I've been reading and studying David Bohm's work since a friend of mine introduced me to On Dialogue a few months ago. One idea that has particular resonance with me is Bohm's definition of necessity, in particular what he calls "the artist's necessity," which he describes like so:
"If an artist just puts on his paint in arbitrary places, you would say there wasn't anything to it; if he just follows someone else's order of necessity, he's mediocre. He's got to create his own order of necessity. Different parts of the form he is making must have an inner necessity or else the thing has not really much of a value. The artistic necessity is creative. The artists has his freedom in this creative act. Therefore, freedom makes possible a creative perception of new orders of necessity. If you can't do that, you're not really free."
A quick aside about the larger context of this remark: In On Dialogue, Bohm explains that all serious arguments are about different views of what is absolutely necessary--different "orders of necessity." Unless it takes that form (necessity), then you can always negotiate it, but as soon as something becomes necessary, it becomes a sort of non-negotiable in any sort of disagreement. Further, he claims that "doing what you like" is seldom freedom, because what you like is determined by what you think and that is often a pattern that is fixed by certain orders of necessity--unexamined orders of necessity.
This is important to Bohm's ideas about dialogue, because he considers dialogue between two people to be an essentially creative act--that the goal is not to convince or win or defend, but to create new meaning in the space between the perspectives represented by the dialogue participants. To accomplish this, you've got to get over the idea that a dialogue has a goal aside from creating understanding and meaning, which requires that we cultivate the ability to "suspend" some of our thoughts and recognize them as just that: thoughts, ideas about necessity that we haven't fully examined. We haven't really asked, "Is it really necessary?"
What I've found most rewarding about making these isn't only what I've learned about necessity but also what I've learned about Instagram. Part of the process of each experiment was cultivating an awareness of the particular order of necessity of each video as it emerged, if that makes sense. But secondarily, I've learned a little about Instagram video, and the particular "necessities" of that venue, by which I mean the expectations that the world has for Instagram video. It's a pretty open platform for video. There's not a lot going on that isn't Vine-y. And working short has a lot of benefits that working long don't really have--mainly the way to browse. A 15 second video on Vimeo or YouTube could get lost (and on YouTube, it could be shorter than the pre-roll ads).
Charlie Huette is a public school teacher who also keeps a notebook. He dreams about making school just a little less terrible. Many of the posts you find here are based on notebook entries. You can learn more about Charlie by visiting the about page.