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Brain-Based Transformational Solutions

Creative Destruction:
Painting Over the Underpainting

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This is a guest post from my friend and client Cathy Ann Connelly, who recently completed the “Trickster Makes the World” module of the Create Your Own Story course.

Definition: In painting, an underpainting is a first layer of paint applied to a canvas or board and it functions as a base for other layers of paint. It acts as a foundation for your painting and is a great way to start your painting off with some built in contrast and tonal values.

The attributes of Trickster in any culture, era, or life all add up to being one thing—a change agent.

To embody the Trickster attributes in our lives can be intense as we refine how to make change a friend rather than an anxiety-producing enemy.

And yet, isn’t that what we want? To be able to enact change? To develop more intensity—more juiciness—in our daily lives? And believe me, you don’t get that unless you make friends with your inner Trickster and Trickster’s sometimes more challenging attributes.

So, it occurred to me that overcoming some of the resistance to the Trickster package might be eased if we examine one of Trickster’s less alluring attributes through a different lens. The attribute I’ve chosen to look at in a different way is that of destruction—an essential element for change, but one we often shy away from.

Destruction or Under- and Over-painting?

I’m in no way a professional artist, but I do like creating visual art—taking painting classes and learning new techniques.

Along my art journey there have been two thoughts that totally match the concept of destruction as integral to creating something wonderful:

  1. Nothing is so precious that you shouldn’t be willing to paint over it—because anything can be recreated or improved upon, and
    .
  2. Underpainting is critical to producing a great work of art—and anything you create and don’t like can simply be called underpainting (the constructive act of destruction)!

Both these concepts tell me that in my entire life, nothing is useless, wasted, broken, or ruined, and that everything “destroyed” contributes to something better—even if the little parts I once thought were “perfect” have disappeared from view. In essence, everything can be seen as a jumping off point to be improved upon, full of surprises, and all of it can be viewed as valuable under- or over-painting for the next round of creativity in life.

Often, I find that simply playing with marks, colors, and images on a canvas—and then painting over them again and again—results in “changed art” that I could never have created through a controlled, single layer of predetermined brushstrokes. It is often the things that show through—the uncontrolled, playful surprises—that I take advantage of and embrace to make a painting far better than its original, solo layer.

Even if a specific corner of a painting starts to seem special and precious to me, and somehow I linger over the concept of preserving it, I force myself to paint over it if the entire canvas needs another rework.

It is the willingness to do this—to embody destructive change—that for me is juicy and that I ultimately know will produce even better results.

It is the very act of embracing the under- and over-painting that in and of itself can bring change that is wonderful, renewing, and liberating. It is the act that brings the juice of Trickster-change to my world.

Creative Destruction in Life

Outside my art, I believe I try to embody the Trickster attribute of creative destruction when traveling through liminal space—the threshold space of change. When my narrator tells me, “I know what’s going on and I can out think the things trying to run you off the path we’ve charted,” often that proves just downright silly. Liminal space is all about exploring alternate paths, often “destroying” the one you’ve started down. Who knows, just because you’ve started off one way doesn’t mean going a different way isn’t juicier, and might not be a better over- painting route to your desired destination. How can you know? After all, that first path might just be under-painting for the greater work emerging.

“Paint” with your personal agency and try out another path that could have fewer obstacles and might be a hundred times juicier. It’s uncomfortable, but “destroying” our “I know best” attitude with Trickster’s influence is exactly what gets us the change we want.

Cathy Ann Connelly lives in New Mexico and takes Farther To Go! classes because they’re juicy for exploring how to better use her brain for what she wants it to do, rather than her brain using her. Currently, her focus is on reawakening her own Trickster while encouraging new, longer-term intentions. This blog post sprung from that focus.

Building Blocks of Creativity: Curiosity

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If we really want to understand and shape behavior, maybe we should look less at decision-making and more at curiosity. —David Brooks

Having an open mind and being open to experience go hand-in-hand. And if you’re open-minded, you’re curious. You don’t believe that what you know about something—anything—is all there is to know. You want to explore and you want to learn more. You’re not afraid to put yourself in unfamiliar situations or to expose yourself to people and ideas that challenge you or your beliefs.

Curiosity, by its nature, implies uncertainty and ambiguity. Your brain doesn’t like uncertainty, which is why the experience can be uncomfortable. But if you choose comfort and the illusion of certainty (because certainty is an illusion) over curiosity, you’re turning your back on the very characteristics that make humans human.

Besides, curiosity can also be rewarding. Mario Livio, astrophysicist and author of Why? What Makes Us Curious? says:

[The] lust for knowledge is associated with a pleasurable state, and in our brain activates regions that anticipate rewards.

It makes sense that curiosity activates reward pathways in our brain. Curiosity and openness to experience give us the ability to be inventive and creative, to solve complex (sometimes life-or-death) problems, to imagine things that don’t yet exist, and to accomplish great undertakings in the face of enormous odds.

Curiosity is the essence of human existence. ‘Who are we? Where are we? Where do we come from? Where are we going?’… I don’t know. I don’t have any answers to those questions. I don’t know what’s over there around the corner. But I want to find out. —Eugene Cernan

Curious, open-minded people see the world differently from other people, both literally—in terms of basic visual perception—and figuratively. They tend to screen out less visual information, so they sometimes see things others block out. And they “see” more possibilities as a result of being divergent (rather than convergent) thinkers.

Are You Intentional?

In order to be creative, we need to be able to change something in the world. But we also need to be able and willing to be changed by the world.

Of course, to a great extent we do create our own reality, so our interactive relationship with the world could be said to be creative. But the reality that we create for ourselves happens outside our awareness and outside our control. It’s pretty amazing, but we can’t take credit for it. It doesn’t require anything from us, and we can live our entire lives taking it for granted, having no curiosity about it and paying no attention to it whatsoever.

If you have no curiosity about yourself and your relationship with the world, you may want things to be different, but you’re unlikely to engage in the cognitive investigation and exploration that can lead to creativity and change. So you’re unlikely to do anything to change the status quo.

If you’re curious, however, the questions are more interesting—and more alive—than the answers. As a result, you never stop exploring. You take very little for granted. And you’re intentional about changing your brain, yourself, and your world.

YOU: A Work of Art in Progress

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As long as you’re alive, your life is a work in progress (unfinished). But is it just work or is it a work of art? And what difference does it make?

The idea of living one’s life as a work in progress is not original. But several decades ago, when I was struck afresh by the rich possibilities of artistic metaphor, I not only looked at my own life in this context, I also queried some friends.

No one had trouble responding, and I was surprised by every one of their answers. A former insurance industry executive said his life would be a multi-media performance piece. A writer described her life as a sculpture, while a musician referred to his as a “junk” sculpture. A computer programmer declared his life was a symphony. Here are a handful of detailed descriptions:

Kathy:

I see myself as a mobile spinning out of control.
I’m not quite put together in a way that moves with the ebb and flow of gentle breezes yet.
I’m unbalanced and jerked around right now.
One or two pieces of something substantial need to be added so I can untangle myself when the forces of nature, or human hand, cause me to spin temporarily out of control.
(This temporary spinning does not inflict permanent damage. It just causes me not to be my usual self.)

Kelly:

The work of art in progress: me covered in layer upon layer of steel, concrete, wood, glass, gunpowder, feathers, year after year and lots of work…maybe some layers come off to expose this work of art…me.
Kinda like a big clump of marble, taking off what is not me and getting to the real David…um, no…Kelly.
Warning: completed works of art are not on our plane anymore.

Lee:

A sand castle, co-structured by a small child.
We came from the sea, I will go back to the sea…
Imperfect, made from tiny pieces and subject to the whims of nature…
Able to be tall and strong, ridged yet soft…
Able to be shaped by the people and the world around me…
Formed by wet sand dripping from a child’s hand or sculptured by forms and expert hands.

Linda:

I think of MY LIFE as an oil painting. Starting with a clean canvas I splash some paint on, just to see what it will look like.
After experimenting, I decide that it would be better to Have a Plan.
I draw out in pen what I want to paint. I add some color.
If I catch the paint before it dries I can change it or scrape it off entirely.
The memory of what has gone before is still there, but it is not entrenched in who I am.
When I wait too long and the paint dries, it becomes a part of the canvas.
I draw a new plan.
As I build up the layers of paint, adding depth, my canvas thickens with layers of paint.
I realize that I do not have to have a plan for everything.
I realize that my painting looks better when I have gone outside the lines of the plan.
My canvas now has years and years of paint added, paint that has dried, colors that have changed or been scraped off.
I’m really starting to like what I have painted.

Nicole:

Well, it would be a whirlwind in places spinning lots of reds, fiery and out of control, deep yellows, oranges, spinning AUTUMN colors. And then over where the BLUE starts to outnumber the red you will find other places: neatly categorized and presumably alphabetical little BLACK stacks. Each one placed with precision, stacked up to the ceilings in wavering stature, suggesting that they might fall at any moment in time.

Steve:

My life has always been a film, with music rambling in my head, the stimuli being “things passing by/me going forward”—motionless.

The Play’s the Thing…

Once upon a time, I saw my life as a play. There’s an inherent discipline in living life as a play in progress that’s different from the discipline involved in living life as a sculpture or a symphony or a painting. Staging, timing, and pacing are crucial. Significantly, in a play the props and scenery are vital—but only to the scenes they belong in. It makes no sense for an actor to become attached to any particular props.

I was aware of things as background props and of people, including myself, as characters from an early age. I wrote plays, read plays, hung out with the local drama group, and thought up names and descriptions of characters, as well as elaborate decorating schemes, to entertain myself.

At some point I noticed what I was doing and decided it was an odd way to think about myself and the world. Whereas other people seemed to make choices almost instinctively, I could consider a range of alternatives: a final choice would depend on the requirements of the scene or the plot line. Choosing otherwise seemed arbitrary. In spite of considering my view of life somewhat idiosyncratic, I continued to operate within that framework. When a major plot twist offered the opportunity for me to reinvent myself, I had no difficulty doing so. It was just a play, after all.

Although I probably appreciate the value in that point of view now more than I did then, I wouldn’t use the same metaphor to describe my current life. It often feels more like a surrealistic jigsaw puzzle: challenging, colorful, so much to look at, still not put together (still creating), and not at all what you’d expect.

There’s value in experimenting with styles and forms, imagining and reimagining our lives through different lenses and perspectives.

So, if your life were a work of art in progress, what metaphor would you choose to describe it? What shape would it take? What colors and/or sounds would it have? What process or media would be involved in its creation? What emotions would it evoke?

Would it be a painting, a sculpture, a black and white photo montage? A novel, a short story, a play, a poem, an essay? Would it be a song-cycle, a symphony, an opera, a collage, a Rodgers and Hart musical, a movie? Or…something else altogether.

A metaphor is always a framework for thinking, using knowledge of this to think about that. —Mary Catherine Bateson, author of Composing a Life

A focus on creating yourself is the opposite of a focus on fixing yourself: the motion and the action are forward rather than backward. Thinking about your life as a work of art in progress can shift your view of what you’re doing in life—and of what you’re capable of doing. Creating art is compelling and juicy and expansive. It is an ongoing process of bringing something—in this case you—into being.

It is that dimension [our imagination of ourselves] whereby we are not merely living our lives—passively, as it were—but are actively giving them shape: ceaselessly interpreting and inventing ourselves afresh. It is that dimension whereby we do not receive a life as much as compose a life—as we might compose a story. As we appreciate the extent of this dimension, it becomes impossible to see how any aspect of our lives can escape our self-creative touch. —William Lowell Randall, The Stories We Are

Do You Want a Resilient Brain?

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The greater your cognitive reserve, the more resilient your brain will be. Brain reserve—or cognitive reserve*—helps your brain adapt and respond to changes and resist damage. It gives it the ability to improvise and find alternate ways of doing a job or performing a task.

Your cognitive reserve begins to develop in childhood and gets stronger as you move through adulthood. If you continue to learn, embrace new activities, and develop new skills and interests, you will continually build and maintain your cognitive reserve.

This is another reason to aim for challenging yourself rather than taking it easy and following the path of least resistance. You don’t know when you’re going to need your cognitive reserve, so it’s good to have as much of it as possible “in the tank.”

Protection from Damage

The concept originated in the 1980s. Researchers discovered that some people who were found at autopsy to have brain changes consistent with advanced Alzheimer’s disease had displayed no apparent symptoms of dementia before they died. These individuals had enough cognitive reserve to offset the damage to their brains to allow them to continue functioning as they always had.

Cognitive reserve can also help stave off degenerative changes associated with other brain diseases, such as Parkinson’s disease, multiple sclerosis, or a stroke.

Even if you’re fortunate enough to never experience any of these diseases, you can still benefit from developing cognitive reserve. It can help you function better—and for longer—when you experience unexpected and stressful life events, which tend to require more effort from your brain.

You can’t prevent yourself from aging or insulate yourself from all stressful, unexpected, or life-altering events. You don’t have total control over what kinds of diseases or deficits your genes might predispose you to develop. But you can do something to moderate how much these challenges affect you, your well being, and your ability to function.

Learning, Curiosity, and Dopamine

Even if you don’t develop neurological or psychological disorders, brain circuits that rely on dopamine tend to decline in function with aging. But curiosity prepares your brain for learning by activating the reward system, enhancing memory and motivation in the process. When you’re learning something you’re deeply—as opposed to idly—curious about, you’re more likely to recall and retain what you learn about that topic. You’re also more likely to retain unrelated information you encounter at the same time.

Curiosity may put the brain in a state that allows it to learn and retain any kind of information, like a vortex that sucks in what you are motivated to learn, and also everything around it. —Matthias Gruber, UC Davis Center for Neuroscience

Curiosity, challenge, and complexity seem to define the path that leads to strong cognitive functioning and a more active and enjoyable life now—and to greater cognitive reserve whenever you may need it.

Have your education, work, and leisure activities challenged you over the years? If so, they have contributed to your cognitive reserve. If not, there’s no time like now to reverse course if you want to do as much as you can to maintain your memory and your cognitive skills for as long as you can. Engaging in a variety of activities—physical, mental, and social—with differing levels of complexity have a synergistic effect. So the more things you do in these areas, the better—for both you and your brain.

*“Brain reserve” is sometimes used to refer to physical changes in the brain such as an increase in neurons and synapses (aka the “hardware”). “Cognitive reserve” is sometimes used to refer to the brain’s capabilities and skills in regard to completing tasks, learning new things, or recall (aka the “software”). These distinctions are really two sides of the same coin, and research is currently being conducted on the relationship between them.

Stressed? Try to Avoid Future Life Crises*

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Stress is not a useful term for scientists because it is such a highly subjective phenomenon that it defies definition.  —American Institute of Stress

In 1936, Hans Selye, the so-called “father of stress,” defined it as the non-specific response of the body to any demand for change.

It didn’t take long before Selye’s definition expanded to include any unpleasant situation a person was exposed to, their physiological reaction to the unpleasant situation, and the long-term consequences of these reactions (such as an ulcer or a heart attack).

In a 1951 issue of the British Medical Journal, one physician commented that “stress in addition to being itself was also the cause of itself and the result of itself.” Selye himself said that “everyone knows what stress is, but nobody really knows.” And that is pretty much where things are at today.

What Is Stress?

The Global Organization for Stress provides six different definitions of it:

Worry and Anxiety: the worry experienced by a person in particular circumstances or the state of anxiety caused by this. (the Kernerman English learner’s Dictionary)

Bodily or Mental Tension: a physical, chemical or emotional factor that causes bodily or mental tension and may be a factor in disease causation…and a state resulting from a stress is one of bodily or mental tension resulting from factors that tend to alter an existent equilibrium. (the Merriam-Webster Online Dictionary)

Strain and Overwork: strain felt by somebody: mental, emotional, or physical strain caused, e.g. by anxiety or overwork. It may cause such symptoms as raised blood pressure or depression. (the Encarta World English Dictionary)

Mental or Emotional Disruption: a mentally or emotionally disruptive or upsetting condition occurring in response to adverse external influences and capable of affecting physical health, usually characterized by increased heart rate, a rise in blood pressure, muscular tension, irritability and depression. (the American heritage Dictionary of the English Language)

Threat to Well-Being: stress is a term that refers to the sum of the physical, mental and emotional strains or tensions on a person. Feelings of stress in humans result from interactions between persons and their environment that are perceived as straining or exceeding their adaptive capacities and threatening their well-being. The element of perception indicates that human stress responses reflect differences in personality as well as differences in physical strength or health. (the Gale Encyclopedia of Mental Disorders)

Emotional or Physical Threats: stress is a biological term which refers to the consequences of the failure of a human or animal to respond appropriately to emotional or physical threats to the organism, whether actual or imagined; the autonomic response to environmental stimulus [that] includes a state of alarm and adrenaline production, short-term resistance as a coping mechanism, and exhaustion. (Wikipedia)

Getting Closer…

And a seventh definition from Robert Sapolsky, Professor of Biological Sciences and Neurology at Stanford University and author of Why Zebras Don’t Get Ulcers:

If you are a normal mammal, a stressor is a challenge to homeostatic balance—a real physical challenge in the world—and the stress-response is the adaptation your body mobilizes to reestablish homeostasis.

Only Sapolsky’s definition of stress connects back to Selye’s: the stress response is your body’s reaction to change and its attempt to return to or preserve homeostasis—the physiological equivalent of the psychological status quo.

Although “everybody knows what stress is, but nobody really knows,” we think we know enough to be able to measure it.

The most commonly used measure of stress (the Holmes and Rahe Stress Scale) doesn’t distinguish between negative stress (distress) or positive stress (eustress). It lumps all stressors together, assigns them a value, and provides you with a numerical score that is supposed to indicate how likely you are to become ill. As I am finding myself saying more and more these days, yikes!

More on stress next time, specifically the difference between negative and positive stress, how we experience stressors, stress and change, and how knowing what you want and developing a reliable sense of personal agency may be your two best defenses against the potential ravages (which are very real) of your body’s stress response.

As you consider all the different definitions of stress, think about how you would define it.

*Non-ironic advice from a stress-reduction website.

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