Editorial
Is it possible to learn how to be more creative? By encouraging people to loosen up and calm down can you increase the number of ideas that they come up with? It’s to do with the state of mind some people need to be in to allow ideas to flow.
In the cognitive science of consciousness, there is a lot of interest in what people call the ‘fringe of the mind’, an idea started by William James, the father of psychology, who in 1890 wrote about the ‘reinstatement of the vague’ - the ability to be interested in ideas that are not yet fully formed. Creative people have a more intimate relationship with the fringes of their mind, and consequently are able to catch the gleam of an idea as it flashes across the corner of their consciousness.* Empathy is not a word that leaps out and grabs you, it’s not a domineering word, or demanding of a particular methodology. According to the dictionary definition empathy is; the ability to identify with and understand another person’s feelings or difficulties, or more particular to this article, the transfer of your own feelings and emotions to an object such as a painting, or a piece of design. In a sense it is a bit elusive. But what possible role can empathy have in your creative process? Sometimes you can spend ages trying to put your finger on an idea, or possibly the question which will pinpoint the exact answer to a creative problem. Empathy at some level and with some aspect of the product or service needs to be entered into. There comes a point at which you have to enter a phase of openness about the subject before you can put ideas down on paper. For some designers this comes at the research stage where entering into a phase of collecting and collating information opens your eyes and mind to new information and visual experience. During brainstorming there needs to be a level of detachment and vagueness for exiting and innovative connections to be made. And then during the finished artwork stage you have to be leave room for ambiguity, just enough to take risks with your technique in order to give life to an idea. And while the more creative people couldn’t do this to order during tests, they intuitively knew when it was right to be relaxed and open-minded and when it was time to be focused and concentrated. At some level we all empathise with something and find ourselves drawn towards types of visual, and for that matter written language. We all have an innate starting point for our own creative process and a sympathy with an approach, inherent to our particular background, and nurture as artists, or designers. Source magazine wants to help create that atmosphere, and provide a relaxed platform for ideas to be consumed. A stress-free format, and no agenda, except for the joy of the visual. Sometimes good ideas are like that. They arrive when you least expect them.
Steve Wilkin
*Guy Claxton - The Observer Sunday 22/09/2002
Source: mpathy
the wheel was the ultimate lazy idea
cut enough corners and there you have it.
Sometimes good ideas are like that. They arrive when you least expect them.
Source magazine wants to help create that atmosphere, and provide a relaxed platform for ideas to be consumed. A stress-free format, and no agenda, except for the joy of the visual.
Graphic Designer Vaughn Oliver of design company V23 is most famous for his work with 4AD record company is a master of the vague. His collaborations with artists, photographers, and calligrapher Chris Bigg are works of ambiguous genius which are absolutely right for much of 4AD ʻs esoteric catalogue. (Image) He often asks band members to bring in objects to work from – the placement of these things in the final package is never explained, they are just meant to be there. The viewer is then asked to empathise with the image of course.
At some level we all empathise with something and find ourselves drawn towards types of visual, and for that matter written language. We all have an innate starting point for our own creative process and a sympathy with an approach, inherent to our particular background, and nurture as artists, or designers.
And while the more creative people couldnʼt do this to order during tests, they intuitively knew when it was right to be relaxed and open-minded and when it was time to be focused and concentrated.
But what possible role can empathy have in your creative process? Sometimes you can spend ages trying to put your finger on an idea, or possibly the question which will pinpoint the exact answer to a creative problem. Empathy at some level and with some aspect of the product or service needs to be entered into. There comes a point at which you have to enter a phase of openness about the subject before you can put ideas down on paper. For some designers this comes at the research stage where entering into a phase of collecting and collating information opens your eyes and mind to new information and visual experience. During brainstorming there needs to be a level of detachment and vagueness for exiting and innovative connections to be made. And then during the finished artwork stage you have to be leave room for ambiguity, just enough to take risks with your technique in order to give life to an idea.
Empathy is not a word that leaps out and grabs you, itʼs not a domineering word, or demanding of a particular methodology. According to the dictionary definition empathy is; the ability to identify with and understand another personʼs feelings or difficulties, or more particular to this article, the transfer of your own feelings and emotions to an object such as a painting, or a piece of design. In a sense it is a bit elusive.
In the cognitive science of consciousness, there is a lot of interest in what people call the ʻfringe of the mindʼ, an idea started by William James, the father of psychology, who in 1890 wrote about the ʻreinstatement of the vagueʼ - the ability to be interested in ideas that are not yet fully formed. Creative people have a more intimate relationship with the fringes of their mind, and consequently are able to catch the gleam of an idea as it flashes across the corner of their consciousness.*
Is it possible to learn how to be more creative? By encouraging people to loosen up and calm down can you increase the number of ideas that they come up with? Itʼs to do with the state of mind some people need to be in to allow ideas to flow.
Empathy:re-instate the vague!
*Guy Claxton The Observer Sunday September 22, 2002
pro ano xim nim ity ity
The price of freedom is indeed high.................................... quite literally.
Paul donated a small amount for this copy of the shot, which went to help pay off their $150,000 fine.
Current ley working in Sydney, Paul, a Graphic designer informs us that the picture “was taken by a Greenpeace photography who’s friends Will & Dave had painted the ‘No War’ slogan on the Opera House.
The image above was sent to us from Australia by ex-graduate - Paul Critchley.
“You don’t get much for 2 megs these days”.
empathy
& environment.
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Graphic Lines 1977 Opposite and above are some examples from issue number 3 of Graphic Lines, published in 1977 by the then Graphics Division - Preston Polytechnic. Edited by Duncan Glen issue three was constructed along the theme of letterforms, with contributions from staff, students and perit wis nis amconum ent elisim duip ex el utatum veliqui essed dolut diat. Im voluptat alissequis nostrud dolorer ipit aute dionse velit, commy nos dolore dio duis aut aliquation verat. Ut lore minci tet, consenibh ea faccummy nullaoreet nullaor alis adiat autpat lam ip exerost
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foot notes
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1. Front Cover Issue No.3 - designed by Brian Becker 2. Designed by David Hockney 3. 4. 驶Blackmail始 themed brief - designed by Brian Becker 5. Designed by George Hollingsworth 6. Designed by Ben Casey 7. Designed by Brett Leefe
Cause: “Empathy?� Process: Serendipidity Imagination Shamanistic divination Conscious analysis Selection Notebook extracts Found materials Various brushes Pens Pencils Markers Blu tack Streamline Illustrator Photoshop Indesign Digital Camera Scanner
The free postcard featured below was picked up in Preston, Lancashire on 11.09.01, only hours after the momentous events in New York. Titled ʻcome fly with meʼ. The image of a jet plane on the New York skyline and the apparent abstract of twin towers in the background take on a certain portentous significance to the veiwer.
Although hard to reconcile it is the meaning we as the veiwer A Coincidence, a chance occurplace upon the image, coupled with the uncanny timing of events. rence of events, remarkable either for being simultaneous or for apWell it is a simple case of connec- parently being connected. OED tions, no matter how disperate
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foot notes
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Art Spiegelman: In the shadow of no towers: Reviews:Asymmetrical warfare
stone wall
Introduction to the article
Purchased at Robin Hoods bay - Whitby North Yorkshire. Medium Senior Service Cigarette packets
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foot notes
Welcome to the first evcer and probably last edition of at nulputat, con ute et landrem nostie mincilit lamcomm odolorperos augiat veliqui smolor autpat. Ecte feugait nos nisl iriliquatin velit alis exero dolorer ostrud magna faci estie facip ea feu feui tate magna facidui eum vulla ad tie do odionsectet, sed dunt lorpera esequat.
Object analysis: outsider artwork:skrimshaw:Battersbyʼs the man.