artistic spontaneity Quotes

Bad poetry is caused by people who sit down and think, Now I am going to write a Poem.

That impulse I think is a form of love. Poetry is something that comes to you, rather than your having to work out its form beforehand.

When I'm at the piano, and I'm improvising some song about something, it usually oscillates between factual, absurd, and sincere.

Sometimes I write drunk and revise sober, and sometimes I write sober and revise drunk. But you have to have both elements in creation — the Apollonian and the Dionysian, or spontaneity and restraint, emotion and discipline.

I just go into the studio, look at the lyrics for the first time when I put them on the piano, and go. If I haven't got it within 40 minutes, I give up. It's never changed, the thrill has never gone, because I don't know what I'm going to get next.

Lots of artists who paint have the experience to one degree or another... where their thinking doesn't precede their doing... It's a funny thing, what I really hate yet I have to go through with it, is the preparation.

I don't really think about what the subject of my next album will be. I just know that I'm going to make another album.

An artist should let his style evolve naturally, spontaneously.

Improvisation helps because you get what's on the page and you make it a little more palatable to your tongue. And that's the beauty of creating and being spontaneous. That's the way I love to work.

I love to make music that makes people feel mood-enhancing, life-affirming brilliance but I just make whatever comes out at the time and sometimes it's up and sometimes it down and sometimes it sideways with a hint of s smile.

There is something about the creative process... which is that you can't talk about it. You try to think of anecdotes about it, and you try to explain, but you're never really saying what happened... it's a sort of happy accident.

Being non-commercial is never an ambition. Movies come together at different points for fortuitous reasons. You do them as you get the opportunity, as opposed to doing them when you choose to or design to.

You spend so many months and years in the studio, and you see the clock ticking and so much time spent on the minutiae of technical things. And I just thought it'd be fun to do something extremely fast and get that rush of something that had some energy, something that you weren't tired of when you finished it.

To my father, art had no restrictions. He was a true 'American Primitive.' He greatly enjoyed sketching and photography, carrying a camera with him whenever he could.

The combination of what's written and just being in the moment is always the best way. You gotta start out with something solid and then you play.

I hate symbolic art in which the presentation loses all spontaneous movement in order to become a machine, an allegory -- a vain and misconceived effort because the very fact of giving an allegorical sense to a presentation clearly shows that we have to do with a fable which by itself has no truth either fantastic or direct; it was made for the demonstration of some moral truth.

The thing that hasn't changed, and I don't think will ever change, is that the operative word in music is "play." You have to have a playfulness about it. As the world shifts, it's starting to understand more and more that to have a playfulness about any and everything is actually the way of having a better life, or being more creative, or being more productive.

A lot of it's experimental, spontaneous. It's about knocking about in the studio and bumping into things.

I would advise puppeteering for any artist. It's a way to break down pretensions. It's a sculpture that can talk. It's a painting that can talk. And it's pure play. I think every artist needs to stay in touch with the idea of playing. The artist should always be playing, always. All art is performance.

The Zen way of calligraphy is to write in the most straightforward, simple way as if you were a beginner, not trying to make something skillful or beautiful, but simply writing with full attention as if you were discovering what you were writing for the first time; then your full nature will be in your writing.

Music and culture are intrinsically improvisational, existential.

I called the guys from Promise of the Real, whom I've been playing with, and they were all on the road. Right after I hung up the phone, I wrote another song and started writing another, and I'm going, "Hey, I can't wait. I should be doing this now!" My experience tells me that when it's there, it's there, and you can't make it wait. So I got Jimmy Keltner and Paul Bushnell, two good guys, and went in and did this record ["Peace Trail"].

I want to be in the studio. I want to be doing something. You just do whatever is at hand, and you don't even worry about whether it's going to be interesting or not interesting to anybody else-or even yourself. You just have to make something.

The theory is that you don't play a song the same way twice because it's jazz. That's where I'm coming from.

There is something else to be said about this immediate, spontaneous way of working, and that is this: in such moments, one is playing at the game of creation.