What Is Happening To My Creativity?

When I was younger, art skills were meaningful and important.  Filmmaking was too expensive for any but the elite; there was more demand than supply of “media.” Animation was drawn by hand, every frame. Even a short animated film required money in digits that blew my mind, and whole teams of “talent” and managers.

So when I figured out how to make animated movies on my own, I suddenly advanced to elite status. I could do for little money, by myself, what many huge overfunded studios couldn’t achieve. And before that, I drew. When my work made it to print, I got thrills such as I never experience today. When my first T-shirt design, “Leal School is high class,” was chosen for silkscreening, I nearly peed my pants. When my first comic strip was printed in the Daily Illini newspaper, I secreted more adrenaline than I could handle.

Less creative excitement comes to me these days. I did make my first round of “Recovery Gloves” this summer, and I was extremely excited to put the first ones on my hands and photograph them. I guess I still care, a bit.

“Recovery Gloves”

The big change since my youth is that supply of “content” vastly exceeds demand. More writing, more art, more videos and music are made than anyone can consume. This has been enabled by tech, from “desktop publishing” (remember when it was unimaginably revolutionary?), to digital video editing, to phones — phones! — able to capture high-res everything, to AI.

The Attention Economy was coined a while ago and continues to be useful. Is my attention now a more valuable asset than my ability to create? Is that why I feel like I create so much less now? AI produces higher quality work than most humans. So what are we even for? Do robots even need human attention, or can they attend to themselves?

I am still a human being with a voice. I make art when I think something needs to exist in this world, and the only person who can make it so is me. Hence the gloves. Hence Sita Sings the Blues.

But plenty of other stuff can and does come into being without me. Pretty pictures don’t need me to exist. Articles don’t need me. Well, this one does, but it’s not that great. I’m not writing this to meet any demand, I’m writing it because my thoughts are bothering me and I’m trying to sort them out. That’s about the only thing that differentiates humans from AI right now, and maybe even that distinction will vanish.

Ah heck, let’s ask ChatGPT:

Me: You are an artist experiencing a creative block. You feel you were more creative 20 years ago, before the Internet and AI. Write an article exploring why recent advances in technology may have suppressed your creative drive.

ChatGPT:

The Tech Trap: How Internet and AI Innovations Have Stifled My Creative Spirit

As an artist, creativity is both my passion and my lifeblood. Yet, recently, I have found myself grappling with a persistent creative block. Reflecting on my artistic journey, I realize that I felt more creatively fulfilled 20 years ago, before the pervasive rise of the internet and artificial intelligence (AI). While these technological advancements have brought about tremendous benefits, they have also introduced challenges that can stifle the creative spirit.

The Overload of Information

One of the most profound changes brought about by the internet is the sheer volume of information available at our fingertips. Twenty years ago, inspiration was drawn from tangible experiences—visiting art galleries, reading books, and engaging in deep conversations. Today, the endless stream of online content can be overwhelming. The constant barrage of images, videos, and articles can dilute one’s unique artistic voice, leading to a sense of creative paralysis rather than inspiration.

The Pressure of Digital Perfection

The internet, coupled with AI, has created a culture of digital perfection. Social media platforms showcase polished, picture-perfect versions of art, often enhanced by AI tools. This can create unrealistic standards for artists, leading to self-doubt and a fear of not measuring up. Twenty years ago, the artistic process was more forgiving, allowing for mistakes and imperfections that were integral to growth and creativity. Now, the pressure to produce flawless work can inhibit the experimental and exploratory nature of art.

The Erosion of Deep Work

In the pre-internet and pre-AI era, creative work was often a solitary and deeply immersive process. Artists could lose themselves in their work without the distractions of notifications, emails, and social media. Today, the digital age has fragmented our attention spans, making it difficult to achieve the deep focus necessary for true creativity. The constant interruptions and the temptation to check our devices can prevent us from entering the state of flow where the most profound creative insights occur.

The Homogenization of Art

AI, with its reliance on vast datasets, tends to produce content that mirrors existing trends and styles. While this can lead to interesting combinations, it can also result in a homogenization of artistic expression. Twenty years ago, artists drew inspiration from a wide range of sources, leading to a diverse array of styles and perspectives. Now, the risk is that AI-generated art, based on similar datasets, may lack the originality and diversity that come from human experience and intuition.

The Shift from Creation to Curation

The digital age has shifted the focus from creation to curation. Artists now spend a significant amount of time curating their online presence, managing social media profiles, and engaging with their audience. While this has its benefits, it can detract from the actual process of creating art. Twenty years ago, artists could dedicate their time and energy solely to their craft without the distraction of maintaining an online persona.

The Devaluation of Effort and Skill

With AI’s ability to produce art quickly and effortlessly, there is a growing perception that artistic creation is less valuable if it can be replicated by a machine. This shift can be demoralizing for artists who invest considerable effort and skill into their work. Twenty years ago, the value of art was closely tied to the artist’s dedication and the unique human touch that went into each piece. Today, the line between human and machine-made art is increasingly blurred, leading to questions about the true value of artistic effort.

Finding a Balance in the Digital Age

Despite these challenges, it is possible to find a balance that allows for the preservation of deep, meaningful creativity. Here are some strategies for navigating the modern artistic landscape:

  1. Digital Detox: Regularly disconnecting from the internet can help reclaim uninterrupted time for creativity. This can involve setting aside specific hours or days where digital devices are put aside to focus solely on artistic work.
  2. Mindful Consumption: Being selective about the content consumed online can reduce overwhelm and allow for more profound inspiration. Curating a digital diet that includes high-quality, diverse sources of inspiration can help maintain a unique artistic voice.
  3. Embrace Imperfection: Recognize that mistakes and imperfections are a natural part of the creative process. Allowing for experimentation and accepting that not every piece needs to be perfect can foster a more open and innovative approach to art.
  4. Seek Offline Inspiration: Continue to engage with the physical world—visit galleries, attend workshops, and have face-to-face interactions with other artists. These experiences can provide fresh perspectives and break the cycle of digital dependency.
  5. Integrate Technology Thoughtfully: Use AI and digital tools to augment rather than replace the creative process. Embrace technology as a collaborator that can enhance creativity without overshadowing the human touch.

In conclusion, while the internet and AI have transformed the creative landscape in many ways, it is essential to navigate these changes thoughtfully. By finding a balance and reclaiming some of the practices from the pre-digital era, artists can overcome creative blocks and reignite the artistic spark that once burned so brightly.

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DCPs

10+ years ago, when I was preparing Sita Sings the Blues for film festivals, I had to make heavy, unwieldy, and expensive 35mm film prints. Thankfully I don’t have to do that any more. Instead, today’s cinemas use DCP (for Digital Cinema Package) hard drives. These take advantage of advances in digital technology, as fucked up by a film industry that can’t cope with advances in digital technology. Thanks to the insane and byzantine encoding protocols designed by Hollywood to thwart what computers are inherently best at – copying – making DCPs has long been shrouded in mystery and prohibitive costs.

Since I’m cheap and have practically no income these days, I didn’t want to use a DCP-making service (called a “lab,” as if). Instead, after begging around for favors, and doing much research online, I made them myself.
logo

I used DCP-o-matic. It’s Free Software, created and maintained by Carl Hetherington, to whom I and many other small filmmakers owe a debt of gratitude. I can’t recommend it enough. Apparently many screening venues now use it themselves. I used it to make 2K and 4K DCP files, and English and French “version files” for subtitles. I also burned in English subtitles over “Paroles, Paroles.”

New-DCP-Verify-05

Once I made the DCPs, I had to get them onto portable hard drives, which is no small task. You can’t just drag-and-drop copy them like normal files. Fortunately I found DCP Transfer. It’s not Free, but it is affordable – $25 a month (ugh, subscriptions) plus a $25 initial charge. Today my subscription auto-renewed, just in time for me to be gone for a month, so I contacted the company to cancel and they refunded it. That’s good service! The software works great, too. I had no problem formatting and copying DCPs onto most external hard drives. The exception was flash drives, aka thumb drives; these overheated and usually failed. It’s a pity, since flash drives are so small and convenient. But I found some relatively inexpensive 320GB USB3 portable hard drives, and made enough DCPs to satisfy film festivals.

Whatever my complaints about DCP, it sure beats making (and distributing!) film.

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October 14 event with Zsuzsanna Budapest

I’ll be returning to my old stomping grounds of Santa Cruz, CA in October (actually part of a longer North American film festival tour with Seder-Masochism, which I’ll announce soon).

Animated poster! Please share.
Animated poster! Please share.

The Goddess Animated: Nina Paley and Zsuzsanna Budapest

Double feature of Nina Paley animation! Each screening followed by dialog with Zsuzsanna Budapest and question-and-answer with audience.

1pm: Sita Sings the Blues
2009 Dir. Nina Paley
Paley’s award-winning 2009 animated musical interpretation of the Hindu epic Ramayana has earned widespread critical praise, a 100% rating on RottenTomatoes, and continued places on best-of lists. Roger Ebert wrote of it, “I am enchanted. I am swept away. I am smiling from one end of the film to the other.”

4pm: Seder-Masochism
2018 Dir. Nina Paley
Loosely following a traditional Passover Seder, events from the Book of Exodus are retold by Moses, Aharon, the Angel of Death, Jesus, and the director’s own father. But there’s another side to this story: that of the Goddess, humankind’s original deity. Seder-Masochism resurrects the Great Mother in a tragic struggle against the forces of Patriarchy.

Suggested donation: $20 to support the Women’s Spirituality Forum.
Tickets at the door.

AMAZONS ENCOURAGED TO ATTEND!

Sunday October 14, 2018

Click image for high resolution poster to print out
Click image for high resolution poster to print out

Brookdale Terrace Club House
300 Plum St., Capitola, CA
Please carpool; parking is limited.

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Where is Seder-Masochism?

Seder-Masochism is currently doing its film festival rounds. There are a number of festivals lined up this Fall and Winter, most of which I can’t name until they make their official announcements. I really, REALLY want to free the thing online, like, yesterday, but many festivals will disqualify any film that has an “online platform.” Film festivals are the only theatrical screenings it’s ever likely to have, so I’m not going to publicize an online release – even a Free, peer-to-peer one – until its “regional premieres” (which some festivals insist on) are done. If it’s any consolation, this waiting drives me crazy. But I’m going to wait, so that it may see the light of theater screens.

Love,

–Nina

P.S. If you haven’t seen my first feature, Sita Sings the Blues, now would be a good time to watch it! It’s Free all over the place.

 

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