интересная статья о late bloomers - так называет
Малкольм Гладвелл людей, долго идущих к своему успеху и признанию. У late bloomers другой, нежели у "обычных" (ранних) гениев подход к творческому процессу (и, на мой взгляд - к жизни вообще). Если последние - просто берут и делают (и они фиксированы на конечном результате - их цель
найти), то для первых суть творческого процесса - в
поиске, в исследовании, их путь методом проб и ошибок, а потому он более долог. Late bloomers могут потратить годы на написание романа или картины и решить, что все-таки он неудачен. У них может не быть четкого видения результата - в отличие от "прирожденных гениев", видение приходит к ним
в процессе творения. Практические свои навыки, в начале несовершенные, они могут оттачивать всю жизнь. Их успех во многом зависит от терпения и... слепой веры.
some qoutes:
Prodigies are easy. They advertise their genius from the get-go. Late bloomers are hard. They require forbearance and blind faith. Whenever we find a late bloomer, we can’t but wonder how many others like him or her we have thwarted because we prematurely judged their talents.
...
If you are the type of creative mind that starts without a plan, and has to experiment and learn by doing, you need someone to see you through the long and difficult time it takes for your art to reach its true level.
так же в этой статье краткая и впечатляющая история Джонатана Фоэра - автора романа "И все освещено", по коротой был снят фильм
Everything is Illuminated:
“I came to writing really by the back door,” Foer said. “My wife is a writer, and she grew up keeping journals—you know, parents said, ‘Lights out, time for bed,’ and she had a little flashlight under the covers, reading books. I don’t think I read a book until much later than other people. I just wasn’t interested in it.”
Foer went to Princeton and took a creative-writing class in his freshman year with Joyce Carol Oates. It was, he explains, “sort of on a whim, maybe out of a sense that I should have a diverse course load.” He’d never written a story before. “I didn’t really think anything of it, to be honest, but halfway through the semester I arrived to class early one day, and she said, ‘Oh, I’m glad I have this chance to talk to you. I’m a fan of your writing.’ And it was a real revelation for me.”
Oates told him that he had the most important of writerly qualities, which was energy. He had been writing fifteen pages a week for that class, an entire story for each seminar. “Why does a dam with a crack in it leak so much?” he said, with a laugh. “There was just something in me, there was like a pressure.”
As a sophomore, he took another creative-writing class. During the following summer, he went to Europe. He wanted to find the village in Ukraine where his grandfather had come from. After the trip, he went to Prague. There he read Kafka, as any literary undergraduate would, and sat down at his computer.
“I was just writing,” he said. “I didn’t know that I was writing until it was happening. I didn’t go with the intention of writing a book. I wrote three hundred pages in ten weeks. I really wrote. I’d never done it like that.”
It was a novel about a boy named Jonathan Safran Foer who visits the village in Ukraine where his grandfather had come from. Those three hundred pages were the first draft of “Everything Is Illuminated”—the exquisite and extraordinary novel that established Foer as one of the most distinctive literary voices of his generation. He was nineteen years old.
and the final qoute...
the final lesson of the late bloomer: his or her success is highly contingent on the efforts of others. [...] Late bloomers’ stories are invariably love stories, and this may be why we have such difficulty with them. We’d like to think that mundane matters like loyalty, steadfastness, and the willingness to keep writing checks to support what looks like failure have nothing to do with something as rarefied as genius. But sometimes genius is anything but rarefied; sometimes it’s just the thing that emerges after twenty years of working at your kitchen table. [...]
“Sharie never once brought up money, not once—never,” Fountain said. She was sitting next to him, and he looked at her in a way that made it plain that he understood how much of the credit for “Brief Encounters” belonged to his wife. His eyes welled up with tears. “I never felt any pressure from her,” he said. “Not even covert, not even implied.”
***
кстати, ещё я хотел бы упомянуть об одной статье, которая меня вдохновила на повторение психоделического опыта, которого у меня уже давно не было и интерес к которому у меня поостыл благодаря регулярной практике аутентичного движения (я довольно быстро обнаружил, что могу исследовать себя без помощи каких-либо веществ). правда, сейчас хочется такого опыта, в более серьезной обстановке, чем когла-либо ранее - а именно, хотелось бы это сделать с повязкой на глазах и с толковым ситтером-
наблюдателем, который бы фиксировал мое поведение на бумаге, разговаривал по мере необходимости, помогая погружаться в опыт глубже и потом помог бы мне вспомнить и осознать максимум полученного опыта.
статья, опубликованная в Baltimore City Paper называется
Sacred Intentions - Inside The Johns Hopkins Psilocybin Studies. в ней рассказывается о недавнем (2001-2005 годы) исследовании, результаты которого были в 2006 году опубликованы в журнале Psychopharmacology, а окончательные результаты исследования (follow-up) - в этом году в журнале Journal of Psychopharmacology. Это исследование - a rigorous, scientific attempt to determine if drugs like psilocybin and LSD, demonized and driven underground for more than three decades, can facilitate life-changing, transformative mystical experiences.
по результатам исследования, psychedelic drugs offer the potential for profound, transformative, and long-lasting positive changes
in properly prepared individuals.
судя по статье - большинство объектов исследования люди от 50 лет. проводили исследование 70-летние "старцы", опыт работы с психоделиками у которых начался в далекие 60-е.
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