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That emotional pay-off from visible results is then reinvested back into the transformation. This cycle then continues until the process of effort-results-renewed effort takes on enough momentum to start spinning on its own power. Achieving Flywheel Momentum Vs. Getting Sucked Into a "Death Spiral" The key to the flywheel effect is for people to see benefits of the change early and often.
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- Michael Bond - the man behind Paddington Bear;
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Dust jacket quality is not guaranteed. Place: San Francisco Date published: Log-in or create an account first! Glossary Some terminology that may be used in this description includes: acceptable A non-traditional book condition description that generally refers to a book in Good or Very Good condition, although no standar Ask the seller a question. Michael Bond - the man behind Paddington Bear "All the same Collecting Books on NYC This gallery is dedicated to some of the best fiction and nonfiction portraying one of the greatest cities in the world.
A special order item has limited availability and the seller may source this title from another supplier. Did you feel freer or less free? Did you encounter your work differently? Did you arrive at new ideas? The idea: working naked. The idea: nurturing wildness. FEEL How did working naked feel? Were there sexual feelings? Did they go into the work? Where did they go? How did it feel to get dressed again? Repeat the process. Work naked again. And again. Nurturing Wildness How can you nurture this wildness?
In one study that compared children from homes with strict parents versus children from homes with permissive parents, the children of permissive parents demonstrated more initiative and independence and greater spontaneity and originality. In other studies, researchers concluded that authoritarianism and a de- mand for conformity crucially limited creativity. Weisberg and Springer concluded that cre- ative children significantly demonstrated a stronger self- image and a livelier sense of humor than did children of comparable age and IQ.
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If we take all these studies together we arrive at a wish list for nurturing our own wildness. Let all of them gather over there. Think about big questions. What is the very most that can be done with blue? How can I do it? Have high aspirations for yourself I will tell the truth and have a best-seller.
Accept your own idiosyncratic goals. Today I will compose naked and get two or three songs written. Teel autonomous. I am a creator. I am the god of my world. Do not conform. I must decide what is ethical and right. Be sensitive to human affairs. What would it feel like to be a member of ruled by colonial police? What would it feel like to be a member of another race or religion? Be inquisitive. Is the world shaken when you put a hole through a stone? Or is a new passage opened between two universes?
I admit that I frankly hate my enemies. I admit it! Be intelligent. Save me from theories! I know better. Be joyful. Demand originality from yourself. I can use more than a quarter of my brain without my brain exploding. I can find exactly the music for our time, exactly the imagery, exactly the story! Be spontaneous. Here I am, taking off my clothes again! This is a bad war and I must stop it! Cultivate a strong self-image. I am the greatest. I am ter- ribly individual. I am very excellent. I can write books.
I can sing songs. Take risks. I will! Be instinctive. This is a bad silence. Be passionate. Stop it! Be free. I am my own person. Believe it! We writers really are fabu- lous creatures. Never refer to it again. It must be inside you, not locked away in this book. What good is it here? Hold it as you would secret military instructions. Repeat them to yourself in the middle of the night: I am stubborn. I am passionate. I am smart. I am honest. Call these qualities by what- ever names you like. They will make you wild. But any outsized capacity carries with it real dangers and terrors.
A little anger made wild is rage. Preju- dice made wild leads to book burnings and lynchings. A little idea wildly held is an obsession. A roaring flame can illuminate or in- cinerate: in a given person, wildness can look like any of the fol- lowing. Sheer Energy You suddenly bolt up in the middle of the night to paint, write, compose. You jam all night. You tour three hundred days a year.
Tricksterly Qualities The painter Paul Klee confessed in his autobiography: Two little boys, four or five years old I myself was seven , were supposed to obey me in everything, because I was the strongest. One of them, Richard, was a gentle soul and easy to influence — it excited me to play on this weakness. Several times I allowed my- self to be tempted by this experiment.
Just see what this wild character is up to! Dramas of love, dramas of passion, dramas of addiction, dramas of intrigue, dramas of rebellion. George Sand wrote of her feelings toward her lover Alfred de Musset: You do not love me. You do not love me any more. I cannot blind myself to the truth. I hoped for you, waited for you, minute by minute, from eleven in the morning until mid- night. What a day! Every ring of the bell made me leap to my feet.
Thank God I have heart disease. If only I could die! Rage For me the emblem of this rage is the twisted trumpet brought into session by a client who had crushed it against a wall in a drunken rage two decades before. On that night he hit bottom and began twenty years of sobriety. Enough rage to crush your instrument! Rebellion and the Need to Rebel This wildness must sometimes manifest itself as no-saying, and even as wild, belligerent, excessive no-saying.
An artist caught up in this excessive rebellion will refuse to listen to sound ad- vice, refuse to act in her own best interests, refuse to paint on com- mission or act in commercials. How grandiose! In every rebellion is a grain of truth, but also the sting of consequences. As a child I reacted to stress by developing this compulsion : I would draw an ugly house on a piece of paper, and then erase the house line by line and turn it into a beautiful one. How does wildness manifest itself in your life?
Draw your wild faces below and give each a name. If you have more than four, use another sheet of paper. Is the wild- ness alive in you? Is it constructively harnessed? Or does it more often manifest itself destructively? Hold your answer as we exam- ine tameness, the partner of wildness. In its unhealthy aspect, tameness is an over-adaptation of the sort the psychologist Otto Rank considered characterized all nonartists.
Floyd Matson explained in The Broken Image: Not many men are prepared to face the challenge of them- selves, to assume the full responsibility for their own exis- tence. We can think of tameness in its healthy aspect as any one of the following metaphors: as inner governance, inner husbandry, balance, moderation, or reality-testing. To put it another way, tameness is moderation for the sake of re- bellion. This is both a difficult idea and a difficult ideal. With the others, the road is too dangerous. It can burn you out and kill your talent. I am not mad. Healthy tameness is the equivalent of careful husbandry of the wildness.
We all get excited about the Wild Man, and the Husband is unexciting and undramatic. But, for example, without the traditional husbandry of the farmer, I would starve. He will find himself at a blazing extremity, a half-step from madness and cruelly self-imposed isolation. Wildness is the heat, tameness the thermostat. Wildness is the energy, tameness the valves that regulate. It is played out internally when a novelist debates whether to write wildly — to craft a novel that is all one sentence or to pillory church and community — or instead to carefully consider publishing industry requirements.
Can he do both at once? That is the question. It is played out externally when he debates whether to accept or reject an editorial change that smacks of censorship. That is the ques- tion. To say that healthy tameness and healthy wildness are both valuable means that, in real-life situations, the artist attempts to operate as effectively as is humanly possible, neither playing dead nor combusting.
What ac- tions support it? Can you list a few such actions? What will help you be a more effective manager of the wildness? We could call tameness in its unhealthy aspect conformity, over- adaptation, deadness, or even victorious anxiety. Because eating feels more difficult than starving; which is just another way of saying that the anxiety associated with creating is greater than the anxiety associated with not- creating.
The anxiety around eating is greater than the anxiety around starvation. To love ourselves we must grow avid. We need both to feel hungry and to eat. Instead we find ways of further ruining our appetite. We read the newspaper from cover to cover. We watch hour after hour of television. We send out a poem and make of the rejection letter that arrives by return mail a powerful ap- petite suppressor. Take your hungry mind out for a feast. Go everywhere! Ravage the bookstore. Look at everything. Pace up and down the aisles of an art supply store.
Devour the museum. Look at people. Be hungry! Look at a flower. Feed on it! Feel free to be hungry. Walk, stride, be hungry! Affirm that you have great appetites and that that is splendid. Put down this book, go out , and feast while affirming your real hunger. Hungry-Mind Anxiety and Appropriate Feeding When your appetite is not suppressed, when you hold a fervent wish to create and a readiness to create, then hungry-mind anxiety is activated.
A lot suddenly interests you! There are ideas to grap- ple with in every book on every shelf. Every vista has something arresting about it. Every musical fragment starts worlds spinning. So much is activated! Creators are hungry in body and hungry in mind. Look inside them and you see them obsessing. You see the insides of an addict. Sex addict, food addict, work addict, drug addict: always hungry. To be alive is to be hungry.
Hungry for what exactly? Just hungry! Hungry to understand. Ravenous — to understand the universe. Anxious to make worlds out of words, pictures, sounds, ideas. Think about what this hungry-mind anxiety really means. Something occurs to you: not in so many words, but as a vibration, a vision, a something. It is nothing but a shadow in a doorway, but you have a violent experience. At the same time, nothing is there. Just a shadow in the doorway. Now, from that experience, from that shadow seen for a split second, you have a book to write. A mystery: the plot comes to you.
Or a nonfiction book about the realities of homelessness: you see that doorway as the cover photo. Or a poem about night spaces. Or a movie about black and white, about shadows. Or a virtually all-black charcoal drawing. Or a painting of sullen eyes. Or a song like a Gregorian chant, filled with bass voices, cavernous halls, ecstasies, horrors.
It has all come to you just like that. But it remains a vibration only, a fleeting vision, a who-knows-what. What exactly is the idea? Something, something, but what? What just happened? Where should you go with it? Should you go with it?
This is hungry-mind anxiety. I know there is a terrific idea there somewhere, but whenever I want to get into it, I get a feeling of apathy and want to lie down and go to sleep. Should this shadow in the doorway consume you? You have the desire, the wish, the wildness, the will. But still you end up on the sofa, depressed and inert. What were you supposed to do with that shadow? And how dare you let it get away! In pain on the sofa, confused, failing yourself, you feel the vision evaporate, the moment pass.
What was it about that shadow, that doorway? Who knows? Who cares? Where is the bottle? This is no tragedy, this is hungry-mind anxiety! This is what must be tolerated if you are to be alive: data taken in, deep connections I want to seize fate by the throat! This is pain, but not tragedy. The productive artist lives with this. She knows that some- thing wonderful and terrible is going on, something difficult, something important and uncontrollable. She also knows that this will happen again and again, and that she is lucky if this happens again and again, for it means that she is oriented correctly toward her own wish to create, that she is a creator at the ready.
An active, creative, hungry mind needs feeding. It insists on it. I hardly mean that if a hungry mind is appropriately fed, hun- gry-mind anxiety will dissipate.
Full text of "Fearless Creating Eric Maisel Ph. D"
This point needs repeating. If you are alive and creative, you must live with hungry-mind anxi- ety forever. On the other hand, if you feed your hungry mind ap- propriately, you will acquire resources with which to better tolerate it each time it arises. Here are the ways to appropriately feed a hungry mind. Follow your Work When you are working, the work will make its demands. The best feeding of a hungry mind is to feed the living, growing work in whatever way it requires. Look at Snapshots Research by reading a single paragraph, not whole books on a sub- ject.
Discover Ireland by looking at a single picture, not by spend- ing three weeks there. Encounter a single Egon Schiele drawing to learn about erotic lines. Take a snapshot of anything alive — a glance, a sound, a texture — and devour that snapshot. Discover the blanks and fill them in yourself. White whale. Running fence.
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Angels in America. Act for yourself. Face the truth. To feel, he as- serts, is to possess a vital link to body states and consciousness. Feed your hungry mind by feeling, by crying out in pain, by rocking with laughter. Eat With Two Hands Do you mean to learn daintily what red can do? Spread red around with two hands, live with it night and day, paint your ceil- ing red, paint your body red, see red everywhere, learn its every as- sociation, its every meaning.
Be red. Feed your hungry mind a lava flow of red, a torrential sunset of red, a bloodbath of red. Learn deeply. Find a Few Masters Not everyone has something to teach you. But some few do. Who has impressed you? Return there for an afternoon. Who plays an instrument beautifully? Who has sculpted like a god? Whose mind sends chills down your spine?
Whose films enthrall you? Rent a video. Return to an old haunt. Dance with a master. Hold Prior Works What can feed your hungry mind? Your own poems, sculptures, songs, stories. Each one remains an offering. Do your work in the world, but inwardly keep quiet. Then all will come to you. What a feast! Hold a slide show of your paint- ings. Look at the imagery: the caves, the ghosts, the upside-down women, the almost-all-yellow painting, the sea-green-chaotic painting.
What was going on then? What is going on now? How interesting! Prior works are offerings with plenty left in them upon which to feed. Serve sometimes How can you feed your hungry mind? By feeding others. Learn by giving, learn by teaching. Cook up a choice banquet of ideas and take it on the lecture circuit. They will feast and you will feast. Show a child how to pot. Lend your mind in support of a cause. Hush Surrender. Be quiet. Feed your hungry mind only silence.
Quieting your mind is the same as feeding it. There is a last way to feed a hungry mind appropriately, one vital enough that it demands its own discussion. That last way is thinking. Few people, including intelligent people, spend much time or en- ergy thinking, but strong, productive artists are among the few who do. An interview with a fine filmmaker will likely reveal that he has seen a thousand movies and has thought about how camera an- gles, pacing, and cutting create effects.
He will have analyzed scenes from his favorite movies from childhood to see why exactly they had such an impact on him, and he will be able to talk articu- lately about his discoveries. An interview with a fine painter will likely reveal that she has studied some other fine painters intensely, that even if she eschews certain painterly effects she knows them inside out she can do sunsets and stormy skies, only she cares not to , and that she has thought deeply about color and especially about the colors that move her.
She is not guaranteed a fine painting the next time she paints, but because she thinks about art she will paint passionately and smartly. I hope that you, too, will think more. In the language of this book, I hope that you will hush and hold more. How do you do this? An intriguing question is always a good start- ing point. You think about this question and at first you draw a complete blank. Your mind reels. But as the anxiety subsides and you enter a thinking trance, you begin to get glimmers of an answer.
You stick with your dreamy thinking and remember scenes from novels. You remember mute char- acters and silenced characters from a hundred stories, novels, and movies. Suddenly you realize that you have a fascinating subject on your hands, one that could seriously enrich your understanding of fiction. You begin to calculate — that is, you begin to count, catego- rize, compare and contrast, using all of the devices of rhetoric and logical thinking. You discover that you can imperfectly but quite interestingly come up with six or eight categories.
You spend time with this, you do a little bit of research, you craft your ideas a lit- tle. And in your next novel, you present us with an astounding mute character. Imagination is more impor- tant than knowledge. Why bother to think so systemati- cally? Why not just wait to arrive at an answer in the trance of working? Rather it helps you deepen your understanding of your discipline, start better, make richer initial choices, and nurture your wish to create. Think of a painter. He selects a certain blue from his palette while in the trance of working.
But why is that blue on his palette in the first place? Why is there perhaps nothing but blue on his palette? How do we explain the passionate involvement of a Chaim Soutine with cadmium red, an Yves Klein with blue and gold, or a Robert Motherwell with black? The answer is that the painter has been thinking, not systematically, not analytically, not in a so-to-speak left-brain way, but in the dreamy reverie that I am suggesting you engage in more often.
In that reverie he has been valuing his colors, raising some, lowering others. He engages in this thinking reverie out of a love for his medium, and by engaging in it he nurtures the creative process. He may not possess an idea yet of what he will paint, in- deed he may never possess that idea until it emerges directly in front of him as he paints, but he already knows that cadmium red or cobalt blue will support that idea.
Have you a burning question available, a question like one of the following? What about three instruments? T What is dialogue in a novel? How many kinds of dialogue are there? Dream up a provocative question that you can profitably ana- lyze. How many ways can a landscape be rendered? How many exis- tential themes are there in literature? What is a film? What is a documentary? What would a novel for the new millennium look like? Write the large, provocative question that emerges from your hushing and holding here: Today or tomorrow, think about this question.
Dream about it. Write down your thoughts. Feed your hungry mind from your own stored-up wis- dom. Look to your own stored memories. Look to the faraway ones, look to the recent ones. Look to the ones that feel as if they go back a thousand years. Look to the ones that pass in an instant and seem ungraspable. Plan for the appropriate feeding of your hungry mind by cre- Problems to an artist are life. What would make for a mind-enriching meal?
FEARLESS: Creating the Courage to Change the Things You Can by Steve Chandler
Work to make sense of this metaphor. Strong black coffee, for instance, might equal a bracing, eye- opening idea, a hot, strong idea. An herb tea might remind you that your materials possess smells you love. A cellared red wine might remind you of well-made ideas from long ago worth con- sidering anew, ideas like the Platonic dialogue, vegetable and mineral dyes, music for a single reed flute, haiku.
Feed your hungry mind and keep feeding it. Feel the work grow within you. Appropriate feeding supports your wish to create. Inappropriate feeding satiates but does not nourish; it seduces the mind into thinking it has eaten but leaves Give me a fruitful error any - it hungry.