creative minding

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Creative minds often change media. In early formation, going, say, from cinema to Literature to sartorial assemblage to other kinds of assemblage shows a diversity of appeals that is a hallmark of high creativity (thinking here of you,
not myself).

A visual talent is especially salient here. From a Literary perspective, Imagism might be especially appealing. A very generational sense of that would make the tropicality of earlier eras unsatisfying.

A search to find one’s ownmost mode of expression can be maddening, including an eventual desire to retreat into believing that the search was mistaken, because the talent was too presumptuous about itself, relative to the awesome accomplish-ments of the work that one most admires, which calls for a scholarship that one doesn’t want to commit to. So, an existential ethos of meaninglessness makes a retreat easier. A strident affirmation of available life can become a Stand against nihilism. But such a Nietzschean Will to Power becomes boring to itself, because one’s heart knows that the search never stopped.

Wonderful things are learned by every Stand, but a desire to move on is intrinsic to creative minding—finding the Meaning of life in actualizing one’s developing capability for, say, novel assemblage, experiment, or excursion.

The difficult scariness of a safari is dissolved in the promise of elational discovery, exuberance, fulfillment—and serenity of fidelity to one’s ownmost nature.

Living in material poverty for years becomes quite acceptable, because an inner wealth that free time affords becomes so lovely.

“Seeing” myself in you, seeing you in myself—a beautiful ambiguity—is so fun.