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National Creativity Day Is May 30
National Creativity Day was founded by Hal Croasmun and Screenwriting U “to celebrate the imaginative spirits everywhere and to encourage them to keep creating.” It is a day to nurture your creativity, to be imaginative, and to support the creativity of others. There are all types of creative people, such as artists, writers, photographers, musicians, and filmmakers. But one doesn't need to be an expert in a field in order to be creative—those who just dabble in creative pursuits can benefit from doing so.
Kurt Vonnegut once wrote: “The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven’s sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possible can. You will get an enormous reward. You will have created something.”
On National Creativity Day, this sentiment is embraced, and we set out to harness our creative energies and create!
How to Observe
Spend the day supporting the creativity of others and and encouraging others to continue being creative. Nurture your own creativity and learn strategies to enhance it. You could read an article such as “25 Ways to Be More Creative”, which goes over author and psychologist Keith Sawyer’s eight steps to be more creative, from his book Zig Zag: The Surprising Path to Greater Creativity. You could read that book or another book of his on the topic, Explaining Creativity: The Science of Human Innovation.
There are an almost limitless amount of creative things you could do or things you could do to help get you into a creative mood:
Write a priority list with your hopes and goals, or make a vision board.
Join a book club.
Meditate.
Avoid technology for the day and connect and engage with the things around you. Say "hello" to people you pass on the street, and notice birds, trees, flowers, and the beauty that can be found everywhere.
Organize. Start with something small like organizing a drawer or a closet, and then expand to a whole room.
Call a friend.
Write in your personal journal or diary, or start one if you don't have one. Journaling helps you understand and reflect on your inner thoughts.
Pick a topic and do some free-writing. Write a poem or a short story. Begin writing a novel or screenplay. Write a letter to a friend. Write a letter to your past self, or write a letter to your future self and put it in a time capsule.
Begin learning how to play a new instrument or play an instrument you already know.
Start a band. Get your old band back together. Sing in the shower. Sing in the car. Sing some karaoke.
Take a walk and get into nature.
Read poetry in public.
Join a theater group.
Take dance lessons or go dancing.
Host a comedy show.
Do some visual art such as drawing, painting, sculpting, collaging, photography, or videography. Draw in a sketchbook or use an adult coloring book.
Visit a museum or art gallery, or travel around a city looking at murals.
Do some sewing, needle-pointing, knitting, pottery, or candle making.
Make some new recipes.
Plant a garden.
Play a board game.
Or, do as Emmit is doing: Constructing with Legos!
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Its extremely rare you get to see this birds actual namesake "Red Bellied Woodpecker." Apparently "red headed" was already taken. My mother puts out oranges and grape jelly for our summer time visitors from Costa Rica like the orioles and rose breasted grosbeaks. Of course it doesn't stop our year round residents from getting a sugar high. This particular woodpecker would come in and dance circles around that branch its hanging from and finally decide its best approach as you can see (please zoom in and you can see it can only reach with its tongue). The smaller birds have no problem but this bird is too big and has learned it flips the tray up and thus can't land on it. This is proof of the creativity and intelligence of even the smaller to medium sized back yard birds we have all around us.
© 2013 Daniel Novak Photo, Buffalo Landscapes & Cityscapes | Blog | Google+ | 1x | NG My Shot
© All rights reserved!
The South End Marina Cargill Pool Elevator begs for attention on the Outer Harbor of Buffalo. It's a pretty dominant structure with a lot of history behind it and it's one of a kind directly on Lake Erie. As such, it works really well with my passion for revisiting locations I photographed before. Some say the first time is the best with the most creativity happening at that time. Maybe. But many times, the satisfaction of capturing something for the first time is not really because the results were the best but simply because as photographers, we finally get those first images. We have something from the location vs. nothing. And many times, planning for time of the year, time of the day, weather, etc., really results in impressive first time results.
I like returning though, over and over. I feel it gives me the opportunity to get more familiar with the subject, with the location, with weather patterns, with light, with everything around ...
Back at the Elevator for a Different Take
Copyright Protection: Wondering where your shared photos may be on the world wide web? Use the 'search by image' feature on Google. If you go to Google Images you will notice a little camera in the search box. you can click that and then either provide a URL to your photo or upload it. Then, Google finds where on the web the image is. It works amazingly well and you might be surprised.
I love watercolors x3
I fell in love with the medium when I used them for the first time in art & design class a few months ago. <33
Here's a basic Old Navy knit dress with some cute whipstitch boots. A little plain, but the next five shoots are pretty heavily themed, so I needed a momentary break in creativity.
Kaleidos B&W - Creativity Top Selection
Day from 05/10 to 18/10 2015
Many congratulations!
Selected by Eleonora Bruscolini
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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L'individu suffoque sous la saturation du monde parce qu'il a le sentiment que ses subordinations outrepassent son autonomie, sa puissance d'être-en-soi au sein de la multitude, son conatus dirait Spinoza, l'élan de son individuation psychique dirait Simondon, sa liberté diraient ces libéraux qui la catéchisent en la confisquant à ceux qu'ils asservissent pour persévérer dans la leur.
Qu'en est-il de la puissance d'être-en-soi de la multitude, de ce conatus composé de multiples conatus ? Elle est la puissance de l'individuation collective qui réunit les conditions de possibilité des émancipations individuelles, autant que les conditions de possibilité de leurs apprivoisements, domestications, assujettissements, servitudes et asphyxies.
C'est ainsi que la multitude s'étouffe dans ses propres supports de mémoire collective, ses rétentions tertiaires désirées ou fortuites, ses hypomnemata. Grâce à eux, pendant tout le 20e siècle, les individus s'émancipèrent par plus de temps libre, de mobilité, de culture, par plus d'autonomie qu'ils n'eurent à le payer de soumission aux normes morales, marchandes, ou écologiques.
Mais ces indispensables hypomnemata, externalités anaboliques et cataboliques comprises, sont à la fois opportuns et importuns, sains et délétères, indissociablement. Ce sont des pharmaka, c'est à dire des remèdes autant que des poisons, des délivrances autant que des addictions, et des boucs émissaires dès que les équilibres homéostasiques se rompent.
Comment s'emparer de ces pharmaka pour prendre soin de nous autant que de la multitude ? Comment mener ce projet comme une thérapeutique ? A ce jeu, à somme non-nulle, seront créatifs ceux qui libèreront les capacités d'excédences individuelles au sein de projets collaboratifs, c'est à dire ceux qui relâcheront les servitudes sans déraciner les rhizomes sociaux.
Du fond de la globale saturation capitaliste, cette créativité ne doit plus être une sublimation bourgeoise mimétique, mais une émancipation co-errante cathartique. Cette créativité doit investir les résonances consensuelles de la multitude pour en infléchir les modes de production, que de nouveaux hypomnemata, objets, formes et figures, adviennent hors les dépotoires des surproductions mercantiles.
A cette fin, il s'agit moins de “faire de nos vies une oeuvre d'art” que “de faire de nos vies un flot d'événements”. Faire événement c'est dé(ré)inventer, dé(re)choisir, dé(re)construire, dé(re)territorialiser, dé(re)créoliser les singularités et les excentricités distribuables et résonnantes, pour que la multitude en algorYthme les récursions et en laisse émerger de nouvelles lignes de fuite.
Individué par jef safi, récursant les hypomnemata du multiple : Héraclite, Démocrite, Zhuangzi, Platon, Aristote, Spinoza, Bergson, Simondon, Debord, Deleuze, Guattari, Foucault, Castoriadis, Conway, Negri, Stiegler, Žižek, Badiou, Maffesoli, . . et de tant d'autres.
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The individual suffocates under the saturation of the world because he feels that his subordinations overstep his autonomy, his power to be-in-himself among the multitude, his conatus Spinoza would say, the surge of his psychic individuation Simondon would say, his freedom liberals would catechize, confiscating it to those they enslave to persevere in theirs.
What about the multitude's power of being-in-itself, of this conatus composed of multiple conatus ? It is the power of the collective individuation which brings together the conditions of possibility of individual individuations, as the conditions of possibility for their tamings, domestications, subjugations and asphyxiations.
Thus, the multitude smothers itself in its own collective memory supports, its tertiary retentions desired or unintended, its hypomnemata. Thanks to them, throughout the 20th century, people were emancipated by more leisure time, mobility, culture, by more autonomy which they had to pay it with submission to moral, commercial or ecological norms.
But these vital hypomnemata, including anabolic and catabolic externalities, are both opportune and unwelcome, healthy and harmful, indissociably. These are pharmaka, i.e. remedies as much as poisons, releases as much as addictions, and scapegoats as soon as the homeostatic balances break.
How to seize these pharmaka to take care of us as much as of the multitude ? How to conduct this project as therapeutics ? In this game, a non-zero-sum one, those who will be creative will be those who liberate the capacities of individual exceedences within collaborative projects, i.e. those who will loosen the servitudes without uprooting the social rhizomes.
From the bottom of the global capitalist saturation, this creativity should no longer aim bourgeois mimetic sublimations, but co-erring cathartic emancipations. This creativity must invest the consensual resonances of the multitude to change the modes of production, so that new hypomnemata, objects, shapes and figures, can befall outside the mercantile overproduction dumps.
To this end, it is less to "make our lives a work of art" than to "make our lives a thread of events". Let us de(re)invent, de(re)choose, de(re)construct, de(re)territorialize distributable singularities and eccentricities, so that the multitude can algorYthm their recursions allowing the emergence of new vanishing lines.
Individuated by jef safi, recursing hypomnemata of the multiple : Heraclitus, Democritus, Zhuangzi, Plato, Aristotle, Spinoza, Bergson, Simondon, Debord, Deleuze, Guattari, Foucault, Castoriadis, Conway, Negri, Stiegler, Žižek, Badiou, Maffesoli, . . and so many others.
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El individuo se ahoga en la saturación del mundo porque siente que sus subordinaciones sobrepasan su autonomía, su poder para ser-en-sí-mismo entre la multitud, su conatus, que diría Spinoza, el manantial de su individuación psíquica, que diría Simondon, su libertad, que catequizarían los liberales, confiscándosela a aquellos a los que esclavizan para perseverar en la suya.
¿Qué hay del poder de ser-en-sí-misma de la multitud, de este conatus compuesto de múltiples conatus? Es el poder de la individuación colectiva lo que reúne las condiciones de posibilidad de individuaciones individuales, así como las condiciones de posibilidad para sus domas, domesticaciones, subyugaciones y asfixias.
Así, la multitud se sofoca en sus propios soportes de memoria colectiva, sus retenciones terciarias deseadas o inintencionadas, sus hypomnemata. Gracias a ellos, a lo largo del siglo XX, las personas se vieron emancipadas a través de un mayor tiempo de ocio, movilidad, cultura, más autonomía que tuvieron que pagar con la sumisión a normas morales, comerciales o ecológicas.
Pero estos hypomnemata vitales, incluynedo externalidades anabólicas y catabólicas, son a la vez oportunas y no bienvenidas, saludables y nocivas, indisociablemente. Son pharmaka, esto es, remedios a la vez que venenos, liberaciones a la vez que adicciones, y chivos expiatorios en cuanto los equilibrios homeostáticos se rompen.
¿Cómo apoderarse de estos pharmaka para cuidar de nosotros mismos a la vez que de la multitud? ¿Cómo conducir este proyecto como una terapéutica? En este juego, de suma no-nula, serán creativos los que liberen las capacidades de las excedencias individuales dentro de proyectos colaborativos, es decir, aquellos que aflojen las servitudes sin desenraizar los rizomas sociales.
Desde el fondo de la saturación capitalista global, esta creatividad no debería ya tener como objetivo las sublimaciones miméticas burguesas, sino las emancipaciones catárticas co-errantes. Esta creatividad debe invertir las resonancias consensuales de la multitud para cambiar los modelos de producción, de modo que nuevos hypomnemata, objetos, formas y figuras puedan surgir fuera de los vertederos de la superproducción mercantil.
Para este fin, no se trata tanto de “hacer de nuestras vidas una obra de arte” como de “hacer de nuestras vidas un hilo de eventos”. Des(re)inventemos, des(re)escojamos, des(re)construyamos, des(re)territorialicemos singularidades y excentricidades distribuibles, de modo que la multitud pueda algorYtmar sus recursiones permitiendo la emergencia de nuevas "líneas de fuga".
Individuado por jef safi, recurriendo hypomnemata de múltiples: Heráclito, Demócrito, Zhuangzi, Platón, Aristóteles, Spinoza, Bergson, Simondon, Debord, Deleuze, Guattari, Foucault, Castoriadis, Conway, Negri, Stiegler, Žižek, Badiou, Maffesoli, . . y muchos otros.
Many thanks to Alicia Pallas, alias Alificacion, for her tra(ñ)slation.
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
Someone got creative and put a Daffodil in this group of Rhododendron flowers. It looks great even in the rain.
June 20, 2009, Explore #108
This has become a little series, huh? :P
I guess you can all guess what is on the picture... You know where the bokeh comes from :P
And you know what?
I'm not doing anything today... I'm just gonna sit in my PJ´s and do NOTHING!
Hope you are all having a fantastic weekend!
« If you appreciate my work and would like to support me becoming an independent photographer, become a Patreon supporter at www.patreon.com/alexdehaas, or buy me a coffee at www.buymeacoffee.com/alexdehaas :) »
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Study of the day:
"Il y a autant de différence entre le néant et l'espace vide que de l'espace vide au corps matériel ; et ainsi l'espace vide tient le milieu entre la matière et le néant."
( Blaise Pascal - Œuvres complètes - réponse au "père Noël" )
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"La ligne qui passe entre les choses n’est pas la ligne qui cerne les choses, mais la ligne qui les assemble et les sépare à la fois."
The line that passes between things is not the line that surrounds things, but the line that assembles and separates them at a time.
( Gilles Deleuze - Cours PARIS 8 )
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
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Marin says, "Mama, thank you for my new toy!"
memories, memories, memories...
thanks for stopping by
and God Bless,
hugs, Chris
I spent an afternoon at my mom’s the other day and browsed through her large stock of buttons, ribbons and old lace. A gold mine for a craft enthusiast! This is part of what I came home with. :-)
Blogged here:
(Another Don Draper slide, this quote is from a recent episode.)
I laughed out loud when I heard this one and it's so true. Creativity can be encouraged, sure, but it can be very difficult to force. Sometimes you just have to fuck around until creativity strikes.
Slightly related: www.dkeithrobinson.com/thingimade/the_science_or_lack_the...
Corpus Christi 2007 - Sitges, Barcelona (Spain).
ENGLISH
For the festivity of Corpus Christi, every year it is celebrated a contest of carpets of flowers in the streets of Sitges, in which people, groups and schools participate. The used materials usually are petals of carnations, grass, earth, coffee, bran of rice and other types of flowers. Also some balconies are specially arranged.
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CASTELLANO
Para la festividad de Corpus Christi se celebra cada año en las calles de Sitges un concurso de alfombras de flores, en que participan personas, colectivos y escuelas. Los materiales empleados suelen ser pétalos de claveles, hierba, tierra, café, salvado de arroz y otros tipos de flores. También se engalanan algunos balcones.
Advanced
Caran d'Ache Museum Aquarelle and Luminance pencils, plus Polychromos for the eyes. White gouache for the dots and whiskers.
8x10 on Fabriano Hot Press paper.
I've been feeling depressed this week, so I decided to ignore all of my other work and start this picture. I thankfully got "in the zone" pretty quickly and finished the whole thing in a few hours, which cheered me up immensely. I loved the subject matter for this one. Nothing cures the blues like a frenzy of creativity and colour!
Creativity is something money cannot buy...
Taken in Tj Uma, Batam, one of the poorest regions of the Island.
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________
Study of the day :
Il y a donc, là, une crise que j’appelle écosophique, pour élargir la notion de pollution environnementale, non seulement aux dimensions matérielles de la pollution, mais aussi aux dimensions de la pollution sociale, de la pollution mass-médiatique et de la pollution mentale. C’est pour intégrer toutes ces dimensions écologiques que j’ai formé, que j’ai forgé, ce terme d’écosophie. Il y a le problème d’une réinvention de la vie sous tous ses aspects. Sous ses aspects matériels. Sous ses aspects sociaux et sous ses aspects incorporels. Il y a toute une problématique de l’écologie du virtuel à forger.
So there is, there, a crisis which I call ecosophic, to expand the concept of environmental pollution, not only to the material dimensions of pollution, but also to the social dimensions of pollution, of the massmediatical and mental pollution. This is to integrate all these ecological dimensions that I formed this term : ecosophy. There is the problem of a reinvention of life in all its aspects. In its material aspects. In its social aspects and in its intangible aspects. There is a whole problematics of the ecology of the virtual that have to be founded.
( Félix Guattari - An interview on greek TV 1992 )
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| . rectO-persO . | . E ≥ m.C² . | . co~errAnce . | . TiLt . |
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________________
Study of the day:
[...] Quand on voit comment un animal marque son territoire, [...], ce qui intervient dans le marquage d'un territoire, [...], c'est aussi une série de postures, une série de couleurs, de chants, [..], ce sont les trois déterminations de l'art, . . couleurs, lignes, chants, c'est l'art à l'état pur ! Et alors je me dis, quand ils sortent de leur territoire, ou quand ils reviennent dans leur territoire, [...] que le territoire c'est leur avoir, c'est les propriétés de l'animal, et sortir du territoire c'est s'aventurer. Dès lors avec Felix [...] on a construit un concept que j'aime beaucoup. Puisque le territoire ne vaut que par le mouvement par lequel on en sort, on a besoin d'un mot, même s'il est en apparence barbare, pour désigner ce concept. C'est le concept de dé-territorialisation. [...] "
When we see how an animal marks its territory ... which is involved in the marking of its territory, ... it is a series of postures, a variety of colors, songs, [..], there are the three determinations of art. Colors, lines, songs, it is art in its purest form ! When they come out of their territory, or when they come back into their territory, the territory ... is the properties of the animal, and to leave the territory is to venture into an unknown country. Therefore, with Felix [...] we built a concept that I like very much. Because the territory is defined only by the movement through which it is left, we need a word, even it is seemingly barbaric, to describe this concept. This is the concept of dis-territorialization. [...]"
( Gilles Deleuze - L'Abécédaire - 1988 1995 - A: Animal )
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
I've been asked: "How do you create your magical pictures...?"
Okay. This video is one of my answers.
I have learned so much by my flickr friends that I want to say THANK YOU ALL!!!
Now I will show what I have learned...
No need to keep secrets.
Enjoy your own creativity!
HKD
If you start photo manipulation, maybe you'll be inspired... :-))
HKD
If you like to see full length...
www.youtube.com/watch?v=r6mFXKc5tls
HKD
__________________________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________________
Study of the day:
" [...] Pitié pour la viande! La viande n'est pas une chair morte, elle a gardé toutes les souffrances et pris sur soi toutes les couleurs de la chair vive. Tant de douleur convulsive et de vulnérabilité, mais aussi d'invention charmante, de couleur et d'acrobatie. Bacon ne dit pas "pitié pour les bêtes " mais plutôt tout homme qui souffre est de la viande. La viande est la zone commune de l'homme et de la bête, leur zone d'indiscernabilité, elle est ce "fait ", cet état même où le peintre s'identifie aux objets de son horreur ou de sa compassion. Le peintre est boucher certes, mais il est dans cette boucherie comme dans une église, avec la viande pour Crucifié. C'est seulement dans les boucheries que Bacon est un peintre religieux. ". [...]"
"[...] Pity for meat ! The meat is not a dead flesh, it has kept all the suffering and took on itself all the colors of the flesh alive. Both convulsive pain and vulnerability, but also charming invention, colors and acrobatics. Bacon does not say "pity for beasts" but any man who suffers is some meat. The meat is the common zone of man and beast, their area of indistinguishabilty, it is this "fact", this state where the painter identifies the objects of his horrors and compassions. The painter is butcher, but it is in his butchery as in a church, with the meat for Crucified. It is only in butcher shops that Bacon is a religious painter. [...]"
( Gilles Deleuze - 1981 - Logique de la sensation )
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(...) J’essaie de montrer ce que c’est qu'une "ligne de fuite" en peinture. J’arrive à peu près à la définition du processus. Je prends des exemples.
Je prends par exemple la ligne de certains artistes très classiques, la ligne qui répond à la formule célèbre : "Il ne peignait pas les choses, il peignait entre les choses". La ligne qui passe entre les choses n'est pas la ligne qui cerne les choses, mais la ligne qui les assemble et les sépare à la fois.
Je prends un autre exemple extrême, chez un artiste récent : la ligne dite de Pollock. Ce qu’il y a d’extraordinaire avec cette ligne, c’est qu'elle récuse aussi bien l’abstrait que le représentatif. Qu’y a-t-il de commun entre l’abstrait et le représentatif ? D’une certaine manière, la ligne y est encore une ligne au moins virtuelle de mort.
Qu’est-ce que j’appelle "ligne de mort" ? Une ligne de mort est une ligne qui détermine, qui ferme, qui achève un contour. Alors la vraie différence, elle n'est pas entre abstrait et représentatif, elle est entre la ligne qui ferme un contour et la ligne qui procède autrement. Une ligne qui ferme un contour peut déterminer une figure concrète aussi bien qu'une figure abstraite. Que ce soit de l’abstrait ou du représentatif, il n'y a pas là de différence, vous avez toujours la ligne qui fait contour.
Pourquoi la ligne de Pollock n'est-elle ni abstraite ni concrète ? Parce qu’elle ne forme pas un contour. Comme on le disait à propos d’autres peintres, elle passe "entre" les choses. Elle ne va pas d’un point à un autre, c’est au contraire un point qui va d’une ligne à une autre, ou d’un segment de ligne à un autre segment de ligne, etc.
Je dis que la ligne de Pollock c’est une "ligne de vie", en effet. (...)
(...) I try to show what is a "vanishing line" in painting. I manage to roughly define the process. Let's look at some examples.
For example, I look at the line of some very classical artists, the line that meets the famous: "It does not paint things, he painted between things." The line that passes between things is not the line that turns around things, but the line which separates them and assembles them at once.
Another extreme example, is with a recent artist: the line said as the Pollock's line. What is extraordinary with this line is that it rejects both the abstract as the representative. What is common between abstract and representative ? In a way, the line is still virtually a "line of death".
What I call "line of death" ? A "line of death" is a line that determines, which closes, which is completing a contour. So the real difference, it is not between abstract and representative, it is between the line closing a contour, and the line proceeding otherwise. A line which closes a contour can determine a concrete figure as well as an abstract figure. Whether it is abstract or representative, there is no difference there, you have a line making a contour.
Why Pollock's line is neither abstract nor concrete ? Because it does not form a contour. As we said about other painters, she runs "between" things. It does not go from one point to another, in contrary, it is a point that goes from one line to another, or from a segment of line to another segment of line, etc.
I say that the Pollock's line is a "life line", indeed. (...)
( Gilles Deleuze - Cours Université PARIS 8 - "Anti-Œdipe et autres réflexions" )
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
Consciousness in Action
Creation - Creativity
Being aware
Buddha’s Light
Consciousness
HKD
“Consciousness is all there is.”
Advaita
Ramesh Balsekar
HKD
Buddhas Licht
„Sieh nur“, sagte Rinpoche zu mir und wies mit dem Finger auf eine niedergehende Sternschnuppe.
„Ich bin wie sie!“ lächelte der Alte. „Nach einer langen Reise durch die Dunkelheit verstrahlt sie ihr Licht, zaubert ein Lächlen auf manche Lippen und vergeht im Nichts.“
HKD