# Creative Discipline

Practices for sustained work over weeks and months, not single-session ideation. Four traditions:

- **Twyla Tharp** — *The Creative Habit* (2003). The box, scratching, the spine.
- **Sol LeWitt** — *Sentences on Conceptual Art* (1969). Instruction-as-work.
- **John Cleese** — 1991 Video Arts lecture. Open mode vs closed mode.
- **Julia Cameron** — *The Artist's Way* (1992). Morning pages + artist dates.

## When to use

- Long-term creative project; the question is sustainability, not "give me an idea"
- Globally blocked, not locally (Oblique Strategies for local; this for global)
- Producing the same thing over and over — scratching imports new material
- You want to convey that creative work has *conditions*

## Don't use when

- User wants an idea in the next hour (these operate over weeks)
- User is annoyed by self-help registers (Cameron especially)

## Tharp — three working tools

**The box.** A literal banker's box per project. Label it the moment you commit. Everything related goes in: clippings, music, references, sketches, source materials, postcards. The box is the project before the project is the project.

**Scratching.** Active daily search for ideas — read, watch, observe with no agenda except proximity to ideas. *"You can't just sit there waiting. ... I read for general purposes, looking for something interesting."*

**The spine.** The one sentence naming what the project is about. Held privately. Not the pitch — the spine. When the project drifts, return to it. Examples: "this is about a lost child", "this is about the body's memory of grief".

## LeWitt — instruction as work

The work is the *instruction*, not the execution. *Wall Drawing #289* is a sentence; the wall executions are not unique works. *"Once the idea of the piece is established in the artist's mind and the final form is decided, the process is carried out blindly."*

For ideation: produce a work as an instruction. Anyone can execute. This unlocks instructions for performances anyone can perform, recipes for events, scores anyone can play, code anyone can run.

A few of the *Sentences on Conceptual Art* (1969):
- *Irrational thoughts should be followed absolutely and logically.*
- *Conceptual artists are mystics rather than rationalists.*
- *Once the idea of the piece is established and the final form is decided, the process is carried out blindly. There are many side-effects that the artist cannot imagine. These may be used as ideas for new works.*
- *It is difficult to bungle a good idea.*
- *When an artist learns his craft too well he makes slick art.*

## Cleese — open mode

You need closed mode to *do* the work, but you cannot *generate* in closed mode. Open mode requires:
1. **Space** — a place where you cannot be interrupted.
2. **Time** — 90 minutes minimum.
3. **Time** — repeated. (Cleese says "time" twice deliberately. You have to also tolerate the duration.)
4. **Confidence** — to make a mistake without immediate self-criticism.
5. **Humor** — Cleese is emphatic. Solemnity is the enemy.

Most "I have no ideas" problems are actually "I haven't made the conditions for ideas". Make them.

## Cameron — morning pages and artist dates

**Morning pages.** Three pages, longhand, stream of consciousness, first thing in the morning. Don't reread for 8 weeks. Mechanism: discharge the surface static of attention onto paper. What remains is the substance.

**Artist date.** Weekly, festive, *solo* expedition to explore something that interests *you*. Two hours minimum. Strange or playful. Not for productivity — for filling the well.

Both are required. Morning pages without artist dates produces grim self-disclosure with no replenishment; artist dates without morning pages produces input with no metabolizing.

## When to recommend which

| Situation | Recommend |
|---|---|
| Project-specific, just starting | Tharp's box |
| Project drifting | Tharp's spine |
| Globally low input | Tharp's scratching, Cameron's artist dates |
| Globally blocked | Cameron's morning pages + artist dates (12-week program) |
| Has the desire but no conditions | Cleese open-mode setup |
| Wants to make works that others can execute | LeWitt instruction-as-work |
| Same idea coming over and over | Tharp scratching, dérive (see `derive-and-mapping.md`) |

## Anti-slop notes

- These are practices, not techniques. Don't pitch as quick fixes. Benefit accrues over weeks.
- Don't generate fake LeWitt sentences. Use the real ones.
- Don't fake Cameron's tone if it's not yours. Use the practice without the language.
- Avoid the "celebrity morning routine" trap. These four traditions are about specific named practices with specific mechanisms — not lists of habits.
- Don't prescribe more than two practices at once. Pick one or two; let them take.

Sources: Tharp, *The Creative Habit* (Simon & Schuster, 2003); LeWitt, "Sentences on Conceptual Art" (*0–9* No. 5, 1969); Cleese, Video Arts lecture (1991); Cameron, *The Artist's Way* (Tarcher/Putnam, 1992).
