Dear Learners,
Summary. A short insight into a world class propagator of more purely
artistic human creativity with interesting connections to the shared
insights of human creativity previously shared in recent postings by
predominantly scientists or philosophers.
These are from notes I once made into the expressivity of Miro whose work
is commonly placed all over the world.
" Every artists must find in his work his own method of inducing his
imagination to take shape, and to develop some initial idea, however
trivial, into a work saturated with meaning." I find the terms he uses,
"every" - "must" - " own method" - "inducing" - "trivial" - "work" -
"saturated" - and - "meaning" something between authoritative or
authentic, maybe both.
This next is very pregnant with possibility for those practitioners or
entrepreneurs who lack that self confidence when push come to shove to
press harder against the 'wall'.
" It is important that a great variety of incidents should be capable of
bringing about this state of mind, like the arrival of a shock, the
intensity of which is sufficient to initiate a tension of spirit which
leads to a new emotional activity. But it should not be provoked by
external (chemical;-( means."
This is remindful for me perhaps of much of Senge's approach.
Then mysteriously the language shifts from the luminous to the more
numinous, " - The atmosphere is only productive when it somehow provokes a
deep, urgent reaction, in a state of passion and compulsion I begin...a
need to act, like a physical discharge, which makes me escape
(momentarily) from reality...the cause may be tiny...in any case I need a
point of departure, even if only a spec of dust or a flash of light. This
form then begets a series of things, one thing giving birth to another
thing."
Then he goes on to share with me the time bound, space bound aspect as
extended through the continuum via his sense of discontinuity, "- The
'creative' process is not always continuous. In the studio there are some
scores of canvases in all states of progress, some scare begun others
awaiting, possibly for years, the moment when communion between I and the
work will allow the establishment of that final state of tension I wish it
to maintain. Then there is a feeling of detachment and a shift of interest
from the finished work to the younger, less developed members of the
family that I am constantly bringing to life."
That seems to me very aligned and congruent with LO principles and a fine
basis of support for a LO that harbours the desire to develop and nurture
creative confidence particularly in the realm of what I believe some call
generative and regenerative learning.
I have written today of a 'stone elsewhere,' one way to get a hold
mentally to model the 'difference that makes a difference' is to express
it thus, 'when I pick up a stone it is a stone, when Miro picks up a stone
it is an Miro." I think this is something close to the insight John Z'
shared with us the other day, but John may wish to elaborate.
Many people from the Lo world are beginning to relay appreciate the
terminology of artists and gardeners...Miro spoke it like this, -" I work
like a vinedresser or gardener, things come slowly. My vocabulary of forms
for example I did not discover all at once. It formed itself almost in
spite of me. Things follow their natural course. They grow, they ripen. I
must graft. I must water, as with lettuces. Ripening goes on in the mind.
So I'm always working on a great many things at the same time."
Now I ask anyone still reading, does this create any little mental image
or model in your mind, maybe some mad scientist? Gently, Bucket, gently. I
ask the 'maybe slightly mad scientist', have you ever heard those words
before? Not words 'like them', but 'those' words. I can answer for him,
he has not! He has not because in my best estimation he could not have.
Just as you could not have because until someone gets their search engine
revved up to the 8,000 rpm of a 911 carrera ('crushed blackberry with
cream' coloured) I bet a good dollar to your charity no-one on this LO has
either. Mmmm.
I have a trace of memory I have written this next title before, so forgive
the repetition to the man who writes privately to say he's 'back reading'
the LO archive;-)... " The skylark's wing encircled by the blue gold
enjoins the heart of a the poppy that sleeps on the meadow adorned with
diamonds." And, I promise you, the picture is even richer than that and
travels by way of eternity.
Let this be quietly dedicated to an old man and his granddaughter who ~
'walks with diamonds on the soles of her shoes' ~ (gratis Paul Simon;-).
Let this be a peaceful and respectful new beginning not an end.
My next posting will be a little essay on a dignified and significant
historical perspective of 'freedom within the collective' with special
reference to Rousseau, Locke and Charles Handy, the latter of whom finds
much import in the art / LO interface. I will title it 'Freedom Won and
Freedom Lost.'
In fellowship,
Andrew Campbell
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