I wanted to write that we're all inside Saturday but then I realised that we have transcended the day barrier and it is officially Sunday now. So that pretty much makes this update obsolete before it's even been written
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I know exactly what you mean. I've got entire tomes overflowing with fractured thoughts, folders exploding with single melodic moments, meandering sketchbooks scored with aimless scribblings... very little of my output is crystallized--hell, it's incomplete. It's really easy to get overwhelmed by the overpopulation of vagrant ideas; you seem like you've got a pretty hyperactive mind (ditto), which can quickly make it doubly challenging. I find the best way to work with your own raw material is to start with the bookends--craft a concrete framework and fill it in with creative goodness. It's like drawing figures, you start with basic shapes and then carefully refine the form. Our minds are so obscure, so abstract; while individual thoughts tend to lack definition, the ultimate expressions we seek are careful and delicate webs of wisely woven ideas. The path from one end of this spectrum to the other is unique for each and every person, but there helpful guidelines... namely... create guidelines! It's tempting to directly thumb the pulse of your creativity and work only with streams of impulse; a valuable tool, yes--but it's only the beginning. You need to be discriminate, to smelt the ore and reform it; reflection is what breathes life into art... it's the difference between an etch-a-sketch and an achievement. There's no real pause on the former, but it's essential... for instance, the musician must focus the silence surrounding his noise as much as he does his own din. The same is true with any art--what isn't being said is just as important as what is said, like the space between your words or strokes. I've learned that you've got to take a step back and take stock of everything that's involved with your output; consider the full scope of a particular project before you ever bring pen to paper, fingers to keyboard, mouth to microphone... actually implementing this knowledge, however, is another story altogether!
It's really easy to get overwhelmed by the overpopulation of vagrant ideas; you seem like you've got a pretty hyperactive mind (ditto), which can quickly make it doubly challenging. I find the best way to work with your own raw material is to start with the bookends--craft a concrete framework and fill it in with creative goodness. It's like drawing figures, you start with basic shapes and then carefully refine the form. Our minds are so obscure, so abstract; while individual thoughts tend to lack definition, the ultimate expressions we seek are careful and delicate webs of wisely woven ideas. The path from one end of this spectrum to the other is unique for each and every person, but there helpful guidelines... namely... create guidelines! It's tempting to directly thumb the pulse of your creativity and work only with streams of impulse; a valuable tool, yes--but it's only the beginning. You need to be discriminate, to smelt the ore and reform it; reflection is what breathes life into art... it's the difference between an etch-a-sketch and an achievement. There's no real pause on the former, but it's essential... for instance, the musician must focus the silence surrounding his noise as much as he does his own din. The same is true with any art--what isn't being said is just as important as what is said, like the space between your words or strokes.
I've learned that you've got to take a step back and take stock of everything that's involved with your output; consider the full scope of a particular project before you ever bring pen to paper, fingers to keyboard, mouth to microphone... actually implementing this knowledge, however, is another story altogether!
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