Why desire and motivation pull us in different directions
Every new year I promise myself that I will get in shape. My vision is toned and tight, tanned skin and an ability to lift my body weight effortlessly. I go to the gym, I do yoga, I eat well, drink heaps of water. For a few weeks I’m moving towards my goal and starting to feel and see results. My mood improves, I feel confident, capable and strong. And then… out of the blue, I start skipping classes as I meet my own destructive personality habits and inhibitors.
3 min read
"Our lives are defined by opportunities. Even the ones we miss."
F.Scott Fitzgerald, 1922.
Every new year I promise myself that I will get in shape. My vision is toned and tight, tanned skin and an ability to lift my body weight effortlessly. I go to the gym, I do yoga, I eat well, drink heaps of water. For a few weeks I’m moving towards my goal and starting to feel and see results. My mood improves, I feel confident, capable and strong. And then… out of the blue, I start skipping classes as I meet my own destructive personality habits and inhibitors.
In her book, Write; 10 Days to Overcome Writer’s Block. Period. Karen E. Peterson suggests that this blockage is due to the struggle between the left and right hemispheres of the brain leading to an ultimate toddler tantrum show-down. While “the ‘just-do-it’ left hand side of the brain is logical, language-based, and adult-like, the ‘just-say-no’ right side of the brain is dominant for emotion, negative memories and sensory output.”
In the moment of deciding whether or not to go to the gym, I can logically understand that going will make me feel good because it will help me move towards my vision and goals, but in that moment, my right brain wants to feel less pressure, take the easy route and have a good time. Wine and cheese in front of the telly? Oh yes, Emily, you know me so well. Right-brain wins. I lose.
The Divided Self
“I am dragged along by a strange new force.
Desire and reason are pulling in different directions.
I see the right way and approve it, but follow the wrong.”
Ovid, 43 B.C. – 17 A.D
In The Happiness Hypothesis: Finding Modern Truth in Ancient Wisdom, Jonathan Haidt explains what he calls “the divided self” quoting Roman poet Ovid to define the difference between logical and emotional thinking. Haidt goes further than left and right brain dualism, believing that the brain is divided by four parts; Mind vs. Body, and Left vs. Right, Old vs. New, Controlled vs. Automatic, thus likening the self as a “committee whose members have been thrown together to do a job, but who often find themselves working at cross-purposes [contributing] to our experiences of temptation, weakness and inner conflict.”
This idea of a divided self is not new; Plato split the body into soul and mind; Freud divided the mind into three parts; the ego, superego, and id. The common theme among philosophers is that our multi-dimensional personalities work best when working together, instead of in conflict which each other. So how do we get our divided selves working together to achieve the things we want?
Motivation and Drive
"We do things because they're interesting.
We do things because we like them, because they're inherently gratifying."
Pink, 2010
Daniel Pink, in his book, Drive: the surprising truth about what motivates us, artfully surmises why we engage in some tasks, and not others. It’s interesting to note that motivation is often created after we start a new behaviour, not the other way around. Taking a single step towards achieving your goals and vision is a great start. By actively going to the gym, taking that initial action, I was on my way.
To maintain drive and momentum:
1. Set yourself realistic and achievable goals, but be kind to yourself if you don’t nail them on the first attempt. Be a personal coach, not a dictatorial punisher. Positive self-talk is really important – be kind and patient with yourself.
2. Scheduling is important. If I don’t have dedicated time that’s in my calendar, there’s a higher chance my inner toddler will want to sit on the floor and avoid it.
3. Procrastination is an avoidance mechanism which helps us find alternatives to fill in time and entertain ourselves. Procrastination is fine, so long as it has a time stamp and doesn’t interfere with your non-negotiable scheduling.
4. Give yourself mini-deadlines to review your achievements and acknowledge your loses.
5. It can take a while to develop a new habit, so don’t give up after a few weeks. The literature suggests it can take 10 – 16 weeks, so keep up the momentum.
6. Be aware that motivation may come and go. Ride the wave and stay connected with your desire. This will fuel your motivation when you’re feeling challenged.
7. Life doesn’t have to full of tasks, give yourself pockets of time to play or do nothing. You’ll feel less guilty taking time out if you’ve actively made the decision to keep periods of time free and open to fill at your will.
References and further reading:
De Botton, A (2001). The Consolations of Philosophy. Penguin Books: London, UK.
Fitzgerald, F.S (1922). The Curious Case of Benjamin Button. Colliers Magazine: USA.
Haidt, J (2006). The Happiness Hypothesis: Finding Modern Truth in Ancient Wisdom. Basic Books: New York, USA.
Ovid, 43 B.C. – 17 A.D. (1989) Metamorphoses. Spring Publications: Dallas, Texas.
Peterson, K. E (2006). Write; 10 Days to Overcome Writer’s Block. Period. Adams Media: Avon, USA.
Pink, D. (2010) Drive: the surprising truth about what motivates us. RSA Animation [Online] Accessed 09/06/2014 from, http://www.youtube.com/watch?gl=SG&hl=en-GB&v=u6XAPnuFjJc
Emily Wills is the creative director of surface pattern design studio, SURFACE 1°22. In her various manifestations, she has worked as a fashion designer, illustrator, curator, arts educator and printed textile designer. Emily founded the SURFACE 1°22 Design School in Melbourne, offering hands-on workshops and short courses in surface and textile design. Find out more on the SURFACE 1°22 Design School Facebook or Instagram.
Creativity is just simple math. Here are the formulas to prove it.
Creativity can be defined as an ability to create new ideas by combining one or more existing ideas. Like adding, building and connecting - sounds a lot like simple arithmetic to me. The more I looked at this, I discovered that Creativity has some fundamental similarities with Mathematics. Both areas require creative thinking and problem-solving processes such as addition, subtraction and multiplication. Reckon you’re not that good at math? Turns out, you are more than likely engaging in maths in your creative practice…
Mathematics can indeed be defined as the general science of pattern and structure. Because art also involves patterns and structures, art and math relate to each other in many natural ways.” (Farsi and Craft, 2005)
Creativity can be defined as an ability to create new ideas by combining one or more existing ideas. Like adding, building and connecting - sounds a lot like simple arithmetic to me. The more I looked at this, I discovered that Creativity has some fundamental similarities with Mathematics. Both areas require creative thinking and problem-solving processes such as addition, subtraction and multiplication. Reckon you’re not that good at math? Turns out, you are more than likely engaging in maths in your creative practice…
Addition and subtraction
It may be reductive thinking, but I propose that there is a unifying connection between Addition and Subtraction as they can be considered the same process working in opposite directions. Addition works to group objects, ideas and thoughts together. The old Fashematics website (see end of post for link) was a hilarious example of reverse addition; the contributor looked at images of fashion couture and worked backwards to suggest their original inspiration from unrelated, and often innocuous objects.
Similarly, a mash-up demonstrates how music producers cut two parts of two separate songs apart, then stitch them back together to create something new. Simple subtraction and addition. The concept of mash-up moves from music to art through collage where cut and paste uses subtraction to isolate and fragment one image into singular parts, and then reassemble these pieces into new compositions by pasting seemingly unrelated objects back together again.
Multiplication and repetition
Multiplication can be defined as the repeated process of addition. While for me, multiplication dredges up memories of learning my times tables, repetition is used by artists and designers to create a sense of movement or point of interest. Repetition, and the act of repeating, creates new rhythmic patterns and places emphasis on a word, image or sound. Repetition of a beat, lyrics or the arrangement of notes can create a catchy hook.
Art and creativity are simple math
Creative Thinking requires an ability to see and recognize patterns, the fundamental ability of mathematicians who “start with some basic rules, then make any moves that fit those rules—which includes inventing additional rules and finding new connections between old rules.” (AAAS, 1990). It is not surprising therefore to find that each artist, author or mathematician is building and multiplying knowledge based on existing concepts and theories. These high functioning cognitive skills show a balance between right and left brain thinking; the ability to come up with complex solutions for multiple outcomes.
Clever, aren’t we…?
References/further reading on creativity and mathematics:
American Association for the Advancement of Science. (1990). The Nature of Mathematics. https://www.aaas.org/programs/project-2061
Farsi, C. and Craft, D. (2005). Mathematics and the Arts. University of Colorado, Boulder & Lakewood. http://staff.washington.edu/rockne/math-art.pdf
Gavosto, E.A. and O’Donnell, L.E. (2012) Learning with Technology: Similarities in Mathematics & Writing. University Press of Kansas.http://math.uoc.gr/~ictm2/Proceedings/pap431.pdf
Haren, F. (2004). The Idea Book. Interesting Books: Stockholm, Sweden.
Turner, M. and Fauconnier, G (2002) The Way We Think. Conceptual Blending and the Mind's Hidden Complexities. Basic Books: New York
Emily Wills is the creative director of surface pattern design studio, SURFACE 1°22. In her various manifestations, she has worked as a fashion designer, illustrator, curator, arts educator and printed textile designer. Emily founded the SURFACE 1°22 Design School in Melbourne, offering hands-on workshops and short courses in surface and textile design. Find out more on the SURFACE 1°22 Design School Facebook or Instagram.
Why we benefit from engaging in creativity
A supreme procrastinator, I started writing this while watching History Channel’s (2011) History of the World in Two Hours. During the opening scene, which discusses how, through a series of supernovas and merging stardust the universe was formed, the narrator said something that spoke to me.
A supreme procrastinator, I started writing this while watching History Channel’s (2011) History of the World in Two Hours. During the opening scene, which discusses how, through a series of supernovas and merging stardust the universe was formed, the narrator said something that spoke to me.
“Whenever more matter and energy can be drawn together into one place, more complex things can emerge.”
The narrator pointed to specific geographical sites where the emergence of cities and development of culture happened because there was opportunity for creativity, the arts and science to interact with each other.
Of course he was talking about fertile river systems, food crops, farming and animal domestication, but I could see a link. Hold the phone. When there are curious people, who are motivated, have energy and excitement, living together at the same time, and in the same place, then new things, and more complex ways of thinking and doing can emerge.
“In a sense, where there is stuff, new stuff can develop, and where there isn’t anything, nothing much can develop.”
As communities, societies and culture, we benefit from engaging in creativity because creativity leads to new ways of thinking and new ways of doing. Engaging in creativity allows us to build upon our existing knowledge and imagine new concepts that contribute to the development of community, society and culture.
Creativity is a driver for innovation and social change.
Engaging in creativity enables us to bring something new into the world, and to become more intensely conscious of the world in which we live. While the outcomes from engaging in creativity are beneficial to humankind, engaging in creativity also offers personal reward; we do it because we love it; we do it because we get a sense of enjoyment and fulfilment.
Creativity allows us to be connected.
Creativity helps us connect with ourselves through simple, spontaneous, and novel experiences. When we engage in creativity we disengage from our rational, practical and left-brained selves. Creativity allows us to celebrate our uniqueness by tapping into our feelings, impulses and expressive selves. When we engage in creativity, we find pleasure in activities that can bring us into a state of flow or experience flourishing.
For some, engaging in creativity is even more transcendent. John Loori describes a sort of creative nirvana which can achieved through actively seeking the sense of timelessness and tranquillity at the still point:
"Each artist expresses through art his unique way of experiencing life.
This is the essence of creation.
Through our art we bring into existence something that did not previously exist.
The creative process fulfils our need to express our experience.
And if the expression has been true, we will feel a sense of completion and satisfaction."
Creativity is inclusive, anyone can tap into their creativity by engaging in art, music, writing, dance or by applying new methods of thinking or problem solving. Whatever your personal motivation or reward, engaging in creativity improves your emotional wellbeing and nurtures a connected, engaged and meaningful life.
References / more reading, watching and listening on creativity:
Emily Wills is the creative director of surface pattern design studio, SURFACE 1°22. In her various manifestations, she has worked as a fashion designer, illustrator, curator, arts educator and printed textile designer. Emily founded the SURFACE 1°22 Design School in Melbourne, offering hands-on workshops and short courses in surface and textile design. Find out more on the SURFACE 1°22 Design School Facebook or Instagram.
All images ©SURFACE 1°22
Photo credits Penny Lane Photography
What you need to know to host a workshop
Running a workshop or short course is a great opportunity for creatives to diversify income while sharing their skills, knowledge and passions. But before you run a workshop of your own, it pays to do a little research to ensure there is demand, a venue and that you have the time and skills for marketing to ensure your event is a success.
Running a workshop or short course is a great opportunity for creatives to diversify income while sharing their skills, knowledge and passions. But before you run a workshop of your own, it pays to do a little research to ensure there is demand, a venue and that you have the time and skills for marketing to ensure your event is a success.
What can you offer?
I believe we’re seeing an increase in the number of self-hosted workshops as education becomes more democratized: learning by the people, for the people! Many creatives have mastered processes and adapted techniques to make them more easily shareable with others. Ask yourself: what can you offer? What will participants specifically gain from undertaking a workshop with you?
Does someone else already offer it? Do people want it?
Dig around the Internet and you’ll see a whole bunch of workshops being offered by retailers, artist collectives and practicing designers. As you browse what’s available, here are some questions to guide your research.
Does anyone else currently offer workshops in your field of expertise?
If you have competitors, great! It means there is genuine interest from others wanting to learn this set of skills. How do your competitors run their workshops? Can you do it better?
If you don’t have competitors, ask your friends, colleagues and even strangers whether they or someone they know would be interested in taking one of your workshops.
Find out where your competitors are located. Can you find alternate regions or locations to attract another demographic?
Outline the purpose of your workshop.
The more clearly you define the purpose of your workshop, the easier it will be to hone in on your target market.
Does your workshop require prior skills or knowledge, or is it introductory and inclusive?
Are you offering professional development or sharing knowledge or artisan skills?
Will there be something physical to take home afterwards, either a handmade object or a set of reference materials?
How long will the session go for? Can you condense it into one day or will you need to stretch it out over a weekend or multiple evening sessions?
Define the aims and goals of your workshop so participants know what to expect. Tell them specifically what prior knowledge or skills they’ll need, what to bring, what’s supplied and what you’ll provide.
Find a space.
Venue rentals can easily eat away workshop profits and the ability to pay yourself after costs, so it’s worth considering other options. Could you run your workshop from your home or studio? Could you find a venue partner who will benefit from you bringing in new customers? Consider linking with a food and beverage or retail business to boost sales in exchange for free space. You could also consider profit-share so there’s a mutual benefit from cross-promotion and marketing. Make sure your venue is easy to get to, accessible to public transport and has parking options.
All images: Surface Art Symposium, run by Emily Wills
Sell tickets. Promote and share. Sell more tickets!
Give yourself six to eight weeks lead-time to book a space or find a collaborator or host. You’ll want to have the event information up with a minimum of four weeks to market and promote. If you don’t have an existing online shop, consider using a third-party booking system such as Stickytickets, Eventbrite or WeTeachme to manage sales.
To promote your event, create a flyer or image that effectively communicates your workshop outcomes. If you don’t have graphic design skills, an edited photo or simple graphic designed on Canva.com can be really effective.
Share your workshop visuals, information and booking link across social media channels. Encourage others to share the event details. Link with your target market via Facebook groups and send emails to your database, friends and family. Get the workshop information out there! Promote and share! Keep going right up until launch time.
Do a great job. Get feedback. Build a tribe!
Finally, you’re running a workshop! Give it your all to make it special and memorable. Follow up with an email to let people know you appreciated their time and interest, and ask if there’s anything you could do to make it better next time.
Building an audience takes time. Sometimes the people who would most love to come to your workshop are unavailable or simply forgot to book tickets. Have a second date ready to gauge interest and send through to any enquiries that come through.
Emily Wills is the creative director of SURFACE 1°22, a surface pattern design studio. In her various manifestations, she has worked as a fashion designer, illustrator, curator, arts educator and printed textile designer. Emily founded the SURFACE 1°22 Design School in Melbourne, offering hands-on workshops and short courses in surface and textile design. For more information, visit her Facebook page and Instagram feeds (@surface122designschool and @surface122).
Photography credits: Tendai Hatendi