sounds and words, but the dilution of importance for the best of those creations threatens the value and continuity of the whole enterprise.
When there’s no direct reliance on trust, powers of creative perception change. Obligation provokes sensitivity, and sensitivity inspires creative insight.
To develop creative work is to manipulate. The creative process has less to do with quantification than it does with intuition. To be creative is to feel something rather than calculate something, and feelings are always subject to change.
What could art possibly mean to a global population that spends most of its days eking out meager livings on the rough streets of Bangalore, Dar es Salaam, or Medellin? What does art possibly mean to the people who spend their days pouring over spreadsheets working to score points with the House Appropriations Committee?
Hollow efforts to declare that windmills are dragonsspends the character’s precious life not on morality or values, but on deluded self indulgence.
When an idea is only as good as its ability to hold space until the next idea flickers onto our screen, a more fundamental devaluing of life has begun to take hold.
When something looks like it’s got the formula down, one begins to wonder if there’s a soul inside that formula, or simply a series a cold algorithm built of logical instructions.
Wherever the holiday finds you, you’re obviously reading this, which therefore means you’re alive. That’s not something to forget, or waste.
The more a creative person understands that nothing comes into being without coming from somewhere, the more he or she can connect new inventions to deeper themes and resonances.