Welcome to Episode 29 of The Painting
Experience Podcast. Listen as founder
Stewart Cubley explores the potential of
the emerging field of process arts and
shares inspiration from his ongoing
workshops and retreats. Today,
Stewart returns to the persistent topic
of critical voices. We know them so well
but what are they really trying to tell
us? [Stewart:] You'd think that they would die down
after a while -- the critical voices. You've
seen them under so many of their guises
and you've seen through them so many
times and you've seen the inadequacy of
their arguments and the silliness of
their fears and the limited nature of
their repertoire and their dismissive
attitudes -- and you've transcended them in
the painting process and you'd think
that you'd evolved beyond them at a
certain point. You're a meditator, you're a painter,
you're a creative person -- and why are
they still showing up? Are you missing
something?
Shouldn't you be beyond at this point?
This is a really interesting question
because the fact is they keep having
their day in one form or another and if
we don't look at that as some sort of
inadequacy on our part . . . if we don't look
at that as some sort of failure, then
what's going on? What's actually
happening here? Why are they still with
us? I think one of the interesting
things to realize about them as you get
interested in them, these critical voices . . .
and we know them all pretty well . . . in
painting they show up on time. They're
very punctual and they say, It's not good
enough. It's trite. It's really silly. You
don't have the skill to paint that, and
it's definitely the wrong color anyway."
And they're comparative and they're
belittling because they compare you with
other people . . .
they tell you that you don't have it. The
other people have it; you don't have it.
There's a whole litany that they have,
but the interesting thing about that
litany is it's very very limited. When
you think about it, the vocabulary is
pretty small because the intent is so
small . . . and that may be the most
interesting thing to realize about these
critical voices is that the intent is
just a one-trick pony. It has one goal in
mind, which is basically to undermine
your creative action, to convince you
that it's not worthy of you to go
forward and that it's not worthwhile.
It's dismissive, it's disheartening, it's
disempowering and it's disengaging.
Recognizing that is very interesting
because it's the same for everyone. We
think this is an original voice; we think
it's our voice, right? We we hear it. It
shows up . . . we're painting along and then . . . I
don't like that color; that's not what I
wanted to paint. Or, you know I think
there's a face there but I don't know
how to paint a face. I can kind of see it
but I'm not going to bring it out; it's
not important to do that . . . and
we take those so personally like they're
our voice, that's US speaking. But what's
so interesting about it is that not only
is the vocabulary incredibly limited
because it keeps saying the same thing
over and over in different guises, but it's
the same for everybody. That's amazing
when you think about it . . . because I see
this as I'm working with people in the
creative process: Everyone comes up
against these voices but it's the same
voice. It's not even personal. It's not
even individual. How could it be? It's the
same words. I'm working with somebody and
he tells me, "Oh, this painting is so trite."
And then a moment later I'm working with
someone else and she says, "This is such a
cliche." And then I work with somebody
else and they say,
"This is just so superficial and
stereotypical." This is amazing. It's the
same voice for everybody, which then of
course stimulates the question, "Well,
whose voice is it if it's the same for
everybody?" Not only is it limited in
its vocabulary but it's the same
vocabulary for everybody. Whose voice is
this, after all? That's a pretty big
question. It's a big leap to ask that
question. I mean, we take it so personally,
we're so identified with those critical
voices. We believe them to be ourselves.
Now when you look at the other side, the
fact is these critical voices don't
exist in a void. They exist in
relationship. They are a response to the
arising of the creative imagination. They
happen when you do something right, when
you commit yourself to something in the
painting process. That's when these
voices arise. Even when they show up
before you've started, it's because
you're getting ready to start. They are a
reaction to the creative imagination, to
the movement of the creative imagination
within you and so it's when you dare to
do something that's individual, that is
your own, that is unique to you, that they
get riled up. That's when they start to
gather steam, that's threatening to them.
When you think about it, it's your own
daring to show up, your own daring to
allow your individuality. In fact, your
own process of individuation is what
stimulates the critical voices and
that's powerful to see because then you
realize there's a dance going on here,
that there is this process of
individuation, right? There is this
evolution of your own soul daring to
take form, daring to come into form,
Daring to take on its own unique
potential and to show up in the
world and to be individual not take on a
stereotypic personality, transcending the
fear of one's own individuality. Yet
there is that fear and these critical
voices are the voice of that fear and it
seems to be impersonal. There seems to be
a resistance. The very act of
individuation . . . your willingness to paint
your own imagery and to allow your own
forms to come through and your own way of
painting to become more explicit and
more defined and more you . . . is somehow
threatening to this rather impersonal
force. And so there's this dance going on.
And I think if you recognize that, it
really allows a different relationship
to critical voices. It's not that
they go away . . . you come to hold them in a
different light and you come to realize
that the intensification of critical
voices is announcing something. It means
that you're close to something. I use
this constantly when I'm working with
people and facilitating process painting . . .
that I know that when the threat level
increases . . . you can remember how Donald
Rumsfeld used to have the different
color-coded threat levels. You know, we're
in threat level Red, we're in threat
level Orange,
we're in threat level Yellow. Well, so
when I see we get to a threat level of
red or yellow or orange that something's
up. I get interested. I know that there's
a potential that's close. I know that the
action of the creative imagination, of
the authentic self, of the soul's essence,
so to speak, is close to the surface. That
something is being born . . . we're about to
do something with the painting that we don't
recognize and that we're not in control
of and that is not coming from some sort
of wish to look good and wish to have
others appreciate . . . and the small motives
for doing something . . . and that there's a
potential really, really close
when the threat level increases and
therefore the critical voices get louder.
And so recognizing this, they become
useful to you, they become something in
which you become interested: You say,
"Oh, look at that, there's that critical
voice again. Wow! It's very intense right
now. Something's up and I wonder what I'm
doing that's right?" It means you're doing
something right!
So instead of getting entangled with the
critical voices and trying to transcend
them and trying to talk yourself out of
them and give yourself affirmations, you
want to find out what is it you're doing
that's threatening them . . . and do more of
it! Actually increase it because that's
the potential, right? That's when the
breakthrough can happen. That's when you
can actually go beyond them and, in a way,
their very purpose is to take you
beyond them, to create this
intensification of awareness, this
intensification of consciousness in
which you are challenged to go beyond
them. The very arising of them is of
benefit to you if you recognize it and
then of course have the courage to act
on it.
[Announcer:] You can learn more about The Painting
Experience and find a list of upcoming
process painting workshops by visiting
our website at www.processarts.com. If you enjoyed
what you heard today please share it
with a friend.
The music for this podcast comes
from Stephen Jacob. We thank you for
listening and hope you'll join us again
soon.
For more infomation >> Food Tutorials Videos | Best Instagram Food Tutorials Compilation 2017 😋 #1 - Duration: 4:55. 
For more infomation >> The National LIVE - Duration: 59:58. 
For more infomation >> 【Glitchtale】Stronger Than You Betty Response - Glitchware ( Vietsub ) - Duration: 3:00. 
For more infomation >> United Airlines y David Dao llegan a un acuerdo económico extrajudicial - Duration: 0:40. 
For more infomation >> Beauty Bioscience GloPRO 2.0 with Prep Pads - Duration: 20:07. 
Không có nhận xét nào:
Đăng nhận xét