The human spirit will not invest itself in a compromise. - Robert Fritz

It's not what the vision is, it's what the vision does.

We don’t make art because we need it. We make it because we love it. The love artists have is generative, not responsive. Romantic love is responsive. You meet and then you fall in love. The situation first, the love second. But for the artist, the love predates the situation. The filmmaker loves the film before the film is made. The painter loves the painting before paint touches canvas. The choreographer loves the dance before it exists. To do what we need to do is not special. After all, we need to do it. But to do what we do not need to do is special. To the artist, to make art is one of the most special things one can do in life.

As adults, we create myths about ourselves and about our lives. We often use the myth to organize reality into a type of order. Anything that might contradict the myth seems to bring disorder that can feel disorienting. The myth forms a bias and matrix against which the person’s life experiences are evaluated. The sense of myth is often in sharp contrast to the macrostructural patterns that dominate our lives. The myths are often about the details of the events that happened, including who did what to whom. The pattern shows that the details are not causal but only orchestrative. If we describe the details, we see the uniqueness of the events that have taken place, and the story can seem like a one time deal. But if we describe the form and sequence of events, the critical moments, etc., we see how un-unique the story actually is. We can see that, yet again, the same damn thing has happened.