CREATIVE ANALYSIS

 

written by phaedranajones ©2014

all quotes from an interview on creativity with PHADROID

 

LOCATION AS A CONTAINER

 

There is potential, there are people of potential, and there are places of potential. One defines, reflects, and contains the other. Each of us is a container; and we are contained within the larger container of our environment that holds space for us. In a creative collective, the whole weaves itself together through its myriad pieces each moment in the given space, perpetually reinterpreting itself.

 

Through making available a multitude of different threads, colors, textures and layers of experience (movement, sound, visuals, technology, design) the collective creativity within each fragment of the whole may have a wider array of tools to simultaneously soar through.

 

Does the container within which this happens affect, influence or determine this collective creativity as it appears; and is there a way to document or analyze this?

 

 

DOCUMENTATION /ANALYSIS

 

Improvisation of any form without an external point of reference is merely an internal experience that is purely subjective, hence not wholly applicable to be defined in objective terms by the experiencer him/herself.

 

Imagine editing along a timeline. If your consciousness exists on a linear timeline at the point of departure, you slowly dissolve the connection point. It’s like you split the play-head of reality and you become free of time. The road behind you disintegrates into the void, and you’re so far out ahead of where you were, that there’s nothing in front of you or behind you. You’re free.

 

 

Does creativity or the creative flow shift or change as it is witnessed by an audience, cameras rolling, or through a connecting form of technology? Is there any consistency in the way it alters its course, intensifies or vanishes that can be measured? Should it be measured?

 

Is the interpretation or decoding of meaning subjective to the viewer receiving the experience? Is there any inherent structure that appears that may serve as an objective point of departure for interpretation?

 

Does the same current that moves through the performing artists affect its actual documentation – those behind a camera, or the editing software? And, does the mind get in its own way of understanding perpetually looking for questions or answers to questions; does an absence of questions bring about or signify the answer itself?

 

 

In a deep creative journey there is a point of departure where the only thing keeping you tethered to the physical world are the creative tools in your hands that you hang onto by your fingertips.

 

The goal is to gain mastery over at least one particular routine, so the memory of your muscles upon the application becomes the vortex of your consciousness, your breadcrumb of reality.