by steven beckly
“Stopping was death. Stopping meant you’d given up and turned the keys of the world over to other people. The only option for a creative person was constant motion—a lifetime of busy whirligigging in a generally forward direction, until you couldn’t do it any longer.”
—Meg Wolitzer, The Interestings
The discoveries of yesterday are the truisms of tomorrow, because we can add to our knowledge but cannot subtract from it. When two frames of reference have both become integrated into one it becomes difficult to imagine that previously they existed separately. The synthesis looks deceptively self-evident, and does not betray the imaginative effort needed to put its component parts together.
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| — | Arthur Koestler on creativity. (via explore-blog) |
I know you think you’re being transgressive and edgy and bad-in-the-cool-way when you are careless with the trauma of strangers, but you’re not. You are being conservative. You are a conservative comedian. You are moving your art form backwards, you are a bully (a bully who has likely experienced bullying himself, which is the worst kind), and you are propping up the status quo in the most boring way possible. If that’s what you want, at least have the grace to own it.
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| — |
“Open Letter To White Male Comedians” is pretty much fire throughout but, as someone pretty openly fascinated with transgressive/abrasive art, this one is a degree off from being Mission-Statement-Altering. (via raptoravatar) i don’t know… discuss? -j |
![explore-blog:
The pattern underlying [the creative act] is the perceiving of a situation or idea, L, in two self-consistent but habitually incompatible frames of reference, M1 and M2. The event L, in which the two intersect, is made to vibrate simultaneously on two different wavelengths, as it were. While this unusual situation lasts, L is not merely linked to one associative context, but bisociated with two.
I have coined the term ‘bisociation’ in order to make a distinction between the routine skills of thinking on a single ‘plane,’ as it were, and the creative act, which … always operates on more than one plane. The former can be called single-minded, the latter double-minded, transitory state of unstable equilibrium where the balance of both emotion and thought is disturbed.
Arthur Koestler’s seminal theory of “bisociation” explaining how creativity in humor, art, and science works.
THIS -J](http://24.media.tumblr.com/c9b19b299ec89eacf50c791585b97eea/tumblr_mn3k0gYptC1rqpa8po1_500.jpg)
The pattern underlying [the creative act] is the perceiving of a situation or idea, L, in two self-consistent but habitually incompatible frames of reference, M1 and M2. The event L, in which the two intersect, is made to vibrate simultaneously on two different wavelengths, as it were. While this unusual situation lasts, L is not merely linked to one associative context, but bisociated with two.
I have coined the term ‘bisociation’ in order to make a distinction between the routine skills of thinking on a single ‘plane,’ as it were, and the creative act, which … always operates on more than one plane. The former can be called single-minded, the latter double-minded, transitory state of unstable equilibrium where the balance of both emotion and thought is disturbed.
Arthur Koestler’s seminal theory of “bisociation” explaining how creativity in humor, art, and science works.
THIS -J
