{"id":1338,"date":"2017-03-05T17:28:01","date_gmt":"2017-03-05T17:28:01","guid":{"rendered":"http:\/\/oliverberry.com\/?p=1338"},"modified":"2019-09-03T08:03:18","modified_gmt":"2019-09-03T08:03:18","slug":"the-power-of-limits","status":"publish","type":"post","link":"https:\/\/oliverberry.com\/writing\/the-power-of-limits\/","title":{"rendered":"Kodachrome Issue 2"},"content":{"rendered":"

This feature on the power of working within creative limits was written for the second issue of Kodachrome, a new magazine on art, film and analog culture published by Kodak. It’s put together by the team at Stranger Collective<\/a>, who I’ve worked with on many projects before.<\/h3>\n

The magazine is distributed internationally; you can buy a copy from the Kodak online store<\/a>.<\/h3>\n
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The Power of Limits<\/h1>\n

Perhaps thinking outside the box isn\u2019t all it\u2019s cracked up to be\u2026<\/h2>\n

It\u2019s the moment every creative person dreads.<\/p>\n

You\u2019re embarking on a new project, and it\u2019s time to get down to work. Before you, there\u2019s a blank white screen and a blinking cursor \u2013 or maybe it\u2019s a fresh roll of film, an empty canvas, or a brand new notebook. You can set off in any direction you choose. There are no parameters. Endless possibilities. You\u2019re ready to start. And then \u2013 nothing comes.<\/p>\n

Suddenly, you\u2019re paralyzed. The parameters seem too broad. You can take any road, but you can\u2019t decide which one leads in the right direction. There\u2019s no way in. You\u2019re stuck. Blocked. Devoid of ideas. And a question begins to rattle inside your head.<\/p>\n

Where the hell do I start?<\/p>\n

Creative block is nothing new \u2013 in fact, it\u2019s probably as old as art itself. Everyone\u2019s experienced it at some point, and everyone has a different way of dealing with it. Some people advocate just getting started. Write the first thing that comes into your head, even if it\u2019s nonsense, make a mark on the paper, a squiggle, anything; the important thing is just to get something down. Other people suggest stepping away from the problem: go for a walk, read a book, watch a film, listen to some music, work on something different for a while, and hopefully, when you come back, your unconscious will have worked through the problem and furnished you with fresh ideas.<\/p>\n

But there\u2019s another school of thought gaining traction in creative circles \u2013 and that\u2019s to set yourself limits.<\/p>\n

Finding freedom within constraints <\/b><\/h2>\n

At first glance, it seems counter-intuitive. Surely, the more room you give yourself to work, the more creative you can be? The bigger the canvas, the more colorful the possibilities? But in fact, for many people, it turns out that sometimes, limits can be liberating \u2013 from the lighting conditions, budget constraints or shooting time per roll of film, to the letters of the alphabet.<\/p>\n

\u201cWhen I was about 18, I had a massive crisis of confidence,\u201d recalls Ross Sutherland, a UK-based poet, performer and playwright. \u201cI was just starting out, and I\u2019d been doing really well. I\u2019d been getting regular gigs around Liverpool, supported John Cooper Clarke, and my work was attracting quite a bit of interest. But then one day I was struck by the thought that there was nothing unique or original about what I was doing. And I just stopped writing.\u201d<\/p>\n

He pauses and takes a sip of tea, clearly not relishing the memory. \u201cI didn\u2019t write anything for weeks. I was completely stuck. And then a friend of mine, another writer called Nick Holloway, gave me a book about this group in 1960s France who called themselves Oulipo. Their idea was that in order to tap into your creativity, you should set yourself puzzles. So I tried it. And bang \u2013 I was off.\u201d<\/p>\n

Oulipo\u2019s \u2018litt\u00e9rature potentielle\u2019 was about \u201cthe seeking of new structures and patterns which may be used by writers in any way they enjoy\u201d, to trigger new and unusual creative ideas. Ross\u2019s initial Oulipo-inspired experiment was an exercise known as Univocalism, in which the writer is only allowed to use words that contain a single vowel. Though he initially struggled with the constraint, before long his brain seemed to rewire itself, and he was back working at full speed.<\/p>\n

\u201cI started seeing patterns everywhere: Canada, taramasalata, abracadabra. I couldn\u2019t turn it off. But the interesting thing was that I stumbled across all these random ideas and conjunctions. It made me use words and lines in ways I never otherwise would have. Weirdly, the rule did a lot of the work for me. It helped me turn off the conscious part of my brain, and tap into the creative potential of my subconscious.\u201d<\/p>\n

It\u2019s a process that stuck. Ross now uses rules and puzzles as a starting point for all his work \u2013 such as his play Party Trap<\/i>, the dramatic equivalent of a palindrome, in which the first half\u2019s dialog is repeated during the second half, but in reverse; or his hit show Standby for Tape Backup<\/i>, in which he provided a poetic score for a videotape of mashed-up TV clips that he\u2019d recorded as a kid at his granddad\u2019s house in the 1980s.<\/p>\n

To be honest, I think I\u2019d be kind of lost without the rules now,\u201d he admits. \u201cThey\u2019re the spark which starts the fire.\u2019\u2019<\/p>\n

Rethinking rules<\/b><\/h2>\n

Sutherland\u2019s experience is familiar to Pat Stokes, adjunct professor of psychology at Columbia University, whose ideas about creativity came from her time at art school and subsequent work in the advertising industry (pre-psychology, she was a copywriter and creative group head at several New York agencies).<\/p>\n

\u201cThe layman\u2019s ideas about artistic freedom are completely wrong,\u201d she explains. \u201cFree to do anything, we all do what worked best in the past. It\u2019s very basic: behaviors with successful outcomes become stronger on a neural basis. It\u2019s why most experts get \u2018stuck\u2019 in successful solutions.\u201d<\/p>\n

In her book Creativity from Constraints: The Psychology of Breakthrough<\/i>, Stokes explains how using a technique she calls \u2018paired constraints\u2019 can help an expert get unstuck. \u201cThe basic concept is to list all the elements of your current solution,\u201d she explains. \u201cThen you pick one element to exclude, and substitute it with a replacement idea. By itself, that simple act of substitution helps you to look at the problem in a new way. And if you\u2019re lucky, it might suggest a whole series of other substitutions that collectively make it very, very new.\u201d<\/p>\n

Embracing enforced limits <\/b><\/h2>\n

For the artist Phil Hansen, creative limitations weren\u2019t a conscious choice. While studying at art school, he developed an uncontrollable tremor in his hand that made it impossible to make the pointillist drawings in which he had previously specialized. Initially, he was despondent, believing his career as an artist was over. But following a visit to a neurologist who encouraged him to \u2018embrace the shake\u2019, he started working again.<\/p>\n

\u201cI began to make scribble pictures, which meant that the shake wouldn\u2019t be a problem,\u201d Hansen explains. \u201cWhen I embraced my limitations, I rediscovered my creativity. I began to create with this mindset and it changed everything.\u201d<\/p>\n

Hansen now often uses constraints to inspire himself \u2013 from etching pictures on bananas to creating a portrait from stacked-up Starbucks cups. He\u2019s even given a TED talk on the subject.<\/p>\n

\u201cI\u2019m always setting myself new limitations,\u201d he says, \u201cand they always lead me in strange directions. My latest one is to make the biggest, most time-consuming artwork I can, and then ask the public online to decide whether it should be preserved or destroyed. Another thing I\u2019m working on is to figure out how to make art with decaying leaves. It\u2019s really hard \u2013 but the constraint is the thing that makes it interesting.\u201d<\/p>\n

Cheating the system <\/b><\/h2>\n

If there\u2019s one art form that makes the case for the virtue of creative constraints, it\u2019s architecture. In many ways, it\u2019s a discipline that\u2019s defined by limits \u2013 whether budgetary or aesthetic, technical or topographic.<\/p>\n

\u201cOne of the main lessons you have to learn as an architect is how to remain creative within the limits you\u2019re given,\u201d explains Chris Romer-Lee, a partner at the innovative UK-based design practice, Studio Octopi. \u201cYou can come up with the most stunning concept, but it\u2019s useless if it doesn\u2019t work for both the design brief and within building consents. As an architect, you\u2019re faced with so many things over which you have no control \u2013 whether it\u2019s a tricky space or a restrictive planning condition. The key is to retain your vision through that process of compromise.\u201d<\/p>\n

As an example, he recalls a commission for Wallpaper*, in which the magazine asked young architect studios around the world to design a concept house. \u201cWhen we asked for the brief, they replied there wasn\u2019t one. We could design anything we liked, and we actually found that really hard. So we wrote our own: we imagined our house was for an avid ornithologist who needed a holiday home, so we came up with this fantastic tower, with lots of balconies and a brass pool, using tons of glass, surrounded by trees. It became a platform for us to express all these ideas which we would never have come up with if we hadn\u2019t set ourselves that brief.\u201d<\/p>\n

But there\u2019s a point when constraints begin to stifle rather than inspire. One of Romer-Lee\u2019s current projects is to design an outdoor lido in the River Thames. It\u2019s a project that\u2019s not just technically challenging, but also logistically complicated, with approval needed at every stage by stakeholders from the local planning department to the Environment Agency and the Port of London Authority. \u201cIt\u2019s just ludicrously complicated,\u201d he says. \u201cThere are so many moving parts and so many people to consult, it\u2019s a huge challenge to move forward just one step. But we believe in this idea, and in a way, the bigger the obstacles become, the more we\u2019re determined to finish it!\u201d<\/p>\n

Occasionally, the trick isn\u2019t conforming to the rules, it\u2019s bending them. Poet Brian Bilston self-publishes all his work through social media (his wry, touching observations of everyday experiences have led to him being dubbed \u2018the Poet Laureate of Twitter\u2019). Many of his poems are written specifically for Twitter\u2019s 140-character limit, but sometimes, he deliberately messes with its rules \u2013 by writing a poem spanning several tweets, for example, or snapping an image of a poem that he then posts on his timeline.<\/p>\n

\u201cSometimes, Twitter\u2019s character limit imposes a rigor on my writing that it might otherwise lack,\u201d he explains. \u201cNo character can be superfluous. Many times I\u2019ve shaved words off to get them to fit, and usually it results in a stronger poem. But I also like to cheat: I\u2019m really interested in the visual side of social media, and I\u2019ve experimented a lot with visual ideas, like creating poems out of Venn diagrams, or on scrabble boards, or embedded in Excel spreadsheets. It\u2019s a wonder I\u2019ve not been banned from Twitter, really!\u201d<\/p>\n

Facing the challenge <\/b><\/h2>\n

From poetic forms to artistic limitations, from architectural hurdles to Oulipo-inspired rules, there\u2019s one thing that all these examples seem to have in common: challenge.<\/p>\n

Imposing challenges on ourselves, it seems, sparks our innate creativity. Perhaps it\u2019s related to our primordial fight or flight response: confronted with adversity, we have a choice about whether to confront the problem, or run away from it. And when we choose not to retreat, but to stand our ground, our minds are forced to think more creatively, to problem solve, to adapt, explore and innovate.<\/p>\n

For the writer Raymond Queneau, a founder member of Oulipo, artists were \u201crats who build the labyrinth from which they plan to escape\u201d. It\u2019s a sentiment echoed in the words of another Oulipo alumnus, the novelist George Perec, who penned a quote that could easily serve as the movement\u2019s manifesto: \u201cI set myself rules in order to be totally free.\u201d<\/p>\n

So next time a blank page stares back at you, your mind is overwhelmed by opportunity, or the frame simply feels too large to fill, perhaps it\u2019s time to give yourself a constraint or two \u2013 a rule, a restriction, or a box to think inside.<\/p>\n

After all, you never know quite where that limit might lead.<\/p>\n

Links<\/em><\/h3>\n

+ <\/span>rosssutherland.co.uk<\/a> \u2013 Sutherland\u2019s podcast, Imaginary Advice, is available on Soundcloud. He\u2019s currently working on a new BBC series for autumn 2017. <\/i><\/p>\n

+ <\/span>philinthecircle.com<\/a> \u2013 Hansen\u2019s latest work is a text art project involving crowdsourcing stories online: join up by texting Art to 31996. <\/i><\/p>\n

+ <\/span>brianbilston.com<\/a> \u2013 Bilston\u2019s first poetry collection, <\/i>You Took the Last Bus Home, was published by Unbound in October 2016. <\/i><\/p>\n

+ <\/span>octopi.co.uk<\/a> \u2013 find out more about Studio Octopi\u2019s design for the Thames Lido and other projects. <\/i><\/p>\n

+ <\/span>kodak.com\/go\/kodakery<\/a> \u2013 listen to Paulo Cherchi on the power of limits <\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

This feature on the power of working within creative limits was written for the second issue of Kodachrome, a new magazine on art, film and analog culture published by Kodak. It’s put together by the team at Stranger Collective, who I’ve worked with on many projects before. The magazine is distributed internationally; you can buy […]<\/p>\n","protected":false},"author":2,"featured_media":1345,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[4],"tags":[154,152,155,153,156],"jetpack_publicize_connections":[],"acf":[],"yoast_head":"\nKodachrome Issue 2 | Oliver Berry<\/title>\n<meta name=\"description\" content=\"A feature on the power of working within creative limits for Kodachrome magazine.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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