Summary

"The Creative Act" by Rick Rubin is a captivating book, particularly for those unfamiliar with Rubin's legendary status in the music industry. With nine Grammy wins as a music producer and recognition by Time as one of the 100 most influential people globally, Rubin's impact is undeniable. The Rolling Stones even hail him as the most successful producer across genres, having collaborated with iconic artists ranging from Tom Petty and Adele to Johnny Cash and the Red Hot Chili Peppers, from the Beastie Boys to Slayer, and from Kanye West to the Strokes and System of a Down.

While I anticipated a more gear-centric exploration of the creative process, the book took a "philosophical" approach. Nonetheless, it offers practical advice, blending Rubin's unique perspective with valuable insights.

Rubin approaches creativity with what I can only describe as a mystical lens, suggesting that the artist must tap into an undefinable source. Personally, I don't resonate with this perspective, interpreting the book's concepts in my own way, which I'll elaborate on as we progress.

In an interview, Rubin came across as a remarkably humble individual. Publishers initially pushed for a tell-all featuring stories from the studio with luminaries like Jay-Z or Johnny Cash. Rubin, however, opted for a more universal focus, steering away from a self-centered narrative. This deliberate choice resonated with me, emphasizing Rubin's commitment to sharing broader, timeless insights over celebrity anecdotes.

Universe of Ideas

As individuals, we are perpetually bombarded with information, consciously or not. We instinctively filter and curate these inputs to shape our unique experiences and share them with others. A hummingbird building a nest is bring true to itself; humans are true to themselves through the act of creation.

Ideas, akin to living entities, possess a vitality of their own. If we fail to bring them into reality, someone else inevitably will—not due to theft, but because the idea's time has come.

Artists excel at discerning these opportune moments for idea manifestation. They serve as adept antennae, resonating with the source of inspiration. This sensitivity may have evolved as a defense mechanism, a way to cope with life's inherent challenges, eventually transforming into creativity.

Comment: At first glance, this perspective might seem to diminish the individual, casting them as mere antennae for uncontrollable ideas. However, upon reflection, it underscores the importance of humility. This concept resonates with Spiritism, a religion popular in Brazil, emphasizing the interconnectedness of individuals with broader, spiritual forces.

Signal

The signal that artists tune into is ever-present, existing beyond our ability to hear or precisely define it. Actively seeking it out proves futile; it remains elusive and unnoticeable. This ethereal force cannot be predicted or analyzed; rather, our role is to create a space where it can freely manifest.

Facilitating its manifestation requires disengagement from the ceaseless chatter of an active mind. To be receptive to this elusive signal, we must cultivate a state reminiscent of a child's experience—seeing the world as it is, uncorrupted. This childlike innocence serves as a conduit for artists to commune with the universe, fostering a constant state of creation. In embracing this receptive state, artists tap into the profound well of creativity that exists beyond the boundaries of structured thought.

Comment: Isn't our corrupted mind shaped by our life experiences that set us apart? Isn't this uniqueness the most essential aspect of an artist? I see the value of his comment in terms of being open rather than judgmental.

Creativity

The manifestation of an idea depends on multiple factors, and when they come, they are combined differently. Thus, there is a constant recycling of ideas.

Organized people tend to make plans and have to-do lists. They are clear about what they need to do and are determined to make things happen. These are fantastic tools to achieve goals. However, the challenge lies in being perceptive of what is happening here and now.

You can't force yourself to be perceptive; what you can do is simply allow and create space for it to happen. The present is eternal, and it is the only thing that exists.

We receive information through our filters, which diminishes its original, incomprehensible quality. Instead, can we not filter it and let it pass freely? The less we intervene, the more raw material we have access to, and therefore, an enhanced connection with nature.

Comment: I believe everything is up to interpretation. Sometimes, I get an urge to create a collage. Then, I go to my office, grab my iPad, and start browsing for pictures until I find something that speaks to me in that moment. This process repeats, but with each iteration, I am informed based on the previous elements I selected. The original desire to create art was not intentional, although it can be. Regardless, it does not guarantee that I will create something good.

For each new picture selected, I don't actively think about how it resonates with the previous one; if I have an urge to download it, I do it without questioning why. I may or may not use the images. This entire process is intuitive—am I tapping into the signal? Personally, I don't believe so. I think it is a practice done repeatedly, and over time, we become skilled at doing it without a complete explanation of why.

Awareness

The universe constantly provides answers; we just need to remain open to them. When facing a problem, pay attention to your surroundings—often, it holds what you need.

Being an artist is synonymous with being receptive to experiences and what surrounds us. The greater our openness, the more we can discern the subtle clues around us. It involves less active thinking and more trust in what resides within.

Comment: Let me experiment with this.

In my office, there are 10 shelves. I rolled a 10-sided die and got a 4. Here is what the 4th shelf looks like:

Then I roll a 4-sided die and got a one. I visually divide the book into 4 sections, close my eyes, and pick something. Here is what came:

The Kolaj Magazine edition 32. Games, art, and psychology are the most common items in my tiny library, with collage occupying perhaps 1/3 of the art section. Now, let's open it. By chance, I open to page 12, which features an article called 'Les Cocobopros' by Christopher Byrne. It talks about a series of books produced by a collage artist.

This is interesting because as part of the Collage in Practice Workshop, I asked Ric how I can expose myself more and told him about the annual book I have been producing for the last 3 years. His comment was that my product is luxury and expensive, and I should try to find alternatives for it. Perhaps this article can shed some light.

We cannot forget that our minds are outstanding machines at drawing patterns, even when they do not exist. What do you believe?

Practice

To the artist, the perception of what is around us becomes reflexive, allowing them to collect raw materials to be used later. Engaging in rituals on a consistent schedule is a good practice to remind us to be centered and present in the moment.

Another important aspect is to surround yourself with meaningful things. How can you be immersed in things that are great? By having them, we create a resource of references that will lead to great work as well.

The greatest of all is nature.

How can you look at something familiar and still see newness? How can we see something that we haven't noticed before?

Another outstanding source is what is inside of us: the memories and the unconscious. He does mention in the book about the practice of destroying something for 5 minutes as vigorously as you can, which will prove to be daunting. Then, write 5 pages without thinking about it. Just let the words come through without intervention.

Having less intellectual control or hold over what we do can lead to great things. Many artists create their best work while under the influence of fever. These are like trance conditions and can access the dream state.

Despite the popular belief, our memories are not accurate or reliable and therefore just a romantic recollection of facts. They can be a great source of inspiration.

Keeping a dream journal can also be a very useful source of perception.

Comments: As a hypnotist, I can see why he is thinking about altered states of consciousness to access what is out there. In fact, what is happening during a trance-like state is that the critical mind, which is constantly judging what is good or bad, is less prominent. Therefore, we can explore without judgment or fear of whether the work is good. It shuts down the criticism.

The Dadaists had several exercises to produce art through randomness or the unconscious.

Listening

No matter what, inspiration is always available to those who are open. By immersing ourselves in culture and consuming current art, entertainment, news, and social media, and then taking a step back, we can see patterns.

The voices in our mind can be a source of problems because they never stop.

With a busy life, surrounded by people and obligations, it can be difficult to be open to the universe and its rhythm. Making art is not about others but about ourselves. It is not a competition. Art is just a snapshot of the artist in time and space. You can question your ability to create art, but you are capable because no one is you and, therefore, cannot make the art you make.

The sensitivity of an artist is what fuels their inspiration to create. At the same time, it can be a hindrance because it makes them feel judged. When the desire to be protected is stronger than the desire to create, they are most likely to have difficulty moving forward.

The image of an artist indulging themselves in drugs that lead to their deaths is a reflection of a painful existence. That is also the reason why they become artists.

Comments: I resonate a lot with this part. My art is deeply personal. It is all about what I feel, or struggle to feel. Someone I know cannot browse through my art; it overwhelms them. According to them, they see pain. A friend of mine once told me I write pain larps (live-action role-play) because they appeal to extremes and they are intense.

Just do it

Art is a practice. The goal is to complete the current project, so you can move to the next one, which is just a progression of the current one. By not breaking this rhythm, you will be productive.

When approaching art-making, remember that there is no right or wrong, good or bad, ugly or beautiful. It is about experimentation and being playful. Allow yourself to be without judgment. No rules.

The voices in your mind will always be there. Papancha is the Buddhist concept that the mind will always be populated with thoughts. They are easy to pop into your mind, so practice allowing them to go in the same fashion. A way to overcome the thoughts in many meditation schools resides in the constant repetition of mantras. That leaves no space for the mind to wander; it keeps us in the present. It's a distraction to keep the mind focused. Other religious artifacts or practices serve the same purpose.

There is constant dissatisfaction with imperfections, but perhaps that is what makes the work great. However, what makes something great is a mystery to everyone. In the Japanese art of Kintsugi, broken porcelain is restored with threads of gold, highlighting the destruction rather than trying to hide it.

Since inspiration is around us, what we make is just collaboration. Also, whatever you make is up for interpretation by the viewer, and that is the beauty of it. It tells us about them and not necessarily about you.

Something you make becomes art once you frame it and put it out on display. Art is an invitation for an experience. Art is also about intentionality. Calligraphy is the concentrated intentional motion of the brush.

Many people experience life as they were wearing a headphone. It is intense, numbing everything beyond. Remove the earbuds by taking a step back. Suspend your beliefs and judment and just listening.

Comments: In the work of Nancy Smith Stark, one of the co-founders of Contact Improv Dance, she talks about "The Gap." This is a space for exploration, but it must be empty so it can be filled in the moment. Coming with expectations will hinder what can be created in the moment. "The Gap" is about being there, waiting to see what happens. It sounds quite abstract; in practice, it is basically not trying to direct what will come next. Be in the moment, curious to see what will happen.

Rules

What is considered art is just an agreement between people.

We tend to be restricted by the standards of our chosen media when making art. The tools used narrow down the possibilities from infinity to a much more limited scope even before we start creating. The medium and tools come with norms and constraints, forming the framework available for making art.

How can we explore breaking out of this framework? New materials will bring thousands of new possibilities.

They say patience is a virtue, and many people struggle with it. Impatience is arguing with reality; we want something else instead of what is being offered. But greatness cannot be forced, only invited.

Approach things with ignorance. Try to hold what you know and be really curious. Our past experiences can hinder progress. Not relying on premises allows you to make sense of the world in a new way. Assumptions can be more harmful than good even before we start.

Creation doesn't need to be useful; it can solely be for expression. We are drawn to art because of the artist's filter—how THEY express something, and not about the idea itself. Someone moved by an art does not equate to the artist feeling heard or understood. Copying an artist is not possible because you are not them. So experiment.

Comments: To me, art is about exploration. What can I do with X in Y circumstances? Whether it is good, relevant, or meaningful is a different conversation. Breaking the rules is experimentation. Allowing yourself to test new things, regardless of the outcome, is the invitation for greatness.

Practice

There is no way around it; you have to allocate time to create something. Make creating a habit. The tiny little things can lead to incredible outcomes, but you have to be present while doing it.

Being disciplined is freedom to occupy your time with what matters instead of being distracted due to disorganization. The more organized you are, the more mental energy you have for other things. Discipline is a harmonious relationship with time. Schedule time to be playful and creative, even if it is only for 10 minutes. Nothing stops you from continuing. But if you don't start, you cannot extend it.

The system should work in your favor instead of you working for the system. Be free in your own practice. You might not express yourself out there, but create a practice that you are free to do it.

Comments: That is an easy part to comment on. Check out Atomic Habits.

Stage of Creation

The first stage of creation is called Seed. This is a moment of open collection of anything that comes to us. No judgment. We are not trying to compare and filter out what are the best seeds; we are just collecting them. It should not take a lot of effort to collect the seeds. The closeness won't allow you to decide what is good or bad, what has potential or not, so don't bother.

The second stage of creation is called Experimentation. We have lots of seeds; they are starting points and potentialities. Experimentation is about playing with the seeds to see what comes. Cultivate and care for each seed to see where they lead you. In this stage, you may come across insights, conclusions, and surprises.

This stage is not about having a goal to fulfill. Have you considered how many wonderful things got lost because people were blinded by their goal?

Artisans know what they want to make; artists don't.

As you play with the seeds, notice the ones that you are excited about. You cannot know if an idea doesn't work until you try it out. Allow yourself to try and make mistakes. Give yourself permission to be wrong.

It is not uncommon to go back and forth between the Seed and the Experimentation stage.

The third stage of creation is called Crafting. This is probably the least glamorous part of the creative act; it's about labor. Out of all the possibilities discovered through experimentation, now is the time to apply filters. What connections can be drawn? What things have I noticed?

It is not uncommon for the artist to lose connection with the art in this stage—the endless cycle of refinement or the desire to start all over again. This could happen due to time. We all change, and the more time we spend with something, the higher the chance it becomes outdated.

Another issue with this phase is attachment to early versions of the project. We hinder ourselves from seeing new possibilities. Take the work-in-progress as not final and leave space for growth.

Also, it is completely possible that you don't have the skills required to materialize your vision. You can outsource, just like Andy Warhol did. What makes art interesting is you, not your skills, but your ability to tell stories.

If you feel stuck, just keep going. Don't insist on what is troubling; come back to it later after doing other parts of the project. Solutions may arrive later, but only if you keep doing it. See the next section, Strategies.

The third stage of creation is called Completion. This stage is, of course, different for each project. Adding a frame, tweaking small details, final reading. This is the end of an assembly line, the quality assurance. If something is amiss, work on it.

Also, during this stage, you might consider taking new perspectives about it. However, keep in mind that you are the only audience that really matters. The feedback received is usually more about the person than about the work.

The work is complete when you believe it is done. But don't be deceived that you can always make it better. This can actually harm the project instead of helping.

As part of this process, the final product is released into the world. It's crucial to understand that the product is not YOU; it's merely a reflection of us at a certain time. How your art will be received is beyond your control. Remember, you are the only audience that truly matters.

Cultivating the habit of finishing a project is truly phenomenal! The more we engage in this practice, the more confident we become in our decisions. It serves as a significant boost to our creative self-assurance. Always bear in mind that you are a creative person, and fresh ideas and projects will consistently emerge. Avoid clinging to a project out of fear that it might hinder your ability to embark on new endeavours.

Your newest projects are not necessarily superior to your older ones. They were crafted by two different versions of yourself, each unique. What truly matters is that you consistently put forth your best effort into every single project you undertake.

Every piece of art you create possesses its own essence, a life of its own. In the Craft stage, the task is to avoid obscuring that essence. As an exercise, consider what elements can be removed without altering the piece's fundamental essence. Perfection lies in refining it to its bare minimum.

Within every artist, there are two personas: the creator and the editor. The creator is driven by passion, while the editor, functions to extract the best work possible by making necessary cuts. The editor aims for neutrality and balance. A skilled editor is crucial for unlocking an artist's full potential. It's important to note that the editor is distinct from the inner critic. While the critic questions your abilities, the editor seeks to achieve the best work possible. It focuses on finding the bare minimum without losing the essence. To guide the editing process, consider asking these questions about each element:

• Does it amplify the essence?
• Does it distract from the essence?
• Does it contribute to the balance?
• Does it contribute to the structure?
• Is it absolutely necessary?

Comments: The creative process can be viewed in various ways, and the four stages presented are certainly applicable to any project, whether it's an art project or not.

For me, the Seed stage involves looking through images that resonate with me. The Experimentation stage is about selecting images and finding the ones that complement each other. During this phase, I play with composition, resizing, changing colours, and more. The Craft part is akin to a cleaning phase. Since I take elements from pictures, I usually have to remove the background, adjust colours to match other images, and pick a color palette to create a dialogue among the elements. The final stages involve backups, exporting, publishing, and documentation.

It is not uncommon for me to disregard my initial idea during the Experimentation or Craft stage and start anew with a fresh perspective using some of the same seeds.

Some challenges are indeed real. I find myself immersed in the development of a game called inDIGNOS, a journey that commenced three years ago. Unfortunately, due to certain external circumstances, the project has yet to reach completion, currently residing in what I consider the Craft stage. Reconnecting with the project and regaining momentum has proven challenging. Nevertheless, I recognize the importance of pushing forward. The commitment to seeing a project through to its published form outweighs the obstacles encountered during its development. It will be published.

Strategies

At times, the pressure we build becomes an impediment to moving forward. Breaking tasks into manageable parts not only releases tension but also facilitates a smoother flow. Instead of attempting to write a full song in a day, consider composing a single line every day, regardless of the scope.

Changing the environment invites new perspectives. Experimenting with conditions like playing in the dark, having the singer hold the microphone instead of standing in front of it, or recording at different times of the day can infuse freshness into the creative process. Even hanging upside down while singing can bring an unconventional twist.

Altering the stakes can also be transformative. A band playing with the imagination that it will be their last performance may convey a different emotional intensity. Doing rehearsals before recording can lower the stakes, and having an audience may interfere with the artist's focus.

Changing the approach. The intention behind how you undertake something fundamentally alters its outcome. Consider the case of a singer struggling to connect with a love song; suggesting an approach as if it were a devotion to God changed the relationship between the singer and the song.

Now, picture your favorite artist requesting you to write a song for their next album. This induces a sense of depersonalization from the art, providing a valuable perspective to overcome creative blockages.

Challenge yourself by approaching a task the way someone entirely different from you would do it.

Engage your imagination to evoke specific feelings. Describe a location, a sensation, or anything that stirs the desired emotions.

Embrace limitations as catalysts for creativity. Removing certain influences and imposing constraints can push you to explore uncharted territories. For instance, challenge a band to play a song they've never heard before, armed only with the lyrics and chords.

The strategies themselves hold no intrinsic importance; they are merely tools designed to guide you beyond your accustomed methods, all with the intention of discovering new and innovative approaches.

Comments: I have a good friend who isn't a musician. On one occasion, he hosted two musicians for an experiment. One of his intriguing ideas was to propose that one of them play the same thing again, infused with the emotion he felt when his child was born.

Whatever we create is a product of our emotions, the process of making it, and the specific moment in which it is created. Altering any of these factors will inevitably introduce novelty.

Greatness

Is my art good? The answer to that question is inherently subjective. Consider your intentions as you engage in the artistic process. Are you creating to sell or exhibit? While these are valid pursuits, if they become the primary focus, you might find yourself veering away from the essence of art.

Your conscious and unconscious expectations play a pivotal role in determining how much you fear exposing yourself through your art. Regardless of the nature of your expectations, they can impede the creation of your best work.

Success, in the realm of art, is about releasing your work without fixating on external feedback. If you've poured your best efforts into it and find satisfaction, you are successful. Progress is a form of success, and every step forward is an accomplishment.

The diffusion and acceptance of your art lie beyond your control. Factors such as release timing, distribution, prevailing mood, cultural trends, and your network need to align perfectly.

It's crucial to recognize that whatever you create won't necessarily fix or bring you peace. Holding such beliefs might set unrealistic expectations that work against your favor.

Every circumstance can be viewed through different lenses. The outcome is not the happening itself; each moment is just a fragment in a much larger life. Zooming out allows you to perceive the current situation smaller.

Genuine ecstatic feelings serve as your compass, and it can shift at any moment. This feeling is not intellectual; it's visceral, offering guidance without requiring understanding.

Over time, artists may come to realize that their art serves as a cryptic form of public confession—a means to find a voice or resolution.

Ideas that may initially sound strange are often just ideas out of context.

Be mindful of the myths and stories surrounding how art and artists operate, as they often tend to be exaggerated or pure fictions. Our interpretations of the artistic process are essentially educated guesses, stemming from our attempts to decipher something inherently unclear. Once you've completed a piece, you also become a spectator, offering your own unique interpretations.

The drive that compels us to create art is unknown, and as a result, we may never truly comprehend the meaning behind our creations. The key is to make art and allow others to weave their own stories around it.

Our goal is to develop an understanding of ourselves and the world around us. Unfortunately, this mentality is not often propagated or emphasized in schools, where the focus tends to be on obedience rather than sensitivity. True awareness involves a connection with our thoughts, feelings, and perceptions without unnecessary interference.

The creative act demands that we believe in what does not exist so that we can bring it into existence.

Comments: After starting to publish my collages on Instagram, I used hashtags to boost visibility. While it garnered some views and the most likes I received was 73, I soon realized that chasing hashtags or tweaking algorithms for more views was undermining my confidence. Associating the number of likes with the quality of my art was a fallacy that now I know is not accurate. What we measure is what we see. To break free from this mindset, I decided to let go of the quest for likes. My primary goal is to create art, not to become the most well-known artist.

Problems

Approach every situation with humility, as change is inevitable. Often, what we perceive as a problem is merely a deviation from our perspective or expectations. Seeking solutions involves letting go of preconceived notions and surrendering to creative energy, inviting the unexpected.

Through practice, we come to realize the importance of trusting the process. We've faced challenges before and overcome them, so today is no different. Identifying what doesn't work brings us closer to what does. Ultimately, we have a choice: to persist or to give up.

Embrace new ideas and experiment with them. Consider what you can learn from these ideas, and instead of resisting changes, find ways to incorporate it. How can we improvise with the resources at our disposal?

While you can't control inspiration, you can commit to showing up every day to create. Just like jazz players who continuously play, spontaneity can also be practiced.

Creative process is both methodical and requires labor and refinement. It can, at times, be tedious.

When faced with decisions and the need to choose a direction, a helpful approach is through comparison. Our ability to understand something is often based on its relationship with something else. To make choices with reduced bias, consider limiting the amount of detail you know about each option.

Here's a test you can use to decide which course of action to take. Decide which option is heads and which is tails. Toss the coin, and before you catch it, pay attention to which choice you find yourself rooting for.

When offering feedback, focus on the work, not the artist. Be specific about your observations and avoid providing solutions; they may have better alternatives. Listen and wait for their input. As the recipient of feedback, set aside your ego; the critique is about the work, not you. Strive for mutual understanding, recognizing that what is being communicated may use different vocabularies despite discussing the same topic. Be aware that words may not always accurately reflect the speaker's true intention.

Beliefs

Rituals serve as a pathway to a specific mindset. As long as they are effective, continue with them. What matters is what works for you.

People offer insights and advice based on their experiences and their unique approaches. Not necessarily will it be applicable to you, as there are multiple ways to achieve the same goal.

Taking time away is beneficial. Creating distance from a work allows you to detach from it and be more open, rather than being fixated on expectations.

Realizing that you cannot do something can be challenging, but the true challenge lies not in what we cannot do but in what we have not done yet.

When making changes, ensure they lead to improvements rather than creating a spiral of new problems.

If something doesn't meet our expectations, consider changing the context and playing with the variables.

While some aspire to be full-time artists, it comes with additional expectations. Don't sacrifice your art; finding a job to support yourself is preferable to being unable to create art. A career in the arts is challenging, with financial rewards that may not be steady or guaranteed.

When collaborating with others, aim to detach from your own strategies and find the best ideas, regardless of who proposed them. Continue until all parties are satisfied, ensuring that no one feels under appreciated. When faced with the choice between A and B, consider option C that benefits everyone. Collaboration thrives on contrast; otherwise, why collaborate?

Artists typically view creativity as a necessity, an innate urge that must be fulfilled. An instinctive calling they cannot ignore.

We endeavor to attune ourselves to the vibrations of existence, seeking harmony. However, there are instances where the intention of an art piece is not to be harmonious, creating a sense of unease.

Comments: I have explored various forms of art, predominantly leaning towards the performative. While the idea of living as a full-time artist holds its allure, I've come to value a stable income that affords me the freedom to pursue other interests. My experience as a full-time performer was marked by financial struggles and accompanying frustrations. It highlighted the distinction between the act of making art and the business aspects of being a professional artist.