TEACHING PHILOSOPHY: “THE BAD IDEA FACTORY”

Art is destructive and radical so teaching it is impossible. For example, if disobedience is encouraged it becomes an act of conformity to disobey, which then cancels itself out. In most educational models, destruction is unconsciously avoided. This creates a culture that venerates perfectionism, virtuosity and technical fetishism while unintentionally discouraging experimentation, play and failure.

I propose a philosophy informally named, "the bad idea factory." In this philosophy a hybrid approach to art and creativity emerges. Both good and bad ideas are allowed to emerge in the flow state that happens before the "editor" intervenes. Amplification of creative power within each person needs a context which allows for effortless flow. In a recent sculpture project slated to take six weeks, I had students construct (and perform with) wearable musical instruments in only 90 minutes. It was electrifying to see the shift from tentative thinking to decisive action, from self-consciousness to playful composition, from perfectionism to freedom. The role of an educator is to reduce psychological blocks that restrict flow and creativity; to shine light on what is already there, and to let it grow.

In place of a maximalist ALL CAPS manifesto, I have distilled this philosophy to the essence of what I think is most helpful to artists in creating the context for maximum creativity and flow. In other words, how can I help artists get out of their own way?

SET LIMITATIONS: In the beginning especially, innovation happens within rigid boundaries. Expanding on the wearable performance project listed above I then had the students improvise rounds of short sound and movement performances; 30 seconds each. First round all they do is walk. Second round they walk again. 30 seconds is a long time to walk in the spotlight. Third round of performances they do the crab walk. Finally the last round where they have no restrictions creativity starts to bubble up. People crawl, stand on objects, start innovating when confronting the rigidity of the context. Parameters are an excellent way to encourage safety and play. They allow for false ego and self-consciousness to be minimized so that creativity and innovation can emerge without the student shutting it down.

SAFETY MAXIMIZES PERMISSIONS FOR CREATIVE RISK TAKING AND INNOVATION: Cast a wide net. Good ideas, bad ideas, failures and everything in between are welcome. As an ice breaker with new students, I have them write a list of their worst ideas for a piece of art. I will give them an example of a life-size sculpture of the moon. I offer them an alternative to predictable and fearful thinking to help facilitate safety, relaxation and flow. I seek to create a state of fearless play that children and the best improvisers possess. After they write their lists I have them start calling out the ideas popcorn-style, one after another. Invariably this list of bad ideas is exquisite, hilarious, and exciting. When bad ideas are welcome, good ideas are not as scary and are more accessible. This is the engine of flow.

EMPOWER ACTION: Consciously separate the creator and editor to allow for liberated action. Creativity first, refinement second. In addition to welcoming good, bad, and incomplete ideas people start to understand that their creative process is essentially only for them and I'm just a guide there to bring out and amplify what is already there. Expanding permissions for creativity is at the top of my priorities as an educator and as a person. Free writing/drawing is a major component of entering flow state.

FEEDBACK AND EMPATHY: With listening and critical thinking at the foundation, feedback and constructive criticism has the capacity to amplify the vision and the aesthetic of the student. There is no space for agendas or hierarchies other than self-actualization. Day one, I learn and speak the names of everyone in class. I am excited to know them and where they come from. But success for me, as an educator, is a student startled by an encounter with themselves, with me entirely out of the way. This is just as much the reason for teaching as it is the reason for making art. As Lautréamont said, it is “as beautiful as the chance encounter of a sewing machine and an umbrella on an operating table.”