Creativity, as seen through Chromatic Daggers Drawn to Spark

Butterfly Effective

sentimentally inert
with affections toward butterflies,
even moths

rest, predictably effecting,
the ladders of time

as weeks merge into
one day (light)

spaces beams
intricately,

though
it's pattern of designs,
often go unseen

to all variables in each
fragmentation of scenery

Sparse reception,
scantily clad,
amidst the nets cast unto
methodologies unveiled

organically, naturalistically,
the skeptic must
reconsider his orientation

One small differentiation, a brushing,
a daub, a touch…

Unto nothing

yet, this nothing
is about to
alter everything

For Wednesday Wake Up Call over at New World Creative Union, where Natasha prompts us to think of, and to become inspired by, the butterflies that capture our creative eyes.

The Tools for Creative Endeavor

Seeing I've been pretty short on time the past few days, I thought I'd do something quick and easy, yet high on meaning.  I thought I'd put together something of a Graffiti inspired piece.  In so doing, I thought it would be kind of neat to write out the various tools the artist has at their disposal.  These tools help the artist conduct their visions and in so doing, enable fully, an individuals creativity.  Then I thought, why not use each tool to accomplish this.  For example:  Crayon was done in Crayon etc..

I'm hoping to have a little more time to devote to my blogging.  The creativity hasn't bounced away, it's there, needling me everyday, which I can't be more thankful for.  So I've got a nice set of ideas to expand upon, and that's for both the Art and the Poetry.  Anyhow, thanks to everyone who stop by regularly and for those of you who are making their first visit, I do appreciate you all.  Happy Wednesday

Self-Portrait

Over at New World Creative Union, Natasha's posted this week's prompt for the Wednesday Wake Up, and it has to do with creativity and to shut those hater's up for good.  

Well, I started off attempting to paint up some vicious Dragon breaking free from an unsettled mass of earth, but then I realized I'm not that kind of artist, well, only because I haven't learned to be that kind of artist yet.  Fact being, my dragons look like anteaters, so that's a big reason I very rarely do anything that's not abstract.  However, I wondered, what could I do?

So I started out doodling in crayon, thanks Tash, and just started mindlessly drawing, (which is how all my pieces get going).  Then a thought captured me, and the result is now here, on display.  A Self-Portrait.  And while I'd love to say it's strictly my artistic self, I really don't want to lie.

Not sure if this piece silences the haters, or makes them want to say "told ya so," but if that's the case, let me rebut by saying, the first step in overcoming adversity is by identifying there is adversity to overcome.  Understand your struggles, contemplate them and ways around or through them.  Only by acknowledging as such, will you even have a shred of hope in overcoming them."

But then, the question arises, that I struggle with the most.  If you eliminate adversity, kind of impossible really, speaking generally, but if you are able to bring your mind to a better place, improve your lifestyle etc.. does what makes your creative side move also disappear?

That's the riddle right there.  A riddle I'm sure most would say, away cruel ills, and pray it doesn't clasp tightly upon your artistry as you vanquish it from your days.

The Art of Possibilities When Interpretation Is Unleashed ( Reposted from My Poetry Blog)

I've decided to repost an article I wrote for Poetical Psyche, my poetry blog.  The article deals with the topic of possibility and how interpretation, when allowed to freely roam, can open new doors to experience.  The article deals primarily with poetry, yet I feel it addresses key points crucial to the art of creativity and creative design as a whole.  I thought the readers here would enjoy the article so that's the reason for the repost.

A rising toll betrays safe passage.

Interest dims as hidden fees lace the bridge.

Patent evoked.                 

                                           P

                                       C  A

                                   D  E  T

                               T  D  T  E

                           E. D  E  H  N

                       E  I   I  N  E  T

                    A P  N  M  F  B  E

                L  Y  A  T  S  E  R V

            G  B  S  S  E  A  E  I  O

        S  T  E  S   S  R  S  S D  K

    R  I  O  T  A   A  E H  L  G  E

A  I  N  L  R  F   G  S  I  A  E. D.

A   R  L  N  N  E  T  C  N  O  T  R

     O  L  G D   S. E  O  D  V  E  F

         I  P  A   C  R  V  O  I  X  L

            I  N    O  T  E  U  D  T  A 

               C    U   O  R  G  E  U  T

                     N   P   E  H,  S  R  T

                          S,  D  P  T   E   E

                               I   R  H   S  R

                                        E   F   I

                                             O   N

                                                  G

A rolling pin dances.

Countertops, covered in dough,

Provide the textures for flattering.

Even the identical or seemingly similar can take a variety of form.  It’s the job of the poet and the creative to look at our surroundings in as many ways as possible.  We should be able to look at things above and beyond what face value dictates.  This can be accomplished through identifying symbols and metaphor, or it can be as intricate as the reconfiguration of words, phrases or ideas. 

All things have a multitude of faces, a myriad of possibility stitched within their essence.  Perhaps what’s taken at face value will prove to be the predominant and/or overriding image or idea.  Despite authorial intent, or whatever typical reaction may be, for others, for ourselves, we should never solely defer to that judgment without exploring alternate frameworks and/or filtrations first. 

These two “poems” have been arranged in a manner that forces the reader to break from tradition. In the majority of cultures, people are conditioned and accustomed to reading from left to right.  By constructing these examples in the manner I chose, we are forced to accept an alternate pathway.  We must adapt to the setting and attempt a coexistence with what we most likely feel uncomfortable doing.

This exercise allows the reader the experience, albeit simplistic in overall design, of immersing oneself into just one of the many possibilities that exists in everything.  I may have set these pieces up in certain manners, but who’s to say that meaning could not be gained by a traditional reading of the pieces.  While most would likely see an incomprehensible and meaningless stream of letters, it’s also possible that their may be others out there that will harness meaning, see things that are not visible to most.  Is this then an improper interpretation?  Of course not, simply ignoring the possibilities that may exist, even when particular meanings have been overlooked, unconsidered or even incomprehensible to the author, is limiting in scope.  Opening range and expanding possibility is what we strive to achieve.  This is especially true for the creative and the poet alike, where, at times, the monikers often become blurred, hence merging the separate, yet similar definitions, into one.   

By altering vision, by opening and expanding your comfort level you are living courageously.  When you allow yourself this courage, you therefore allow yourself the ability to not simply accept more than one reality but to look for and seek out as many alternate possibilities that you are able to find.  

In doing so, you will also undoubtedly find other nuances, other ideas that are hidden or camouflaged.  Sometimes these ideas are hidden on purpose; sometimes you will find that they are ones that only you will be able to see, ones where only your unique experience and understanding enable their detection and discovery.

Another idea conjured here in this discussion is the idea of randomness.  Through randomness we find links and bridges, connecting words to portraits, sentences to design, patterns to theorems.  Again, I shall remind you that while most would claim authorial intent is very important to the grand scheme of a work of art, which I freely include the written word into the categorization, I tend to place it’s important behind interpretation.  If an author wants the reader to experience an observation, an idea or emotion, the reader should be able to, if the author did his/her due diligence, accomplish the intended goal.  But when working with possibility there is no distinction between what intent and interpretation.  If a drawing clearly shows a boy in a field you will see a boy in a field.  But if your interpretation tells you that this boy is in grave danger, than for you, that boy is in grave danger.  The manner you arrived at such a conclusion is irrelevant to a point, it’s the interpretation that matters.  Perhaps you saw something in the brushstrokes that led you to your interpretation, perhaps it was the wording of a caption or a scene from something you had experienced prior that brought you to the impression mustered.    

To close this article out, I will acknowledge the importance of intent as the primary rationale of the author for the creation they’ve offered to the world.  The importance though cannot be simplified and in some cases perhaps it may be the only interpretation available, yet I find this notion extremely hard to swallow, if not unbelievable itself.

When working with the possibility, it’s paramount to state that you are not skewing anything.  You are not destroying the author’s vision or damaging the piece’s integrity in any fashion.  Being open to all the possibilities that exist, you are not eliminating the face value or the primary purpose of the author; you are simply expanding what is there to see beneath the obvious and elementary.  That all said, it is possible that you may, and I’ll even go as far to say that you probably will, in certain cases, valuate your interpretation to a higher level than what the author delivered at face value.  This does not mean you are belittling or degrading the work or the author, not in any facet.  Instead you are acknowledging all options and then making the decision for yourself as to what you choose to interpret as most meaningful for you and yourself alone. 

As an author myself, I personally savor when this type of thing occurs.  When someone sees something I didn’t intend to be there or interprets my work in a manner I never considered, I feel like the muses were working through me and I became somewhat like a medium in such cases.  It’s always important for an artist to feel that their work is of value, which the creation itself is often value enough for the poet or painter.  When someone enjoys your contribution you get an added sense of pride and accomplishment but when something you have done strikes another on a personal level, where they opened themselves to all the possibilities that were available to them as they reflected on your words, your phrases, your art, it’s a feeling that transcends intrinsic elation all together.

Notions like this; emotions given life by such discoveries would never be possible, if the reader simply interpreted word upon word, hue upon hue.  By limiting your vision, by leashing possibility, you are not only doing yourself a disservice, but also limiting the effects the piece may hold and diminishing the value present in art itself.  Possibilities are endless as should be the range of what we allow ourselves to experience, whether in art or in life.

Wordplay Exercise

I thought I would share a wordplay exercise I use from time to time.  I use this exercise whenever I am looking for a connection of an organic or internal sense.  I only use logical rationale for the composition of each new word.  I typically begin with a single word, in this case I started with relate.  From there I start moving as far as I can without changing the "DNA" of the initial word.  Once I run out of room, no more prefixes, suffixes etc.. I start to see if I can break a word into two or more separate words that still make sense as one when put together.  In this case I took Relate and made it into Real late, Real elate and so forth, playing around with it for a while while trying to remain as true to the original composition of the starter word as possible.  Then when I feel I'm done I look at all the changes I made and kind of mark down a VS. system, in this case it turned out to be Real Vs. Reel.  I've added two more, well one more and the last one is basically an offshoot of the second exercise, you'll see when you scroll down that far.  

Once the exercise is complete I usually am able to find something I can use creatively.  Most of the time it's used for poetical purposes but I have found numerous ideas for sketches and designs in the past and paintings more recently.  If nothing comes from it, well, I still find it a pretty fun game to play, but I'm like that though, I love wordplay and word games in general.  Have fun with it, you never know what will strike you and in what way it could:)

Relate

Relating

Relation

Relations

Relationship

Relationships

Real elations

Real elation

Really elate

Reel elation

Reel elations

Reel elate

Re-elate

Reel elating

Real elating

Real late

Reel late

Real Vs. Reel

Forage

Foraging

Forager

Foragers

For agers

For ager

For aging

For age

For edge

For edging

For edger

Fore edger

Forest

Foresting

Forester

For rest

For resting

For fester

For arrest

For arresting

Four rest

Four resting

Four arrest

Four arresting

For arrester

Fore arrester

Fore arrest

For Vs. Fore Vs. Four

Numerical Language Experiment

While on the way to my doctor appointment, I had this idea for a new language.  It's mathematic in nature, which has been done before, but I thought I'd take the idea a bit further.  Each letter of the Alphabet corresponds to a numeric definition.  To start off I simply used the number in the alphabet as the number for the new language.  Therefore, per the chart below, you can see what number each letter becomes.

A       B       C       D       E       F       G       H       I        J        K       L      

1       2       3       4       5       6       7       8       9       10     11     12

M       N       O       P       Q       R       S       T       U       V       W      X

13     14     15     16     17     18     19     20     21     22     23     24

Y       Z

25     26

Next I thought it would be wise to include variations.  For example I added characters and symbols to organize the language better, including pronouns, nouns, adjectives, adverbs and verbs.   

NOUNS= 0 FOR SINGULAR 00 FOR GROUPS/PLURAL NOUNS

PRONOUNS= {0} FOR SINGULAR {00} FOR GROUPS/PLURALITY

ADJECTIVE=.0 FOR SINGULAR ..00 FOR GROUPS/PLURALS

Then I decided to code gender into the language by using symbols to represent masculine, feminine or gender neutral terms.  I also included another few symbols to indicate tenses.

MASCULINE= #

FEMININE= !

GENDER NEUTRAL= ?

VERBS= >

ADVERBS=, >

PAST= \

PRESENT=\/

FUTURE=/

Once I had all the above marked down I thought it would be interesting to play around with the language a bit.  I decided to code quotations and paraphrasing in a simple manner that would clearly indicate their usage within the numeric coding of the language.

I followed this up by making adjustments for plurality, singularity, shortened forms of words.  I decided it would also be neat to change the code up a bit when letters repeat consecutively within a numeric language strand.

QUOTATIONS REMAIN “” FOR DIRECT QUOTES.  USE “@” FOR PARAPHRASING

WHEN MULTIPLE LETTERS APPEAR TOGETHER AS THE B IN RABBIT DIFFERENT RULES APPLY

VALUES

FOR 1-13, USE SINGLE VALUE WITH ADDITION OF * BETWEEN THE TWO VALUES

FOR 14-26 WE DOUBLE THE FIGURE, WHICH BECOMES THE SYMBOL FOR THE TWO TOGETHER.

EXAMPLES:

RABBIT= 0 18 1 2*2 9 20 FOR NOUN USE SINGULAR OR ,> 18 1 2*2 9 20 AS IN RABBIT PUNCH

ATTACK= 0 1 40 1 3 11 FOR NOUN .0 FOR ADJECTIVE AS IN ATTACK FORMATION, OR > WHEN WORD IS USED AS A VERB

WHEN USING PLURALITY FOR THOSE AFFECTING THAT WORD ALONE

SUCH AS RABBITS= 18 1 2*2 9 20(18 1 2*2 9 20)

FOR SITUATIONS WHERE TWO SINGULARITIES ARE JOINED TOGETHER SUCH AS THE RABBIT AND THE BEAR, THE WORD THE IS NOT DEFINED, RABBIT =18 1 2*2 9 20, BEAR= 2 5 1 18 TOGETHER THE RABBIT AND THE BEAR= 18 1 2*2 9 20 + 2 5 1 18 

FOR WORDS LIKE OXEN WHICH CAN REFER TO THE SINGULAR OR THE PLURAL WE DIFFERENTIATE BY PLURALITY RULES WHEN REFERING TO MORE THAN ONE THEREFORE OXEN = 15 24 5 14(15 24 5 14) WHEN OXEN REFERS TO ONE THAN 15 24 5 14 WOULD BE USED.

IF YOU ARE USING THE SHORTENED VERSION OF A WORD, SUCH AS OX INSTEAD OF OXEN YOU WOULD SHOW THIS ABBREVIATED FORM BY SUBTRACTION 15 24 5 14 – 5 14 FOR SINGULAR OR FOR PLURAL 15 24 5 14(15 24 5 14)-(5 14) +5 14

DIVISIBLE DEFINITIONS WOULD BE DIVIDED.

EXAMPLE:  HIS OPINION WAS CUT IN TWO =

                  {0 8 9 19} 0 15 16 9 14 9 25 14 \,>23 1 19 >3 21 20 9 14 0 20 23 15  WOULD BECOME  {0#} \(( 0 15 16 9)(9 14 9 25 14))

A BOY TALKED TO A GIRL.  HE LIKED HER LOOK.  SHE SAID THE OPPOSITE. THEIR CONVERSATION STOPPED.

#;0  \>20 1 12 11 5 4 (20 15) !;0. {#0} \ 12 9 11 5 {!0} 0 12 30 11. {!0}  “5 11 9 12 %.” {# + !;0} 0 3 15 14 22 5 18 19 1 20 9 15 14 >|19 20 15 32 5 4.

There's much more I could do with this language, I could add specific codes for intent, like softly spoken, yelling etc..  I could add coding for gerunds, jargon & slang, prepositions etc..  

As with any new language it would be difficult to understand at first, but with time we'd grow accustomed to it and gain fluency.  Like I mentioned earlier, there are numerous mathematic languages out there, in fact computing code is greatly influenced by mathematics, where computer code is in essence a language of its own.

I just thought it would be fun, and it was, as is it any time we push our mind into new directions.  Sometimes you just have to get an idea out from within you.  This is what I believe happened here for me.  The idea was stewing inside me while at the doctor's office and then picked up steam on the car ride home.  There's no way I could have simply let the idea float away, it had to be put down visually.

This last bit here is essentially why I decided to share this language experimentation.  As creators we have a responsibility to ourselves.  We are given these thoughts and ideas, perhaps they amount to nothing, but we need to find out.  Most of the time the idea isn't anything worthwhile, but it's only through engaging the idea that we'll find this out.  If we don't engage the notion, we would never know, and perhaps that notion you let slip by was something of value.  Anyhow, hope you all enjoy playing around with the language exercise.  It wasn't what I was initially hoping for, but it was fun and sometimes that's all we should hope for.  

If you come up with your own language, project or what-not let me know, I'd love to check it out.  But always, and I'll stress it again, AlWAYS allow your ideas their opportunity to shine, as you'll never know if they're able to unless you try.

IDEnA Brainstorming

The following is a game I like to play.  I start with one or two words and write the first word or two that comes to mind.  I keep extrapolating until I come up with something that produces a brand new idea, something to work with, whether it be a poem, a painting, a business idea and so forth.  The game is associative by nature and is based off some of the creativity brainstorming exercises that are widely known in creative circles.  I try to let my mind go in whichever directions it decides to travel and see what I come up with.  The exercise can take one or two lines, what I've briefly come up with here or much longer with multiple associations used for each word.  For the sake of brevity and screen size I chose to limit the associations, but when you're actually doing this game on your own I'd recommend using as many associations your mind comes up with and keep moving down the rows until you've got something you feel inspired to work with.  Sometimes, as I did here, when you get to a certain point I begin to run associations between the branches and reverse engineer the process from this alternative point of view.  You may want to try this variation for yourselves, as the numerous other methods that are detailed in many other locations.  Bottom line is to use whichever one you feel helps your creative mind the most.  One last thing, you should wind up having a lot of fun and if you're like me, you'll come up with something sooner than later using this brainstorming game.  It's never failed me, I think you'll like it.  Let me know what you think and how it inspires/assists you in your creative ventures

Donkey

         Kong                                     Ass                               Animal

Wray          Nintendo             Beat           Kiss            House        Beast

Fay             Game                           Up              Beth      Cards    Burden

Fairy           Chance               Above        She            Suits        Heavy

Puck           Odds                   Sky             Deuce        Apt          Weight

Ice             Uneven               Cloud                  Two         Brick        Delay

Cold           unfair                           Puff            Also         Mortar     Avoid

Ill               Injustice              Smoke        Addition     Paste            Skip

Flu              Miscarriage                  Rings          More       adhesive   miss

Away          Loss                    Circles        Lather        Gel          Unwed

Off              Sorrow                Lap            Soap          Hold        Single

Switch        Pain                    Turn           Water        Tight          One

Lever                  Agony                 Adjust        Fluid         Cling       Alone

         Mistreat     Therapy              Freeze       Drip       Withdrawn                        Abuse           Icing            Particle            IV

                           Messy          Sugar                Needle

                                    Sticky                  Glucose

                                               Insulin

Donkey      Insulin

    Veterinarian

Doctor        …

                           

Renovation Test

For anyone thinking about home renovation, do yourself a favor, take this test before you begin. 

To take part, all you’ll need is a digital camera, a notepad, pen and your mind.

For those in an average sized home, I’d estimate the test will take between 3 & 4 hours to complete.  I consider two bedrooms, one bathroom, a kitchen, a living and a dining room as average.  I do not include basements, second floors, attics or outdoor space in the estimate.  If your home exceeds these specifications, I would suggest allotting for additional time.  I also advise providing leeway for any delays.

Decide on a time and block it off on the calendar.   As simple as this may sound, many skip this step.  I strongly advise you not to skip any of the steps, but especially this one.  Memory reminders, to-do lists, outlines and so forth are important pieces to any project.  They remind you of key information as well as providing a reference to gauge your progress and pace.

This test uses lateral thinking. It calls upon your creative side, to develop and work through ideas. It lets you see things from various angles.  Allowing your creative side to roam, without restriction, traditionally produces many ideas, without sacrificing quality.   

The test is reproduced for each room. 

1.   Pick a room to start with.  I prefer working backwards, from largest to smallest.

2.   Use the digital camera by photographing every inch of the room.

3.   Take out the notepad and pen.  Record your impressions of the room. The impressions can be:

A.     Areas/features you like/dislike

B.  Ideas for structural change (drastic) (wall removal etc.)

C.  Ideas for structural change (minor) (room design etc.)

D.  Ideas for aesthetic change (paint, carpet etc.)

E.  Ideas for aesthetic change (furniture, décor etc.)

F.  Areas for improvement consideration

Think in terms of what you can do to build upon your ideas in sections A-E.  Many times you’ll be repeating yourself.  However, this step is important, it provides another opportunity to assess each detail.   You’ll see if your ideas are reasonable or unrealistic.    

4.   Draw a rough sketch or diagram based on step 3.  Artistic ability is not necessary.  You’re just making a visual aid for future reference.

5.   Evaluate your sketch.  Does your design still work or do you need to repeat step 3?  By seeing things visually:

A.   We affirm our initial impressions.

B.   We refute our initial impressions.

C.   We see points to build upon or remove

6.   Write down your reactions to Step 5. 

7.   If you’re not happy with the results, repeat the steps until satisfied. If you are satisfied move on to the next room.

You’ll repeat steps 2-6 for each subsequent room.  After each room has been assessed satisfactorily you’ll move on to the test’s final section. 

1.   Log on to your computer

2.   Attach your digital camera

3.   Open up your photographs

4.   Use a photo program to sort the pictures.

5.   Combine them, like a jigsaw puzzle, until you have a full representation of your room.

6.    Refer to your sketches

7.   Start editing the picture: 

A.   See how objects from other rooms fit into the current room.  How do you feel about the Armoire in your bedroom instead of the living room?  How does the large flat-screen fit in the dining room?

B.   Do the same thing, this time for walls, ceilings and floors?  Tile Vs. hardwood?  Carpet Vs. Throw-rug?  How would teal look in your kitchen?  How would lime work, surrounded by oak furniture? 

C.   Keep playing around. See the difference removing a wall creates.  Look at the change new windows makes.  How does alteration affect ambiance? How does the lighting design?

Once you’re done experimenting you should be able to make a confident decision regarding your renovation. 

Before you start your project, here are a few additional ideas to keep in mind:

1.            Estimated cost

Cost may not be an issue, but it’s always a good idea to compare value.  You may really like two differently priced designs.  In this case, cost may play a role in your choice.

2.            Home Value

How will your renovations affect the value of your Home?  Many changes can increase or decrease home value.  This can vary by regionally and demographically. 

3.            Ordinances/Regulations/Permits

Ordinances are common in most regions.  Permits are almost always required to begin a project. This information is essential for the do-it-yourselfer. But even if you use a contractor, it’s beneficial to be aware of the requirements.  In addition to ensuring the contractor doesn’t take shortcuts or liberties with permits or regulations, this knowledge can also be useful during negotiations.

4.            Open houses

An open house can be an easy way to locate new ideas.  In addition to observing layouts and design, you may find a nuance you were previously unaware of, that can enhance or improve your own renovation design.

Once you’ve completed this test you should be ready to start renovating. By completing each step you should feel confident moving forward, as you’ve experimented with numerous facets of the layout and design process.  Lateral thinking and creative design helps raise unlimited possibility in your design. It can make the invisible visible, providing you with a new way to see and interpret. The test should help you make better decisions and instill a sense of enjoyment into the process of your design.