creative writing school
Module 1: Perception & Intuition
structure
Introduction
Theory:
Share your text with us
Theory:
- Panopticism
- Kino-eye
- Social construction of reality
- Surveillance society
- The "male gaze" theory
- Dziga Vertov: Man with a movie camera (1929)
- Immersive experience
- Creative writing prompt
Share your text with us
introduction
Welcome to our creative writing course on observation. Here, we explore observation not as surveillance but as a means to deeply connect with and reflect on the world around us. This practice goes beyond passive watching, aiming to uncover the essence of human experience and inspire authentic storytelling.
We draw from diverse theories, like Dziga Vertov's Kino-eye and the social construction of reality, to redefine how we perceive and represent the world. We also address the impact of living in a surveillance society, using it as a backdrop for creative exploration and subversion.
Our goal is to enhance your observational skills, helping you capture moments with clarity and depth. Through writing prompts and immersive exercises, we’ll explore how observation intersects with identity, memory, and imagination.
Join us in this journey to deepen your understanding of observation and storytelling, and discover how seeing can become a powerful tool for creative expression.
We draw from diverse theories, like Dziga Vertov's Kino-eye and the social construction of reality, to redefine how we perceive and represent the world. We also address the impact of living in a surveillance society, using it as a backdrop for creative exploration and subversion.
Our goal is to enhance your observational skills, helping you capture moments with clarity and depth. Through writing prompts and immersive exercises, we’ll explore how observation intersects with identity, memory, and imagination.
Join us in this journey to deepen your understanding of observation and storytelling, and discover how seeing can become a powerful tool for creative expression.
theory
PanopticisM
Panopticism is a concept introduced by philosopher Jeremy Bentham and later elaborated upon by Michel Foucault. The panopticon is a theoretical prison design where a central watchtower allows a single guard to observe all inmates without them knowing whether they are being watched at any given moment. This design creates a sense of constant surveillance and induces self-discipline among the prisoners. Panopticism has been applied beyond physical prisons to describe societal mechanisms of surveillance and control, where the mere possibility of being observed influences behavior, leading to self-regulation and conformity.
Kino-Eye
The Kino-Eye concept was developed by filmmaker Dziga Vertov. It emphasizes the transformative power of the camera as an instrument of observation and truth-telling. The Kino-Eye represents Vertov's belief that the camera can perceive reality more deeply and objectively than the human eye alone. Vertov saw the camera as a tool for capturing objective truth, free from subjective interpretation or manipulation, and he used it to create dynamic portrayals of everyday life.
Social Construction of Reality
The Social Construction of Reality theory, developed by Peter Berger and Thomas Luckmann, posits that reality is not an objective fact but is socially constructed through shared meanings, symbols, and interactions. According to this theory, individuals observe and interpret the world around them based on their social and cultural contexts, leading to the creation of subjective realities. Observation plays a central role in the construction of reality as individuals observe and internalize societal norms, values, and beliefs through their interactions with others.
Surveillance Society
The concept of a Surveillance Society refers to a society where surveillance technologies and practices are pervasive, leading to the constant monitoring and observation of individuals' activities. This theory encompasses both governmental surveillance, such as CCTV cameras and intelligence agencies, as well as corporate surveillance through data collection and tracking technologies. In a Surveillance Society, observation becomes a tool for social control, influencing behavior and shaping power dynamics.
Feminist Theory of the Gaze
Building upon Laura Mulvey's concept of the "male gaze," feminist theorists have developed a critique of how observation and visual representation reinforce gendered power dynamics. The male gaze refers to the way in which visual media, predominantly created by and for heterosexual men, objectify and sexualize women, positioning them as passive objects of male desire. Feminist theorists argue that the male gaze perpetuates patriarchal norms and reinforces gender inequality. The feminist theory of the gaze examines how observation, particularly through visual media, reflects and perpetuates societal attitudes towards gender, sexuality, and power.
inspiration
Dziga Vertov's film Man with a movie camera (1929) is a landmark in documentary cinema and deeply explores the theme of observation. The film showcases Vertov's belief in the camera's power to capture and reveal everyday life with unfiltered clarity.
Vertov’s innovative use of techniques like rapid editing and varied camera angles immerses viewers in the sensory experience of urban life, portraying the city's rhythm and interactions. His concept of the "Kino-Eye" reflects his view that the camera can see and interpret reality more profoundly than the human eye alone.
Ultimately, Man with a movie camera highlights the potential of cinema to observe, document, and understand the world in new ways, encouraging viewers to see the beauty and complexity of everyday moments.
Vertov’s innovative use of techniques like rapid editing and varied camera angles immerses viewers in the sensory experience of urban life, portraying the city's rhythm and interactions. His concept of the "Kino-Eye" reflects his view that the camera can see and interpret reality more profoundly than the human eye alone.
Ultimately, Man with a movie camera highlights the potential of cinema to observe, document, and understand the world in new ways, encouraging viewers to see the beauty and complexity of everyday moments.
creative exercise
I. IMMERSIVE EXPERIENCE:
Step into Dziga Vertov's world by experiencing observation as he did in Man with a movie camera (1929). Visit a busy train or metro station, find a spot to settle, and immerse yourself in the sights and sounds around you. Let go of distractions and become a keen observer.
Watch the flow of people—those departing, arriving, and waiting. Notice their interactions and body language. Imagine their stories, dreams, and emotions. Pay attention to the small details and the subtle dynamics that shape their experiences.
Watch the flow of people—those departing, arriving, and waiting. Notice their interactions and body language. Imagine their stories, dreams, and emotions. Pay attention to the small details and the subtle dynamics that shape their experiences.
II. CREATIVE WRITING PROMPT
Using the observations from your experience, select a character—a traveler, a couple, or a solitary figure. Write a narrative that delves into their inner world, revealing their hopes, fears, and aspirations.
As you weave your tale, draw inspiration from Vertov's pioneering approach to filmmaking. Experiment with innovative narrative techniques, such as rapid cuts, montage, and visual juxtaposition, to evoke the sensory richness of the train station experience. Let your writing transcend the confines of traditional storytelling, embracing the fluidity and dynamism of the cinematic medium.
As you weave your tale, draw inspiration from Vertov's pioneering approach to filmmaking. Experiment with innovative narrative techniques, such as rapid cuts, montage, and visual juxtaposition, to evoke the sensory richness of the train station experience. Let your writing transcend the confines of traditional storytelling, embracing the fluidity and dynamism of the cinematic medium.
stay grounded and motivated!
"Every day, I observe. It’s a quiet, constant practice—whether I’m walking down a busy street or sitting on a bus, I take in the details of the world around me. The faces, the gestures, the sounds. I pay attention to how my body responds to these moments, storing each impression in what I call my internal library. This isn’t just a casual habit; it’s a practice that feeds my work and my life as an artist. Each observation, no matter how ordinary, is a piece of reality that I can return to later, a source of inspiration that grows and deepens with time.
As a choreographer, this internal library is my greatest resource. It’s where I turn when I need to draw meaning, find movement, or generate ideas. But observing is only the first step. The real work comes in cataloguing these moments—understanding how to access them when I need to. And then, in the artistic process, I translate. I take what I’ve seen and felt, and I transform it. This is where observation meets creation: in the ability to turn what I’ve recorded into something more, something that speaks beyond the initial moment.
I’m so happy to share this practice with you. It’s been a cornerstone of my creative life, and I hope you find in it the same richness I do. Give yourself time to observe deeply, to notice the subtle things, and to see how they move you. Precision, focus, and attention to detail are gifts this practice offers—and they will only strengthen your art. Enjoy this journey, and remember that every moment holds the potential for discovery."
—Anna Ádám
Founder of the School of Disobedience
As a choreographer, this internal library is my greatest resource. It’s where I turn when I need to draw meaning, find movement, or generate ideas. But observing is only the first step. The real work comes in cataloguing these moments—understanding how to access them when I need to. And then, in the artistic process, I translate. I take what I’ve seen and felt, and I transform it. This is where observation meets creation: in the ability to turn what I’ve recorded into something more, something that speaks beyond the initial moment.
I’m so happy to share this practice with you. It’s been a cornerstone of my creative life, and I hope you find in it the same richness I do. Give yourself time to observe deeply, to notice the subtle things, and to see how they move you. Precision, focus, and attention to detail are gifts this practice offers—and they will only strengthen your art. Enjoy this journey, and remember that every moment holds the potential for discovery."
—Anna Ádám
Founder of the School of Disobedience
Photo: Fortepan / Glósz András