Creativity on speed

It‘s been said that art, creativity, and innovation are about the recognition and mastery of constraints.
"Man built most nobly when limitations were at their greatest."
— Frank Lloyd Wright
"In art, truth and reality begin when one no longer understandswhat one is doing or what one knows, and when there remains an energythat is all the stronger for being constrained, controlled andcompressed."
— Henri Matisse
One of the best ways to be truly creative--breakthrough creative--is to be forced to go fast. Really, really, really fast.From the brain‘s perspective, it makes sense that extreme speed canunlock creativity. When forced to come up with something under extremetime constraints, we‘re forced to rely on the more intuitive,subconscious parts of our brain. The time pressure can help suppressthe logical/rational/critical parts of your brain. It helps youEQ up subconscious creativity (so-called "right brain") and EQ downconscious thought ("left brain").
(One of the best ways to quickly test the dramatic power of shifting from left to right is with Betty EdwardsDrawing on the right side of the brain work.)
Ad-lib Jams
I‘m not talking about the kind of time pressure we get from tryingto get real work done under unreasonable deadlines. I‘m talking about aspecific technique for using speed as a creativity driver. I talkedabout this earlier inBuild something cool in 24 hours, based on a talk by Ritual Entertainment game guruSquirrel Eiserloh. Squirrel is one of the founders of theAd Lib Game Development Society, and an active participant (and advocate) of the Jam model for creating both games and music.
Squirrel said one of their main mottos is from theGlengarry Glen Ross movie, where Alex Baldwin tells/threatens the sales people to "always be closing." You aren‘t there just to do things...you‘re there to make things. To get something finished, no matter how crappy and ultimately unusable, in the given--insane--time constraint.
Creativity Deathmatches
Another jam format that‘s been gaining ground is the deathmatch or "battle". But unlike the liveBattle of the Bands format (orPoetry Slams), which are simply live competitions, the creativity deathmatch/battle is about creatingin real-time. In other words, you aren‘t just playing your pre-writtenmusic or reading your pre-written poems in front of a live audience,you‘re also creating something from scratch.
Of course, this idea is nothing new toimprov artists from comedy to jazz musicians, but it‘s not something one normally associates with things like graphic design or writing code. (Although there have been code-offs (like bake-offs for geeks), typically held at developer conferences.)
Squirrel sent me this link to theLaptop Deathmatch held recently in Dallas, covered in thisDallas Observer article. From the article:
"The monthly competition...pits 16 people in a tournament tofind the most talented laptop musicians in town. Players get threeminutes to whip up whatever noise they want, as long as it comes fromonly a laptop and a MIDI controller device. The most exciting thingabout the event, really, is that nobody actually has a clue what "mosttalented laptop musician" means."
ButSkyler has been raving about the Art Battle held at theInstallation Art Gallery/Skateboard Shoe store here in Boulder.

Sponsored by (who else) Pabst Blue Ribbon, artistsScot Lefavor andRay Young Chubattled it out before a live audience. Every 30 minutes the host wouldannounce a word or phrase and the two artists had to race to depict it.


[photos by ronnie innes, via Scot Lefavor‘s site]
I found plenty of other examples of creativity battles including this one from Portland‘sMusic and Video Art Invitational described as:
"10 video artists and 20 musicians create original works in a limitedtime frame using provided source materials.... contributors will besupplied with 10 visual or audio samples, which they will in turn useas source material for an original piece of music, sound, or video."
[no pre-arranged material was allowed]
But perhaps my favorite is theComic Art Battle, also in Portland. (Why does so much cool stuff happen up there?)
When you‘re crafting something -- a final product like asoftware app, painting, piece of music, etc. -- slowing down can makeall the difference between crap and not crap. But when you‘re trying tomake creative breakthroughs, slowing down gives the rationalpart of your brain all the time it needs to stop an idea before you‘rebarely aware of it. When it comes to building/creating/playingsomething you didn‘t even know you were capable of, speed is your friend.
(I read that Vincent Van Gogh completed every one of his paintings in less than 24 hours. Then again, there is that whole ear thing...)
But this brings me back to the picture at the top, and Squirrel‘smotto "Always Be Closing. As most of you already know, Tim O‘Reilly‘sgeek campout,Foo Camp, has spawned a number of other 24 to 48 hour "camps" and "jams" includingBar Camp, and the recentSeattle Mind Camp. While these are awesome experiences, and I wish there were more--these events should not be confused with creativity jams.
While Foo Camp is where I first learned of the Game Jam format, from Squirrel‘s talk, Foo Camp was itself not a make-something-cool-while-you‘re-here-to-demo-at-the-end kind of thing. The camps are more about talking about things people have built rather than actually building them in real-time. The camps offer a different form of creativity--more about synthesis and getting new ideas than tapping into the power of your subconscious creativity.
It would be fun to see a combination camp where the first half ofthe weekend was about actually making something, solo orcollaboratively, and the other half was about exchanging ideas with theother participants (including the things you made during the firsthalf, and lessons learned).
I‘ll leave you with anarticle on creativity,by Randy Thom, aimed at those who do sound for motion pictures. Whilenot at all speed-related, it‘s an interesting perspective on creativity:
"The Tyranny Of Competence
In the movie industry a high value is justifiably placed on technicalcompetence. It is assumed that every craftsperson should know how touse the tools of the trade and be able to perform on cue, underpressure. The trouble with paying so much attention to skill andtechnical prowess is this: The frame of mind in which interestingthings germinate is often more confused and desperate than organizedand confident. "