My Brief Fascination with Yo-Yos: Setting Aside Time for Atelic Planning

'The time you enjoy wasting is not wasted time.’
Laurence J Peter

When I was young I had a brief fascination with yo-yos.

Loafing around the house or garden, I would focus intently on the repetitive, mesmerising motion - spooling and unspooling, winding and rewinding, over and over again. The world around me disappeared. Time stood still. Not understanding the physics, it all seemed rather magical.

Though mine was not a fancy yo-yo, I kept it as a constant companion. I learned how to make it ‘sleep’ – spinning at the end of its uncoiled string – and even endeavoured, unsuccessfully, to ‘walk the dog.’ 

Bored one summer, I decided to invent an evolution of the yo-yo: a device that had a more erratic, random movement. I imagined this would have a beguiling charm. For my prototype I tied a piece of string to a wooden cotton reel and bounced it up and down, revelling in its haphazard trajectory. 

After a while I determined that my wayward yo-yo didn’t really work, and in fact made me look rather foolish. I’d been wasting my time…

'In his youth Albert Einstein spent a year loafing aimlessly. You don’t get anywhere by not ‘wasting’ time - something, unfortunately, that the parents of teenagers tend frequently to forget.'
Carlo Rovelli

I read recently in the FT (Tim Harford, ‘Why You Shouldn’t Strive,’ 15 December, 2022) about the distinction between telic and atelic projects established by philosopher Kieran Setiya ('Midlife: A Philosophical Guide').

Telos is the ancient Greek word for end or goal. Telic activities are those that have an objective in mind: distance run, mountain climbed, contract signed, promotion attained. Atelic activities have no specific objective. They tend to be pastimes we enjoy for themselves. Reading the paper, visiting a gallery, snoozing in the afternoon, or having a beer with My-Mate-Andy come to mind. We used to call these things hobbies.

It’s possible to engage with the same enterprise in a telic or atelic way. High achievers see most activities as a competition or challenge. They create aims and ambitions, lists and leagues whatever they’re up to. On the other hand, while sport is for the most part telic in character, my football team, the South Indies, generally played in an atelic fashion.

Setiya observes that telic projects can result in disappointment and dissatisfaction: the stress of striving; the frustration of failing; the hunger for another goal once a first has been achieved. There is a risk that an obsession with objectives can rid an activity of its inherent charms. One becomes more concerned with scores and measurement; with ticking a box or crossing off a list. 

And so Setiya concludes that if we want to avoid a midlife crisis, then we should invest more heavily in atelic projects. 

‘We can escape the self-destructive cycle of pursuit, resolution and renewal, of attainments archived or unachieved. The way out is to find sufficient value in atelic activities, activities that have no point of conclusion or limit, ones whose fulfilment lies in the moment of action itself.'
Kieran Setiya, 'Midlife: A Philosophical Guide'

Of course, you can argue this both ways. If you spend your youth only engaging in atelic projects, you’ll probably not achieve very much at all. Another route to a mid-life crisis. 

Inevitably I suspect the answer resides somewhere in the middle: the path to contentment lies in striking a balance between telic and atelic undertakings: sometimes striving for attainment, pushing ourselves to perform; and sometimes merely passing the time, enjoying the distractions that the day affords us.

'Time isn't the main thing. It's the only thing.’
Miles Davis

I found myself wondering about telic and atelic projects in the world of work. 

Work is necessarily a field of timesheets and targets, ambitions and accountability. Shouldn’t all professional activities be telic?

Actually I think it’s important that a Planner occasionally steps back from specific Client responsibilities and tasks - to take a look at social and industry change; to review competitive output; to learn of the latest technological innovations; to consider different ways of working. Such activities may not be particularly telic. But they serve to recharge our strategic batteries; to broaden our professional outlook; to refresh our enthusiasm and revive our appetite.

We all need to set aside time for Atelic Planning.

'If I had six hours to chop down a tree, I would spend the first four hours sharpening the axe.'
Abraham Lincoln

On reflection, I’m not sure there’s much risk of my suffering Setiya’s midlife crisis. If anything I need to embrace more telic activity in order to generate a little more momentum in my week. Perhaps I should put away that yo-yo and invest in a Strava…

'Take it easy, take it easy.
Don't let the sound of your own wheels drive you crazy.
Lighten up while you still can.
Don't even try to understand.
Just find a place to make your stand and take it easy.’
Jackson Browne, ‘T
ake It Easy’ (J Browne, G Frey)

No. 407

What Medium Do You Work In?: Bridget Riley and the Art of Perception

Detail from Pause, 1964. Photograph: Bridget Riley 2019

Detail from Pause, 1964. Photograph: Bridget Riley 2019

'Focusing isn't just an optical activity, it is also a mental one.’
Bridget Riley

I recently attended a fine retrospective of the art of Bridget Riley. (The Hayward Gallery, London until 26 January.)

Triangles, curves, rhomboids, stripes and dots. Shapes that shimmer, hover and flicker. Discs that hum, throb and float. Circles that disappear into a fold in time. Dizzying, blurring, rippling contours. Everything moves. Reality warps. The images seem to be shouting: ‘Forget what you know. Don’t trust your senses. Hold on tight.’

'The word 'paradox' has always had a kind of magic for me, and I think my pictures have a paradoxical quality, a paradox of chaos and order in one.’

Born in Norwood, London in 1931, Riley studied art at Goldsmiths College and the Royal College of Art. After her education she spent some time as an illustrator at JWT. Her early work was figurative and impressionist.

Then in 1959 Riley copied Georges Seurat’s pointillist painting ‘The Bridge at Courbevoie’ ‘in order to follow his thought.’ The experience set her on the path to her signature Op Art style, and the resulting work has hung in her studio ever since.

Riley began to paint black and white geometric patterns, exploring the dynamism of sight and the illusions of seeing. She liked to ‘take a form through its paces in order to find out what it can do.’

Riley’s art was disruptive, unsettling, mesmerising. It chimed with the spirit of the ‘60s - an age of doubt and disorientation, of anxiety and apprehension. 

Bridget Riley review. Cataract 3, 1967. © Bridget Riley 2019

Bridget Riley review. Cataract 3, 1967. © Bridget Riley 2019

'There was a time when meanings were focused and reality could be fixed; when that sort of belief disappeared, things became uncertain and open to interpretation.’

Our eyes travel across a Riley painting, restless, uneasy, looking for a centre. But there’s no place for our attention to settle.

'In general, my paintings are multifocal. You can't call it unfocused space, but not being fixed to a single focus is very much of our time.’

In 1967 Riley introduced colour to her abstract work. She became interested in its instability and interactions, in different couplings and combinations.

'If you can allow colour to breathe, to occupy its own space, to play its own game in its unstable way, it’s wanton behaviour, so to speak… it is promiscuous like nothing.’

Riley’s method involved what she called ‘conscious intuition.’ She explored the intersection between the hard, precise, clinical drive of the rational brain and the unfocused impact of intuition and emotion.

'I work on two levels. I occupy my conscious mind with things to do, lines to draw, movements to organize, rhythms to invent. In fact, I keep myself occupied. But that allows other things to happen which I'm not controlling... The more I exercise my conscious mind, the more open the other things may find that they can come through.’

At the exhibition you can see Riley’s preparatory drawings and studies, precise instructions for her painting assistants. Some look like grand contour maps of new frontiers, of unknown terrain. They reveal the painstaking calculations that the artist invests in her work, the countless decisions about form, colour, structure and scale. 

High Sky, 1991. Photograph: Bridget Riley 2019

High Sky, 1991. Photograph: Bridget Riley 2019

'It seems the deeper, truer personality of the artist only emerges in the making of decisions... in refusing and accepting, changing and revising.’

I was particularly struck by a remark Riley made about Seurat’s art.

‘His work gave me a sense of the viewer’s importance as an active participant. Perception became the medium.’

This abstract, conceptual definition of Seurat’s medium seems to suggest fresh possibilities for art, to open up new horizons.

As we embark on a new year, it may be helpful to pause for a moment and reflect on our own core competences. What is it that we do? What are we good at? What medium do we work in? 

Should we define ourselves by our output? By adverts and art direction, design and data, copy and content? There is an admirable, plain-speaking directness to such descriptions. Maybe we see ourselves as artisans or makers?

Or do we deal in something more abstract? Perhaps we are persuaders, curators, cultural commentators, consumer champions, brand spokespeople? Perhaps we create and manage ideas; or nurture talent; or navigate change; or provoke disruption; or stimulate growth?

Or do we, like Riley, work in the medium of perception?

‘Looking is, I feel, a vital aspect of existence. Perception constitutes our awareness of what it is to be human, indeed what it is to be alive.’

 

'Doctor, my eyes have seen the years
And the slow parade of fears without crying.
Now I want to understand.
I have done all that I could
To see the evil and the good without hiding.
You must help me if you can.
Doctor, my eyes
Tell me what is wrong.
Was I unwise to leave them open for so long?’

Jackson Browne, ‘Doctor My Eyes'

 No 262