Bergman, Chairman, Pollock-Krasner Foundation Dreaming your way to creative freedom is not easy, but with patience and focus on your creative products, your life history, and your dreams, such power is possible. As Lucy Daniels shows us the landmarks, personal symbols, and specific outcomes of her year struggle against writer's block, she also offers a road map for others to use on their own journeys. With this book, the public can now benefit from her insight and guidance.
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Share your thoughts with other customers. Write a product review. Most helpful customer reviews on Amazon. In Dreaming Your Way to Creative Freedom, a book that came after her autobiography, Lucy Daniels continues to report her brave journey of self-exploration.
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This time, the focus is exclusively on her dreams and the insights she has gained from remembering and then studying them, sometimes with the aid of her therapist. The last section of the book focuses on the potential self-help the reader can source by also paying attention to his or her own dreams. I recommend this book to potential readers interested in such self-exploration. Lucy Daniels knows as much about how to work with dreams as anyone possibly could, and she writes with strong clarity.
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It's the best book I've seen on how to work with your dreams. In Dreaming Your Way to Creative Freedom, writer and clinical psychologist Lucy Daniels offers the reader a glimpse into the strange, mysterious world of dreams and how these can affect the creative process and be used as a tool to cure writer's block. This book is the result of the author's decades-long struggle with writer's block and how, with the help of dreams, she successfully overcame it.
This era left its mark. While not in itself a bad thing, this new found acceptance of a very individualized idea of creativity had some troubling consequences. For one, it prompted what some say is a total redesign of capitalism. Skateboard culture is a more recent example of a grassroots from of creative expression being coopted and colonized by a more diversified and clever capitalist culture.
This individualism, in turn, assists in the decay of collective institutions, from communities to the welfare state. While the vast majority of this work is banal, routine and unimaginative, creativity is held up as a corporate ideal. For one, jobs for designers, musicians and authors are extremely hard to come by — permanent, full time ones with benefits and pensions even more so.
Without a formal workplace and without a clear institutional hierarchy, artists, actors, web-designers, poets and others often lack the sorts of protections other workers used to enjoy. For instance, in an economy where you are constantly seeking to secure short-term contracts through personal and professional connections, issues like discrimination in the workplace based on race or gender or failure of employers to pay are often never pursued who has money or time for a lawsuit?
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Today, artists and creative types are also made to serve other economic purposes as well. The reality of course is that no-one feels any special passion for working three part-time jobs, and few achieve aesthetic or any other sort of satisfaction from working in a call centre. We record music on our computers. We make video mashups. We write blogs or fan fiction.
We teach ourselves digital photography. But how free is it? The internet-service providers, who are almost all big corporations, make money from our subscriptions. The Pentagon actively benefits from new recruits weaned on years of violent videogames. But was it brought us real creativity? And while there is a lot of potential for people to create new forms of community and empowerment, it all takes place within and as part of the expansion of global and local poverty, exploitation, and social dislocation. It is driven only by irrational and pathological competition for profit, not by any compassionate and collective social vision.
Imagine what the world would be like if we focused our creativity and energy towards other ends? Real creativity is the ability to change the world together. Or, more accurately, the ability to see our collective creative efforts realized in reality. I am saying that if we really care about creativity, we need to ask ourselves what creativity really could mean.
Lets return to the abstract idea of creativity itself. There have been and are creative geniuses whose work we love and cherish. They were all part of creative communities that supported their work, or spurred their work on through competition, collaboration and criticism.
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Creative genius never occurs in isolation. Geniuses are manifestations of their time and place, and so is creativity. Twenty-five years earlier Fountain would have been unintelligible; twenty-five years later it would have been redundant. After all, creating a perspectival drawing eg. Creativity lets us think about ourselves as people and as communities in new ways and provides us with a mirror for considering how things could be different.
In a way, we are all being creative, all the time, just living our lives, making our way in the world.
Under capitalism, all this work of reproduction, creative and not creative, is organized towards earning some people a lot of profit and keeping the rest of us in our place. And creativity is also made to serve this end. Which brings us to the final point: It is a privilege reserved for a very select few, usually based on their ability to make someone else money art dealers, the record industry, film studios, art supply stores, internet service providers, video game companies, etc.
We get to be creative on our MacBooks because children dig coltan for computer components in the Congo, because teenagers assemble touch-pads in Chinese sweatshops, because the global economy forces fthe toxic waste of computer manufacturing onto developing nations, and because we never have to deal with the consequences of mining, manufacturing, transportation and waste disposal except in the broadest sense that digital waste is helping create a toxic planet for everyone. We will see the best minds of our generation destroyed by debt, starved for time, and naked in a wearied, over-stimulated commodified cultural landscape.
Equality and autonomy are the real conditions of creativity. And equality and autonomy rely on and are grounded in creativity. In doing so they are terribly uncreative when it comes to imagining what creativity is and what it might really be capable of.
Little has changed in terms of the big scheme of struggle. But there are a few new facets to think about in this brave new world of creativity. Today, when workers are encouraged to see themselves as creative free agents and empowered economic individuals—rather than an exploited collective or community—union organizing has become very difficult. As workers increasingly flit from employer to employer and survive contract to contract, not only are they harder to organize into permanent collectivities, they often lack a shared culture and community that would foster solidarity.
Creative capitalism encourages workers, both those employed in ostensibly creative industries eg. This makes organizing around class antagonisms difficult. But this is also due to the fact that unions have long since ceased to offer a substantive vision of a different world or economy.
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Meanwhile, many creative workers like scriptwriters or performing musicians or professors, have had guild-like associations for decades, and sometimes centuries. But new media has led to grave challenges for the monopolies these groups won in years past. Meanwhile, globalization has also seen challenges to the strength of professional associations, with new forms of competition in realms like editing and proofreading, graphics animation and architecture. In an age of austerity, where governments are making dramatic cuts, many programs that supported creativity are being slashed.
As the economic crisis deepens, people have less money to consume creative commodities. Fewer experimental or challenging books are published. Fewer opportunities exist for composers to try new things. Another way of thinking about it is this: Formerly, there used to be more help for artists and creative types from governments and even from the private sector in helping artists and creative people swallow this risk, supporting them while they took chances.
Today, that margin of risk has dramatically shrunk. Only the independently wealthy or the foolishly romantic can afford to dwell with failure in the mad hope of success, as their forbearers have done for centuries. To the extent people see themselves as competitive individuals they cannot see the bigger sociological picture.
The cultural media and market have slowly been consolidated in the hands of five or six major multinational corporations like Disney, Time-Warner, Fox and Vivendi. Local arts, film and literature festivals starve for lack of interest from a public addicted to the cultural equivalent of fast-food. From punk to funk, from hip-hop to skateboarding, cultures of once-authentic resistance and exprimentation have been folded into a mainstream commodified landscape that offers a valve for personal and social anxieties that is only very rarely transformative.
Unfortunately, all too often social movements participate in this game, acting more as subcultures of solace with uniforms of dress or musical taste than as broad-based engines of social change. Many forms of experimental culture or music also satisfy themselves with eking out a small space for limited creativity within a broader society, rather than demanding a different world — or they demand a different world only to the extent the act of demanding creates the illusion of rebellion. Many cities and regions invested millions of dollars in new arts facilities often sponsored by major corporations which, for a relatively minor contribution to constructions costs, got to plaster their names all over a new opera house or art gallery.
Unfortunately, this approach has warmly embraced not only by local governments but also many upwardly-mobile residents who preferred to see romantically starving artists than less-than-romantically starving panhandlers.