4 lessons in creativity
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0:01 - 0:05On my desk in my office, I keep a small clay pot
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0:05 - 0:10that I made in college. It's raku, which is a kind of pottery
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0:10 - 0:14that began in Japan centuries ago as a way of
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0:14 - 0:18making bowls for the Japanese tea ceremony.
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0:18 - 0:22This one is more than 400 years old.
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0:22 - 0:26Each one was pinched or carved out of a ball of clay,
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0:26 - 0:30and it was the imperfections that people cherished.
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0:30 - 0:38Everyday pots like this cup take eight to 10 hours to fire.
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0:38 - 0:42I just took this out of the kiln last week, and the kiln itself
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0:42 - 0:46takes another day or two to cool down, but raku
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0:46 - 0:51is really fast. You do it outside, and you take the kiln
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0:51 - 0:55up to temperature. In 15 minutes, it goes to 1,500 degrees,
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0:55 - 0:59and as soon as you see that the glaze has melted inside,
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0:59 - 1:02you can see that faint sheen, you turn the kiln off,
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1:02 - 1:04and you reach in with these long metal tongs,
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1:04 - 1:09you grab the pot, and in Japan, this red-hot pot
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1:09 - 1:14would be immediately immersed in a solution of green tea,
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1:14 - 1:17and you can imagine what that steam would smell like.
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1:17 - 1:20But here in the United States, we ramp up the drama
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1:20 - 1:24a little bit, and we drop our pots into sawdust,
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1:24 - 1:27which catches on fire, and you take a garbage pail,
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1:27 - 1:32and you put it on top, and smoke starts pouring out.
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1:32 - 1:37I would come home with my clothes reeking of woodsmoke.
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1:37 - 1:42I love raku because it allows me to play with the elements.
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1:42 - 1:46I can shape a pot out of clay and choose a glaze,
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1:46 - 1:51but then I have to let it go to the fire and the smoke,
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1:51 - 1:53and what's wonderful is the surprises that happen,
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1:53 - 1:56like this crackle pattern, because it's really stressful
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1:56 - 1:59on these pots. They go from 1,500 degrees
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1:59 - 2:03to room temperature in the space of just a minute.
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2:03 - 2:09Raku is a wonderful metaphor for the process of creativity.
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2:09 - 2:13I find in so many things that tension between
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2:13 - 2:16what I can control and what I have to let go
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2:16 - 2:20happens all the time, whether I'm creating a new radio show
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2:20 - 2:25or just at home negotiating with my teenage sons.
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2:25 - 2:29When I sat down to write a book about creativity,
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2:29 - 2:32I realized that the steps were reversed.
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2:32 - 2:35I had to let go at the very beginning, and I had to
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2:35 - 2:40immerse myself in the stories of hundreds of artists
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2:40 - 2:44and writers and musicians and filmmakers, and as I listened
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2:44 - 2:50to these stories, I realized that creativity
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2:50 - 2:53grows out of everyday experiences
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2:53 - 2:57more often than you might think, including
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2:57 - 3:00letting go.
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3:00 - 3:03It was supposed to break, but that's okay. (Laughter) (Laughs)
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3:03 - 3:06That's part of the letting go, is sometimes it happens
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3:06 - 3:10and sometimes it doesn't, because creativity also grows
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3:10 - 3:12from the broken places.
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3:12 - 3:15The best way to learn about anything
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3:15 - 3:19is through stories, and so I want to tell you a story
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3:19 - 3:24about work and play and about four aspects of life
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3:24 - 3:27that we need to embrace
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3:27 - 3:31in order for our own creativity to flourish.
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3:31 - 3:33The first embrace is something that we think,
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3:33 - 3:37"Oh, this is very easy," but it's actually getting harder,
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3:37 - 3:41and that's paying attention to the world around us.
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3:41 - 3:45So many artists speak about needing to be open,
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3:45 - 3:49to embrace experience, and that's hard to do when
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3:49 - 3:53you have a lighted rectangle in your pocket that
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3:53 - 3:56takes all of your focus.
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3:56 - 4:00The filmmaker Mira Nair speaks about growing up
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4:00 - 4:05in a small town in India. Its name is Bhubaneswar,
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4:05 - 4:09and here's a picture of one of the temples in her town.
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4:09 - 4:11Mira Nair: In this little town, there were like 2,000 temples.
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4:11 - 4:14We played cricket all the time. We kind of grew up
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4:14 - 4:18in the rubble. The major thing that inspired me,
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4:18 - 4:21that led me on this path, that made me a filmmaker eventually,
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4:21 - 4:25was traveling folk theater that would come through the town
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4:25 - 4:28and I would go off and see these great battles
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4:28 - 4:31of good and evil by two people in a school field
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4:31 - 4:34with no props but with a lot of, you know,
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4:34 - 4:38passion, and hashish as well, and it was amazing.
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4:38 - 4:40You know, the folk tales of Mahabharata and Ramayana,
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4:40 - 4:44the two holy books, the epics that everything comes out of
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4:44 - 4:47in India, they say. After seeing that Jatra, the folk theater,
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4:47 - 4:52I knew I wanted to get on, you know, and perform.
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4:52 - 4:54Julie Burstein: Isn't that a wonderful story?
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4:54 - 4:57You can see the sort of break in the everyday.
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4:57 - 5:00There they are in the school fields, but it's good and evil,
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5:00 - 5:05and passion and hashish. And Mira Nair was a young girl
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5:05 - 5:09with thousands of other people watching this performance,
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5:09 - 5:12but she was ready. She was ready to open up
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5:12 - 5:15to what it sparked in her, and it led her,
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5:15 - 5:17as she said, down this path to become
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5:17 - 5:20an award-winning filmmaker.
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5:20 - 5:23So being open for that experience that might change you
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5:23 - 5:26is the first thing we need to embrace.
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5:26 - 5:32Artists also speak about how some of their most powerful work
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5:32 - 5:37comes out of the parts of life that are most difficult.
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5:37 - 5:40The novelist Richard Ford speaks about
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5:40 - 5:44a childhood challenge that continues to be something
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5:44 - 5:49he wrestles with today. He's severely dyslexic.
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5:49 - 5:52Richard Ford: I was slow to learn to read, went all the way
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5:52 - 5:56through school not really reading more than the minimum,
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5:56 - 5:58and still to this day can't read silently
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5:58 - 6:01much faster than I can read aloud,
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6:01 - 6:05but there were a lot of benefits to being dyslexic for me
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6:05 - 6:08because when I finally did reconcile myself to how slow
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6:08 - 6:13I was going to have to do it, then I think I came very slowly
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6:13 - 6:16into an appreciation of all of those qualities of language
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6:16 - 6:19and of sentences that are not just the cognitive
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6:19 - 6:22aspects of language: the syncopations, the sounds of words,
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6:22 - 6:24what words look like, where paragraphs break,
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6:24 - 6:27where lines break. I mean, I wasn't so badly dyslexic that
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6:27 - 6:30I was disabled from reading. I just had to do it
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6:30 - 6:34really slowly, and as I did, lingering on those sentences
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6:34 - 6:39as I had to linger, I fell heir to language's other qualities,
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6:39 - 6:42which I think has helped me write sentences.
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6:42 - 6:46JB: It's so powerful. Richard Ford, who's won the Pulitzer Prize,
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6:46 - 6:51says that dyslexia helped him write sentences.
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6:51 - 6:54He had to embrace this challenge, and I use that word
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6:54 - 6:58intentionally. He didn't have to overcome dyslexia.
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6:58 - 7:02He had to learn from it. He had to learn to hear the music
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7:02 - 7:05in language.
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7:05 - 7:09Artists also speak about how pushing up against
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7:09 - 7:13the limits of what they can do, sometimes pushing
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7:13 - 7:16into what they can't do, helps them focus
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7:16 - 7:19on finding their own voice.
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7:19 - 7:23The sculptor Richard Serra talks about how,
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7:23 - 7:26as a young artist, he thought he was a painter,
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7:26 - 7:31and he lived in Florence after graduate school.
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7:31 - 7:33While he was there, he traveled to Madrid,
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7:33 - 7:36where he went to the Prado to see this picture
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7:36 - 7:40by the Spanish painter Diego Velázquez.
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7:40 - 7:45It's from 1656, and it's called "Las Meninas,"
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7:45 - 7:47and it's the picture of a little princess
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7:47 - 7:51and her ladies-in-waiting, and if you look over
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7:51 - 7:54that little blonde princess's shoulder, you'll see a mirror,
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7:54 - 7:57and reflected in it are her parents, the King and Queen
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7:57 - 8:01of Spain, who would be standing where you might stand
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8:01 - 8:02to look at the picture.
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8:02 - 8:08As he often did, Velázquez put himself in this painting too.
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8:08 - 8:12He's standing on the left with his paintbrush in one hand
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8:12 - 8:15and his palette in the other.
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8:15 - 8:17Richard Serra: I was standing there looking at it,
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8:17 - 8:19and I realized that Velázquez was looking at me,
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8:19 - 8:23and I thought, "Oh. I'm the subject of the painting."
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8:23 - 8:26And I thought, "I'm not going to be able to do that painting."
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8:26 - 8:29I was to the point where I was using a stopwatch
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8:29 - 8:33and painting squares out of randomness,
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8:33 - 8:35and I wasn't getting anywhere. So I went back and dumped
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8:35 - 8:38all my paintings in the Arno, and I thought, I'm going to just start playing around.
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8:38 - 8:41JB: Richard Serra says that so nonchalantly, you might
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8:41 - 8:45have missed it. He went and saw this painting by a guy
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8:45 - 8:49who'd been dead for 300 years, and realized,
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8:49 - 8:52"I can't do that," and so Richard Serra went back
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8:52 - 8:55to his studio in Florence, picked up all of his work
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8:55 - 8:59up to that point, and threw it in a river.
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8:59 - 9:03Richard Serra let go of painting at that moment,
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9:03 - 9:07but he didn't let go of art. He moved to New York City,
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9:07 - 9:09and he put together a list of verbs
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9:09 - 9:13— to roll, to crease, to fold —
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9:13 - 9:15more than a hundred of them, and as he said,
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9:15 - 9:18he just started playing around. He did these things
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9:18 - 9:21to all kinds of material. He would take a huge sheet of lead
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9:21 - 9:25and roll it up and unroll it. He would do the same thing
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9:25 - 9:30to rubber, and when he got to the direction "to lift,"
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9:30 - 9:35he created this, which is in the Museum of Modern Art.
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9:35 - 9:38Richard Serra had to let go of painting
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9:38 - 9:41in order to embark on this playful exploration
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9:41 - 9:45that led him to the work that he's known for today:
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9:45 - 9:50huge curves of steel that require our time and motion
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9:50 - 9:54to experience. In sculpture,
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9:54 - 9:57Richard Serra is able to do what he couldn't do in painting.
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9:57 - 10:02He makes us the subject of his art.
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10:02 - 10:06So experience and challenge
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10:06 - 10:09and limitations are all things we need to embrace
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10:09 - 10:12for creativity to flourish.
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10:12 - 10:15There's a fourth embrace, and it's the hardest.
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10:15 - 10:18It's the embrace of loss,
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10:18 - 10:22the oldest and most constant of human experiences.
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10:22 - 10:25In order to create, we have to stand in that space
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10:25 - 10:29between what we see in the world and what we hope for,
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10:29 - 10:33looking squarely at rejection, at heartbreak,
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10:33 - 10:36at war, at death.
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10:36 - 10:38That's a tough space to stand in.
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10:38 - 10:44The educator Parker Palmer calls it "the tragic gap,"
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10:44 - 10:48tragic not because it's sad but because it's inevitable,
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10:48 - 10:51and my friend Dick Nodel likes to say,
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10:51 - 10:54"You can hold that tension like a violin string
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10:54 - 10:57and make something beautiful."
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10:57 - 11:00That tension resonates in the work of the photographer
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11:00 - 11:04Joel Meyerowitz, who at the beginning of his career was
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11:04 - 11:07known for his street photography, for capturing a moment
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11:07 - 11:10on the street, and also for his beautiful photographs
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11:10 - 11:14of landscapes -- of Tuscany, of Cape Cod,
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11:14 - 11:17of light.
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11:17 - 11:20Joel is a New Yorker, and his studio for many years
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11:20 - 11:24was in Chelsea, with a straight view downtown
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11:24 - 11:27to the World Trade Center, and he photographed
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11:27 - 11:31those buildings in every sort of light.
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11:31 - 11:35You know where this story goes.
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11:35 - 11:38On 9/11, Joel wasn't in New York. He was out of town,
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11:38 - 11:42but he raced back to the city, and raced down to the site
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11:42 - 11:44of the destruction.
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11:44 - 11:46Joel Meyerowitz: And like all the other passersby,
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11:46 - 11:49I stood outside the chain link fence on Chambers
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11:49 - 11:52and Greenwich, and all I could see was the smoke
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11:52 - 11:55and a little bit of rubble, and I raised my camera
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11:55 - 11:58to take a peek, just to see if there was something to see,
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11:58 - 12:03and some cop, a lady cop, hit me on my shoulder,
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12:03 - 12:05and said, "Hey, no pictures!"
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12:05 - 12:08And it was such a blow that it woke me up,
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12:08 - 12:12in the way that it was meant to be, I guess.
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12:12 - 12:14And when I asked her why no pictures, she said,
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12:14 - 12:17"It's a crime scene. No photographs allowed."
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12:17 - 12:19And I asked her, "What would happen if I was a member
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12:19 - 12:21of the press?" And she told me,
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12:21 - 12:25"Oh, look back there," and back a block was the press corps
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12:25 - 12:29tied up in a little penned-in area,
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12:29 - 12:30and I said, "Well, when do they go in?"
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12:30 - 12:33and she said, "Probably never."
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12:33 - 12:37And as I walked away from that, I had this crystallization,
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12:37 - 12:40probably from the blow, because it was an insult in a way.
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12:40 - 12:42I thought, "Oh, if there's no pictures,
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12:42 - 12:46then there'll be no record. We need a record."
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12:46 - 12:48And I thought, "I'm gonna make that record.
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12:48 - 12:50I'll find a way to get in, because I don't want to
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12:50 - 12:52see this history disappear."
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12:52 - 12:56JB: He did. He pulled in every favor he could,
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12:56 - 12:59and got a pass into the World Trade Center site,
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12:59 - 13:03where he photographed for nine months almost every day.
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13:03 - 13:06Looking at these photographs today brings back
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13:06 - 13:09the smell of smoke that lingered on my clothes
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13:09 - 13:11when I went home to my family at night.
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13:11 - 13:14My office was just a few blocks away.
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13:14 - 13:18But some of these photographs are beautiful,
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13:18 - 13:21and we wondered, was it difficult for Joel Meyerowitz
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13:21 - 13:25to make such beauty out of such devastation?
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13:25 - 13:29JM: Well, you know, ugly, I mean, powerful
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13:29 - 13:32and tragic and horrific and everything, but
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13:32 - 13:36it was also as, in nature, an enormous event
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13:36 - 13:41that was transformed after the fact into this residue,
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13:41 - 13:43and like many other ruins
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13:43 - 13:47— you go to the ruins of the Colosseum or the ruins of a cathedral someplace —
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13:47 - 13:52and they take on a new meaning when you watch the weather.
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13:52 - 13:54I mean, there were afternoons I was down there,
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13:54 - 13:57and the light goes pink and there's a mist in the air
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13:57 - 14:01and you're standing in the rubble, and I found myself
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14:01 - 14:05recognizing both the inherent beauty of nature
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14:05 - 14:08and the fact that nature, as time,
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14:08 - 14:11is erasing this wound.
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14:11 - 14:15Time is unstoppable, and it transforms the event.
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14:15 - 14:18It gets further and further away from the day,
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14:18 - 14:22and light and seasons temper it in some way,
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14:22 - 14:26and it's not that I'm a romantic. I'm really a realist.
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14:26 - 14:30The reality is, there's the Woolworth Building
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14:30 - 14:35in a veil of smoke from the site, but it's now like a scrim
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14:35 - 14:39across a theater, and it's turning pink,
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14:39 - 14:42you know, and down below there are hoses spraying,
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14:42 - 14:45and the lights have come on for the evening, and the water
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14:45 - 14:49is turning acid green because the sodium lamps are on,
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14:49 - 14:52and I'm thinking, "My God, who could dream this up?"
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14:52 - 14:56But the fact is, I'm there, it looks like that,
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14:56 - 14:58you have to take a picture.
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14:58 - 15:01JB: You have to take a picture. That sense of urgency,
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15:01 - 15:07of the need to get to work, is so powerful in Joel's story.
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15:07 - 15:10When I saw Joel Meyerowitz recently, I told him how much
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15:10 - 15:14I admired his passionate obstinacy, his determination
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15:14 - 15:18to push through all the bureaucratic red tape to get to work,
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15:18 - 15:21and he laughed, and he said, "I'm stubborn,
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15:21 - 15:23but I think what's more important
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15:23 - 15:26is my passionate optimism."
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15:26 - 15:29The first time I told these stories, a man in the audience
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15:29 - 15:33raised his hand and said, "All these artists talk about
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15:33 - 15:37their work, not their art, which has got me thinking about
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15:37 - 15:40my work and where the creativity is there,
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15:40 - 15:45and I'm not an artist." He's right. We all wrestle
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15:45 - 15:49with experience and challenge, limits and loss.
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15:49 - 15:52Creativity is essential to all of us,
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15:52 - 15:54whether we're scientists or teachers,
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15:54 - 15:59parents or entrepreneurs.
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15:59 - 16:01I want to leave you with another
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16:01 - 16:04image of a Japanese tea bowl. This one
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16:04 - 16:07is at the Freer Gallery in Washington, D.C.
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16:07 - 16:09It's more than a hundred years old and you can still see
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16:09 - 16:13the fingermarks where the potter pinched it.
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16:13 - 16:16But as you can also see, this one did break
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16:16 - 16:19at some point in its hundred years.
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16:19 - 16:21But the person who put it back together,
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16:21 - 16:24instead of hiding the cracks,
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16:24 - 16:30decided to emphasize them, using gold lacquer to repair it.
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16:30 - 16:34This bowl is more beautiful now, having been broken,
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16:34 - 16:37than it was when it was first made,
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16:37 - 16:39and we can look at those cracks, because
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16:39 - 16:42they tell the story that we all live,
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16:42 - 16:45of the cycle of creation and destruction,
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16:45 - 16:50of control and letting go, of picking up the pieces
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16:50 - 16:52and making something new.
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16:52 - 16:57Thank you. (Applause)
- Title:
- 4 lessons in creativity
- Speaker:
- Julie Burstein
- Description:
-
Radio host Julie Burstein talks with creative people for a living -- and shares four lessons about how to create in the face of challenge, self-doubt and loss. Hear insights from filmmaker Mira Nair, writer Richard Ford, sculptor Richard Serra and photographer Joel Meyerowitz.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 17:20
Thu-Huong Ha edited English subtitles for 4 lessons in creativity | ||
Thu-Huong Ha approved English subtitles for 4 lessons in creativity | ||
Thu-Huong Ha edited English subtitles for 4 lessons in creativity | ||
Morton Bast accepted English subtitles for 4 lessons in creativity | ||
Morton Bast edited English subtitles for 4 lessons in creativity | ||
Joseph Geni edited English subtitles for 4 lessons in creativity | ||
Joseph Geni added a translation |