What is important is the moment of opening a life and feeling it touch--with an electric hiss and cry--this speckled mineral sphere, our present world.
Annie DillardRead
The painter... does not fit the paints to the world. He most certainly does not fit the world to himself. He fits himself to the paint. The self is the servant who bears the paintbox and its inherited contents.
Interpretation
An artist adapts themselves to their medium rather than imposing their will upon it.
Annie Dillard's quote emphasizes the relationship between the artist and their chosen medium, suggesting that true creativity lies in the ability to harmonize oneself with the tools at hand. Rather than trying to force one's vision onto the world or to the materials, an artist must understand and adapt to the nuances and limitations of the paint or medium they use, allowing it to guide their creative expression.
In practice
In a lecture about the creative process, one might quote this to illustrate how artists engage with their materials.
What is important is the moment of opening a life and feeling it touch--with an electric hiss and cry--this speckled mineral sphere, our present world.
Geography is the key, the crucial accident of birth. A piece of protein could be a snail, a sea lion, or a systems analyst, but it had to start somewhere. This is not science; it is merely metaphor. And the landscape in which the protein "starts" shapes its end as surely as bowls shape water.
Buddhism notes that it is always a mistake to think your soul can go it alone.
Similarly, the impulse to keep to yourself what you have learned is not only shameful, it is destructive. Anything you do not give freely and abundantly becomes lost to you. You open your safe and find ashes.
It is difficult to undo our own damage, and to recall to our presence that which we have asked to leave. It is hard to desecrate a grove and change your mind. The very holy mountains are keeping mum. We doused the burning bush and cannot rekindle it; we are lighting matches in vain under every green tree.
To crank myself up I stood on a jack and ran myself up. I tightened myself like a bolt. I inserted myself in a vise-clamp and wound the handle till the pressure built. I drank coffee in titrated doses. It was a tricky business, requiring the finely tuned judgment of a skilled anesthesiologist. There was a tiny range within which coffee was effective, short of which it was useless, and beyond which, fatal.
The worst thing you can do is censor yourself as the pencil hits the paper. You must not edit until you get it all on paper. If you can put everything down, stream-of-consciousness, you'll do yourself a service.
I can't change the fact that my paintings don't sell. But the time will come when people will recognize that they are worth more than the value of the paints used in the picture.
Any work of architecture that has with it some discussion, some polemic, I think is good. It shows that people are interested, people are involved.
I'll go to the movies and hear 'Angel From Montgomery' in some film, and nobody ever even told me about it. They don't tell you your stuff is going to be in a movie. They don't have to, so they don't tell you. You get paid eventually.
Poetry, whatever the manifest content of the poem, is always a violation of the rationalism and morality of bourgeois society.
I met, not long ago, a young man who aspired to become a novelist. Knowing that I was in the profession, he asked me to tell him how he should set to work to realize his ambition. I did my best to explain. 'The first thing,' I said, 'is to buy quite a lot of paper, a bottle of ink, and a pen. After that you merely have to write.'
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