Structural Tension: A Prerequisite for Learning
by Robert Fritz
In part I of this post, Robert used the example of a pottery class to make the case that the more you produce, the more mastery you will have in any given realm. Here, he addresses the question, "How does learning take place?"
We begin, as always, with structural tension, a clear vision of an end result and a clear view of the current reality in relationship to that result. This is essential, because without structural tension, you would be limited to a series of spontaneous improvisations.
Quantity without structural tension does not lead to comprehensive learning. Without an end in mind, you are left with a purely statistical approach: make a lot of things, hope that some of them work out. When that is the case, each creative event is random. Each event is an individual episode that does not connect with future creative events. This is like a non-relational database in which the information is isolated and does not connect with other bits of information. Therefore, there is no traction leading to momentum, no sense of development, no foundation upon which to build. No organizing principle that enables learning to lead to mastery.
One thing that the pottery students had was enough of a vision of each piece so that they could establish structural tension. They had their target. The current reality was under their fingers and in their awareness. This was true for both the quality and quantity group. So we can conclude that structural tension is simply a prerequisite. Without it, it would be hard to throw a pot. But if the vision were to produce the highest quality imaginable, the final result would miss the mark. Higher levels of quality come from adequate experience over time.
When I was a high school kid, I studied with the Boston Symphony clarinetist Felix Viscuglia at the New England Conservatory of 
Music. I would bring Phil a coffee (he insisted on everyone calling him Phil) to every weekly lesson, not unlike the proverbial apple to the teacher. He always talked to me as if I were a colleague rather than a student, which was kind of nice for me. He would say of the college students who studied with him, "How can they expect to play like me? I've been playing over 25 years." I would nod as if I knew what he was talking about. But I only realized what he meant after I had been playing for over 25 years.
There is a long-term view of the creative process, which includes experience over expanded periods of time and learning. And there is the short-term view, which tries to rely on inspiration, impulse, and improvisation. And while there is a place for short-term impulsive moments, you can't build and sustain real mastery from that alone.
So, make a lot of creations. Make sure you have structural tension as the framework. Don't get obsessed about how good any creation is, but do make a point of learning from each episode of the creative process. Mastery will come over time, and you will find your ability to create what you want increases dramatically.
©2010 Robert Fritz
What is your experience with the question of quality versus quantity in the creative process? Share your thoughts in the comments section.
Robert Fritz, a composer, filmmaker, and organizational consultant, is founder of Technologies For Creating® and author of the international bestseller The Path of Least Resistance. This post first appeared in his free monthly e-newsletter, Creating. Click here for more information about Robert and his work.