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13.3 At last a Handle

A. The First Directional satisfies many criteria

The next model we pursued was the First Directional, explored in previous Notebooks. Because it is a vector, it can reflect positive and negative directions. Let us take a look at a picture of it in the circumstances mentioned above, i.e. a 2-hour slot of creativity counted in minutes. Shown below.

Note that the positive side of the First Deviation and First Directional are identical, when there are no interruptions indicated by the steady growth of the Decaying Average. The Difference between the two arises only when the changes are negative. While the Deviation is only interested in the magnitude of change, the Directional is based upon the direction of change. This manifests in the positive and negative urges shown above.

First Directional with Negative Urge

This model has many of the features we were looking for. A rise to a peak followed by a slow fall until it reaches zero. Further this model also reflects the negative urge. The urge grows, manifests, burns itself out and then becomes negative after the activity has been discontinued. It represents the negative urge of just having had enough. Saturated with enough food, one’s brain sends the urge to stop eating.

Interruption in the Directional and Deviation

To illustrate a major difference between the First Directional and First Deviation let us introduce an interruption. The graphic representation is shown below.

Notice that the Deviation, represented by the dark, grows with the interruption, while the Directional represented by the lighter falls with the interruption.

B. Beginning Creative Momentum

Deviation grows with interruption so density falls

Reiterating the line of reasoning that we developed in the Notebook, Data Stream Momentum: Because the Deviation grows with an interruption we say that the Density of the Data Stream falls. Because the Density of the Data Stream falls, the Momentum, which is a product of Density and Velocity, also falls. Therefore the Momentum of the Data Stream is inversely proportional to the size of the Deviation.

Directional falls with interruption, also the density

In a similar fashion because the Directional falls with an interruption we say that the density of the Creativity also falls. Hence the Directional reflects the density of the work time. Density is related to mass. To find the momentum it is necessary to multiply mass times velocity. The Decaying Average reflects the velocity of the Data Stream. When the Density of Creativity falls, the Creative Momentum also falls. Therefore the Momentum of Creativity is directly proportional to the size of the Directional. Reiterating, while the Deviation is inversely proportional to Data Stream Momentum, the Directional is directly proportional to Creative Momentum.

Creative Momentum defined as product of Directional and Decaying Average

Because of the importance of this line of reasoning to all that follows let us repeat our theoretical foundation for Creative Momentum. The Directional falls when there is an interruption; hence the density of the output also falls. Density is related to mass. Momentum is the product of density and velocity. Thus Creative Momentum is defined as the product of the Directional and the Decaying Average, the velocity of the Data Stream. This leads us to our next model. But before heading there, let us look at some objections to the Directional as a model of the Creative Pulse.

Objections to the Directional as a model

The First Directional connected with Creative Density didn’t quite satisfy our criterion for the Creative Pulse. Intuitively it seemed to grow too fast. But more importantly it wasn’t impacted enough by Interruptions.

C. 2 measures of impact

As mentioned in phenomenon #4 above experience shows that the impact of interruption seems to be greater than its size. What measure could be used for impact? We will look at two measures.

Area of Creative Pulse

Certainly one measure of the impact would be the size of the area under the curve. Another would be the amplitude of the pulse. The area under the curve would represent the total time that one’s Person would be assisted by the creative pulse. We would want to maximize this measure for maximum inspiration. Remember that a one-minute interruption only takes away one real minute of productive time but many minutes of creative time. Hence the area under the pulse has nothing to do with productive time but everything to do with Creative momentum.

Amplitude of Creative Pulse

The second measure of impact has to do with the amplitude of the pulse. The amplitude reflects the temperature of the fire. It builds in intensity to a peak and then gradually burns itself out. It is like a roller caster ride. The higher one goes the faster one travels downward, inspired by the downward pull of gravity. Similarly if one can build oneself to a hot enough fire then the fuel will be completely burned, while if the fire is not hot enough then the fuel is burned incompletely. If the Creative Fire is strong enough it burns away Personal Ego, lost in the Void of the Union with the Absolute. If the Fire is interrupted, the energy provided by the booster is insufficient to escape the pull of Personal Gravity. One doesn’t escape the gravity and falls back to Earth - Un-transformed by the Experience. While if the Boost is strong enough, then one kicks free of the misconception of Person, rising above the Earth, dancing with the Gods, spiraling ever upward, and then gradually down. However if the energy is not intense enough, it is only a short up and then down, nothing noteworthy, Same old - same old Person with the same old - same old habits - The Fire didn’t become hot enough to burn away Ego - Instead just strong enough for lukewarm coffee - Not nearly hot enough to cook the soup - Didn’t come close to heating the Cauldron so that the chi could rise and then condense as sweet dew nourishing the Person and the world with the succulent taste of divinely inspired truth.

D. All minutes the same in Mechanical and Decaying Average

Impact of Interruption on: Mechanical Model

What is the impact upon these two measures, area and amplitude, of the models we’ve used to describe the Creative Process, thus far? In the first model based upon the traditional mechanical notion of time, every ‘minute’ interruption subtracts exactly a ‘minute’ from the Area of Impact, while having no impact whatsoever upon the Amplitude of Impact. As mentioned this is totally counter to experience despite what the uninspired think.

Impact on Decaying Average

In the Decaying Average model, an interruption registers a negligible effect upon the Amplitude, i.e. the Max, and a minor impact upon the Area, slightly more than the Mechanical Model. Multiplying the Impact upon the Max and the Area the impact on the Decaying Average is just a little more (162%) than the traditional Mechanical Model of time. Thus the Decaying Average Model is only slightly better than the Mechanical Model in reflecting the impact of Interruption on the Creative Pulse.

Individual ‘minutes’ have no difference on impact

There is another phenomenon that has been experienced, which we have not mentioned. Interruptions in the beginning of the Creative Session have a much greater impact than those at the end of the session. In general each point of the Creative Cycle seems to have a different character. The points of interruption are in no way homogeneous. As an example, an early interruption seems to have a much greater impact on the creative process than a later interruption.

All ‘minutes’ the same in Decaying Average Model

For the Decaying Average cycle while there is a greater impact toward the end than the beginning it is still negligible. The impact changes very little over the 120 ‘minutes’. In other words the minutes chosen for the interruption make virtually no difference on the total impact.

Impact of Interruption on Directional

For the Directional Model, we looked at the Impact of a 1, 2, and 3 ‘minute’ interruptions on the Area and the Max at each point along the 120 ‘minute’ line of productivity. As mentioned there is virtually no difference between points in the Decaying Average Model. As a contrast in the Directional Model, the specific point of interruption makes a huge difference in the Impact upon the Max. Specifically the Impact upon the Max rises to a peak at about 11 ‘minutes’ and then falls to No impact at about 16 minutes. (At the peak a one ‘minute’ interruption has 8 times the impact on the intensity of Directional as it does in the traditional mechanical model of time.)

Impact of Interruptions on Productivity much less for Directional than Mechanical

Surprisingly the Impact of Interruptions upon the Area, i.e. the Productivity, of the Directional is much less than the traditional Mechanical model. (At one of the highest points the impact of the interruption on the Area of the Directional Pulse is only 6% of that of the Mechanical Model.) It is as if the Directional Pulse just absorbs the interruption rather than be affected in any way by it. Thus while the Intensity, the Max, of the Directional Pulse is effected by interruption, the Productivity, the Area, is not.

Not congruent with experience

This is not congruent with experience. One of the phenomena of the Creative Pulse has to do with the negative impact of interruptions upon productivity. While the interruption had an effect upon the Max, reflecting the intensity of the Session, it had no effect upon the Area, which reflects the productivity of the Session. Restating: the intensity of the Density of the Creative Urge reflected in the Directional is affected by Interruption while the Area or the productivity of the Density is unaffected. Because of this objection alone the Directional by itself was rejected as a model of the Creative Pulse.

E. Directional or Creative Momentum

For the theoretical reasons mentioned above we moved on to the Directional Momentum Model as a reflection of the Creative Pulse.

Product of Directional and Decaying Average

The First Directional reflects both the intensity and the productivity of the Creative density of the Data Stream. The product of the density or mass of the Directional and speed or velocity of the Decaying Average yields the Directional Momentum of the Data Stream. We shall see that the Directional Momentum of the Data Stream is to be our main model of the Creative Pulse. For this reason we shall refer to this measure as Creative Momentum. Remember that for the moment these words are still in the realm of metaphor only.

A Picture of the Directional Momentum

Directional or Creative Momentum is the product of the Decaying Average and the First Directional. The Decaying Average has been linked with velocity and Deviations have been linked with mass in the discussions on Data Stream Momentum in the Notebook of the same name. The Directional is just a Deviation with a direction – hence it’s name. The picture of this measure is shown below.

Decaying Average, 1st Directional and Directional Momentum together

While similar to the picture of the First Directional in that it expresses a rise and a fall, reflecting both positive and negative impulses, it rises less quickly and also doesn’t reach as high a peak. This is highlighted in the graph below, which shows all three of the measures together.

Differentiating between Data Stream Momentum and Creative Momentum.

Just so we don’t obscure reality with innuendo, let us differentiate between Data Stream Momentum and Creative Momentum. Both are based upon a product between the Decaying average which represents the velocity, and measures of variation. DSM uses the First Deviation, a scalar, while CM uses the First Directional, a vector. The smaller the Deviation the greater the Data Stream Momentum for the potential for change shrinks. Conversely the larger the Directional the greater the Creative Momentum as the potential for movement in a specific Direction grows.

Directional Momentum satisfies many criterion fro Creative Pulse

Examining the Criterion for the Creative Pulse as applied to the Directional Momentum: First there is a pulse, which was a problem with the Mechanical and Decaying Average models. Second this pulse grows and falls off more slowly than that of the Directional. Third it does reveal negative urges, a problem with Deviations.

Interruptions and Directional Momentum

Now let us look at the impact of Interruptions on Momentum. A single 1 ‘minute’ Interruption has a range of Impacts depending upon when the Interruption hits. This satisfies the criterion that each point in the Creative Cycle is unique. At the peak the Maximum creative intensity is reduced by 9%. Further and more importantly Productivity is reduced 1.5%. Comparing the product of this Impact with the Mechanical Model it turns out that ‘one minute’ interruption at the wrong time can result in a loss of 12 ‘minutes’ in lost intensity and productivity. At the wrong time a ‘two minute’ interruption can result in a 20-minute reduction in lost Momentum. A ‘three minute’ interruption can result in a loss of 24 minutes of Creative Momentum. Directional Momentum certainly satisfies the single Impact criterion.

The damage of Multiple Interruptions

How about the multiple interruptions criteria? 2 ‘one minute’ interruptions at the wrong time can result in a 23-minute loss, which is 10% more than a single ‘two-minute’ interruption. 3 ‘one minute’ interruptions can result in a loss of 30 minutes of Creative Momentum if they occur at the wrong time, which is 25% more than a single ‘three-minute’ interruption. Thus the Directional Momentum model also satisfies the ‘multiple interruption’ criteria for the Creative pulse

Directional Momentum satisfies criteria for Creative Pulse

Thus the Directional Momentum of the Data Stream satisfies the criteria for the Creative Pulse that both Productivity and Intensity are effected negatively by Interruption and that multiple interruptions, under certain circumstances, can be more devastating than a single interruption of the same length. For the reasons listed above it seems that Directional Momentum fits the criterion for the Creative Pulse mentioned above. This is our justification for referring to this measure as Creative Momentum.

Difference in Max and Area, Intensity and Productivity

Before going on to a more in depth exploration of Interruptions, let us talk a little more about the two types of measures of impact and their implications. One type of impact is based around the intensity of the experience. We related this to the Amplitude of the Pulse and called it Max. The other is based around the productive time spent on the experience. We related it to the Area under the Curve and called it Area. These are very different types of impact.

An impact upon the Intensity affects the level of Inspiration. Certain types of work need no inspiration or concentration and so are unaffected by this measure. These would include anything that is a rote task. In my Person’s case bookkeeping, generating records, and brushing teeth, are all somewhat mindless activities that need little inspiration to accomplish them as a task. On the other hand Writing, Science, and Art require a great amount of Inspiration. In the middle land we find that playing Music and practicing Tai Chi require a much lower level of inspiration. While interruptions of record keeping generates barely a flicker of resistance from my Person, Interruptions of Music and Tai Chi is aggravating, while the interruption of Writing triggers an almost violent reaction from my Person. Internally he snarls, while externally he politely smiles wondering when this idiot is going away. The Being associated with my Person has attempted to detach herself from my Person’s games. Indeed this paper itself is an externalization of the inner battle. On the one hand this paper justifies my Person’s fears, validating his almost neurotic fear of Interruption (He won’t even answer the phone for fear of a meaningless break in his precious chain of thought.)

I Being have tried to let him know that the Creative Pulse is not everything. But he clings to it. I am afraid he is almost addicted to the experience. It is not bad to aim for the Experience but it is important not to hold onto it as an essential ingredient to happiness. While it is best to have the best tools, if you don’t have an antique Stradivarius it shouldn’t inhibit one from playing the violin. One makes do with the best that one has. If one’s life is filled with Interruptions then embrace the aggravation as Life manifesting. Find the Emptiness and fill it with Nothing. That is the best one can do. So my Person is attempting to fill his life as best he can. He has sensed and with this paper has now demonstrated the importance of uninterrupted Time for maximizing intensity and productivity. Hence to aim for Peak Manifestation my Person will strive for the Creative Pulse whenever he can find it. I will attempt to help him achieve his goals the best I can, but I will love him just as much no matter what he achieves. If he dies in the gutter or dies acclaimed by the world, he will be dead nevertheless. I hope that he becomes an eternal Immortal, i.e. makes a long lasting contribution, which advances human culture, and relieves suffering, but if he dies Unknown except within his small circle I will love and miss his passing never the less. I have grown accustomed to his worries and goals. I will miss him when he goes. This has been a great time around and I hope to prolong it as long as I can.

My Person: “Let’s get back to the main topic, Mom. I’m studying Interruptions in order to maximize my Production. While you love me no matter what, I still want to have a positive impact upon the world of relations. With this study I have realized that my Life itself is a Creative Pulse with a Duration counted in Years. I want my Life itself to reach the highest possible peak before it falls. I want the intensity of my inspiration to be reflected in the work I leave behind. I am my own worst taskmaster. From this study I realize that an interruption at the wrong time could abort this peak. I believe that the height of the peak is proportional to the long term impact of my contribution.”

Being: “Well I’ll be there for you no matter what, Son.”

Person: “Thanks Mom. I appreciate the support. I really do. Now back to work.”

Being: “I just love to see him so motivated like that. It is like a big erection, projecting outwards into the World, impregnating it with Life.”

Person: “Pregnant with myself. That’s me.”

If you have been able to follow this you’re a better person than me. As we were saying before we were so rudely interrupted: The Impact on Max, which we relate with Intensity, only has an effect upon those activities where Inspiration is involved. The Impact on the Area, which we relate to Productivity, would have to do with the overall enthusiasm available for the work. While someone might spend 8 hours at work, he might not get as much done without the enthusiasm, or might not do it as thoroughly, or might do it as well, but he would still be there physically through out the whole time, physically at least.

Of the two measures, the Max is much more disturbed by Interruption than is the Area. While the impact of Interruption on the Area of the Creative Pulse is about twice as great as the Mechanical model, the impact on the Amplitude of the Creative Pulse can be over 10 times as great as the Mechanical Model. These figures are true mainly at the points of maximum Impact.

Further the Max is much more sensitive than the Area to the exact moment of Impact. Thus while the effect of Interruption on the Max can be up to 8 times greater than the Area, this is only true for certain specific points. For certain later points the Max is unaffected by interruption. We shall explore these topics in more depth in the next section.

The point of this long-winded exposition is that the Creative Intensity of the session can be much more easily destroyed than the Productivity but it has to be at specific times.

On the next level however if the Peak is not high enough one might not pass the Threshold of Generation. On the lowest levels, i.e. greatest impact of Interruption, the project might never reach the level of manifestation. The Child destroys the concentration before the writing can even begin. On the higher levels the project might remain incomplete because the quality is so poor. On higher levels the project might need lots of editing and reworking. If the project is interrupted towards the end, then it might be necessary to do a lot of reworking to reach a sense of closure on the session with a transition to the next. With no interruptions, ideally the Creative Pulse reaches the Threshold of Generation and manifests cleanly at a high level, with the proper closure, with even a hint of what’s to come in the next session.

This is why this study is so important for Creators, which is most everybody. It identifies the problems with Interruption to the quality of the finished product.

F. Parameters of multiple interruptions

Let us look at a few of the parameters of Interruption to see what it is all about.

Because of the extreme variability and sensitivity of the Impact upon the Amplitude, the Max, our exploration is going to mainly focus upon this parameter. Remember that it is related to the Intensity of the involvement.

When there is a single interruption, initially it just pushes the peak further down the line but has virtually no effect upon the Max. Indeed when the interruption is at points 1 and 2 the overall impact is less than the mechanical model. However from point 3 to point 16 the overall impact grows from 131% to 1270% of the impact model, from just a little more to almost 13 times greater impact. From points 17 to point 22, the impact falls from 1250% to 215%. At point 23 the Max is no longer affected by the Interruption. From this point the only impact upon the Pulse comes from the Area, while none comes from the Max. The Impact from Interruption never again reaches the heights it does in the first 22 points. We will deal with this feature of Interruption later.

 

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