Posts tagged as:

ideas

Last night, while cutting and roasting these little squares and cubes of yum:

sweet potatoes and red pepper

Not quite squares or cubes...

I was listening to an episode of Philosophy Talk about language titled “What Are Words Worth?” and one of the topics was whether and how our native language constrains our thought processes.

Most people would consider English to be my primary language. Anyone who has tried to comprehend my attempts at French or Japanese or Chinese would consider English my only language. And they’d be essentially correct.

Or is it mostly accurate?  Or spot on? I have a notion of what each of those phrases means, but I’m not sure the best way to say it. I could keep fiddling with it, or come back to it in ten minutes. But I’ll just leave it as an example of my frequent inability to find a word or phrase that precisely fits what I’m thinking.

If my thoughts originate in English, shouldn’t the words and sentences just fall out of my head, fully-formed? Why do I feel inclined to hunt through dictionaries, ponder each word’s heritage, and fret about shared perceptions of what specific words mean?

In other words, why does writing feel like translation rather than transcription?

Micro-Dialects

Maybe it’s a matter of converting my own personal and idiosyncratic dialect into more commonly used patterns? That seems plausible enough.

We each use language in our own peculiar way. Through editing and revision, we move from the quirky, hyper-local dialect of our internal monologues towards the language practices we share with our audience.

To communicate a specific idea, I have to capture its meaning, seal it into these little semantic packets called words and phrases, sequence those into sentences and paragraphs, encode it with one computer, transmit it to another computer, and let you take it from there.

As a reader, you go through an inverse process: you use a tool like a browser to copy it from a computer to your computer, which retrieves text from the numerical codes, and positions the sentences and paragraphs, which you then parse into words and phrases. Hopefully they mean something to you which approximates what they meant to me.

This model works well enough for blog posts, which tend to focus on words and voice, so it’s easy to assume that only the machines are translating and transmuting the ideas as they move from my mind to yours.

An Inadequate Container

But what about all the ideas that never take the form of written or spoken languages?

Could anyone imagine Stravinsky’s Rite of Spring captured in words alone, and then accurately transformed into sound? It might be possible — after all, musical notation is a kind of language — but it would certainly be inefficient and absurd.

I could have described the objects depicted at the top of this post using only language:

“Two well-scrubbed sweet potatoes from the Farmers’ market (cut in 1.5cm cubes) along with a red pepper from the Farmers’ market (cut in 2cm squares) tossed in olive oil, cumin, coriander, black pepper, a pinch of salt, roasted in a glass dish at 400F for approximately 53 minutes, until they were just right.”

Yet there’s nothing intrinsically linguistic about them. I used language to procure them. I just used language to describe them.

Other than that, the experience of them, it seems to me, has very little to do with language. I decided a photo paired with a flippant phrase (“little squares and cubes of yum”) was a better way to present them. Smell and taste would create a more accurate perception in your mind of what came out of the oven, but digital media hasn’t quite caught up with those senses — yet.

If language is not an adequate container for all thoughts, then what is thought?

Do ideas form out of a kind of raw “thought stuff” which is then sometimes translated into language?

In my experience, yes, which is why I feel like writing is translation, like whatever I express in English is at best an approximation of what I’m after.

I’ll explore this question, and some of its implications for idea-making, in my next post.

In the meantime, I’d like to hear about your experiences:

  • Do you feel like you are directly transcribing what’s in your head when writing a short story or a blog post or painting or dancing?
  • Or do you feel like you are translating your ideas, whether into language or image or sound or other physical forms?

Please add a comment or send an email or a tweet, and let me know.

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Tools We Can Rely On

by Matt Blair on March 9, 2009

in Process and Workflow

Many years ago, when audio editing software was primitive and hard drive space too scarce for regular backups, I hit the wrong key and saved a 30 second excerpt of an audio piece over a 40-minute original recording. I managed to recover the original, but it was a long, long night.

We each probably have our own stories of technology failing us, or of inadvertently scuttling a project with some minor action of our own. Usually, these flubs aren’t show-stoppers or permanent blocks, but a few petty annoyances combined can be enough to pull us out of flow. We forget the thrust of our thoughts, and might even wonder whether the project is worth our time, or if we shouldn’t turn our attention elsewhere for a little while.

Thin Ice

In creative work, the tool layer should support the idea layer: it needs to provide a solid, smooth and reliable platform for our idea work. Bad tools are like thin ice. They cause us to step tentatively, not boldly. Our eyes are looking down for signs of trouble rather than forward, or toward the sky.

And when the ice cracks, we fall through and lose momentum. Our attention turns to extracting ourselves and patching over the hole. Once we’ve done that, we may feel a momentary surge of satisfaction, then a sinking feeling that after so much time and energy, we’ve just gotten ourselves back to where we were, and not any closer to where we were headed.

Composer Tech

When a musician uses a computer to create new work, there are all sorts of distractions lurking within. The oboe sound isn’t quite write, so he searches for a more authentic one. The software keeps switching a g-natural to a g-sharp because it thinks he is trying to change keys. He wants one measure to have a long pause in the middle, and disappears into the documentation trying to figure out how to bend the machine to his will.

Sitting at a piano, the tools are simple, dependable and have been tested over centuries. There is a very low probability that the creative process will be disrupted by a failure of the piano, or the pencil, or the staff paper. This leaves the mind free to work at the creative layer, the idea-crafting layer, rather than the tool layer. You don’t expect a piano to sound like an oboe, so there’s less “distraction of perfection” — fiddling with the details while the project stalls.

Techno-Skepticism

I’m not a technophobe. Technology has transformed our ability to express and share our ideas in startling and empowering ways. If you want to hear how all the string quartet parts sound with the rest of the band, a piano alone won’t suffice.

But I am a techno-skeptic. Protecting ideas as they emerge — from all distractions — is critical to the creative process, and therefore it is important to be skeptical of anything we allow into that process.

Here are some of the tactics I use when choosing tools for my own creative projects:

Tool selection sessions. Set aside time in your schedule for assessing and evaluating new tools. Go into the experience without any expectation of producing a usable creative result, and then you’ll be pleasantly surprised if you do. The main goal is understand whether this tool would be more of a disruption or distraction than its worth, or whether adding it to your toolbox will enhance your creative expression.

Avoid the most sophisticated tools. Use tools that are just barely sophisticated enough for the task at hand. Think of filmmakers using story boards first instead of shooting a “rough draft” of the film. In my own creative work, I find that little is gained and much is lost by trying to be on the bleeding edge. I prefer the phrase bleeding edge to cutting edge, because it emphasizes the pain rather than the usefulness. When the complexity/dysfunction pain drops — or if you have built-up thick calluses! — then it is time to adopt the tool.

“Fix it in the mix.” Yes, it’s a cliché, and really bad advice if you are trying to capture a polished performance. But with so many good editing tools, it’s often just easier to enhance ideas after the first attempt: overdub the audio, insert a different clip, or work on a backup copy and revert to the original if you mess up. Use a simple tool to get enough of an approximation of an idea when it first pops into your mind, and then use more sophisticated tools to clean it up or recreate it later.

Caveat Creator

Problematic tools can also present us with beautiful dilemmas — boxes we are forced to work within.

A MultiMoog Synthesizer

A MultiMoog Synthesizer

About fifteen years ago, I found a filthy old MultiMoog synthesizer in a music store, and bought it for about 20% of the going rate at the time because it was “broken” and the owner didn’t want it.

What did “broken” mean? There was something wrong with the envelope circuitry, so the sound started when I turned it on, and didn’t stop until I turned it off. Everything else about it, including the keyboard (I could change the pitch) and the volume knob (I could fade in and out) still worked, and it could create rich tones and intricate patterns. It wasn’t something you could use for a prog-rock cover band, but as a complex drone machine — a kind of 20th-century hurdy gurdy — it was full of possibilities.

Sometimes, reliable dysfunction can be just the right thing.

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