To create, we need both technique and freedom of technique

Technique itself springs from play, because we can acquire technique only by the practice of practice, by persistently experimenting and playing with our tools and testing their limits and resistances.

Artwork is not thought up in consciousness and then, as a separate phase, executed by the hand. The hand surprises us creates and solves problems on its own. Often, enigmas that baffle our brains are dealt with easily, unconsciously, by the hand.

To create, we need both technique and freedom of technique

Creativity can replace conformity as the primary mode of social being. . . . We can cling to that which is passing, or has already passed, or we can remain accessible to-even surrender to-the creative process, without insisting that we know in advance the ultimate outcome for us, our institutions, or our planet. To accept this challenge is to cherish freedom, to embrace life, and to find meaning.

Play, intrinsically rewarding, doesn't cost anything; as soon as you put a price on it, it becomes, to some extent, not play.

An improviser does not operate from a formless vacuum, but from three billion years of organic evolution