When the critic takes over the creative process

The relationship between the analytical and intuitive selves, and what it means for making music.

Analysis and critique

Now that I’ve started taking my art more seriously, the judging, analytical left hemisphere is starting to make its presence more known. This is not a problem; it’s part of the process. However, I need to be mindful of its role: analysis and critique.

The relationship between the hemispheres

I’ve been thinking about this through the relationship between the left and right hemispheres. The issue with the left hemisphere is that it likes to be detached from the right. On the right side, we work more with emotion, intuition, empathy, and so on. As creative and wishy-washy as these may sound to some people, they’re crucial in the art-making process.

I believe that honing in on this side of the brain yields exponential creative results that reverberate within you and leave lasting impressions. It creates the timelessness of a tune or painting. If we worked purely with the left side, we might still achieve that impression externally, through the lens of the observer. But we’re unlikely to feel the same inside.

When comparison takes over

In my own process, the analytical side is hyper-focused on comparing things I create and things I do with things other people do. In a minimal dose, this behaviour might actually be beneficial. Unfortunately for me, it’s rather excessive.

If I let my left side be its own narcissistic and dominant self, overruling the right, I’d end up with elements of that dominance in my creations. Ultimately, those creations are not satisfying.

So how do I, and perhaps others, use the analytical self in a more supportive fashion toward the intuitive and emotional self?

Intention is the start

Intention is the start. Awareness is what keeps intentions continuously aligned with actions. When we’re creating, we need to be aware of which part of our brains is speaking, which is allowed to speak, and why it’s trying to act up.

Looking for happy accidents

For instance, if we’re going into exploration mode, looking for happy accidents, it’s probably smart to temporarily ask the left side to quiet down. In this stage, we’re looking for source material that strikes a chord, preferably deep within us.

Yet that depth often arises only after extensive tinkering and remodelling of the material. So the initial feeling of discovering potential is usually much more nuanced.

It’s more like: “Hey, here is something that I might possibly like in the future. I like it now, but I don’t know yet how it will hold up over time.”

“Discard it.”

At that moment, the left hemisphere might get in the way. Rather than letting me explore the discovery, it judges it through comparison: “This will never be as good as that of [insert someone you admire]. Discard it.”

This type of criticism is nonconstructive as an immediate judgement. But turned into constructive critique, it may serve a purpose further down the line.

A better question

Let’s say we’ve now found a handful of sounds or ideas with potential. Once we have that broader selection, it may be beneficial to turn the earlier judgement into a question:

“Is there anything in here that, through skilful manipulation, has the potential to become as great a sound or work as that of XYZ, whom I so admire?”

The comparison is still there, but now it helps me explore what the material could become.

A conversation

The left hemisphere, if well behaved, can enter into a conversation with the right. Together, they can judge the material through both analysis and emotional response.

There are dozens of situations where this ping-pong interplay between the hemispheres might be beneficial to creative pursuits, ultimately making for an amazing product.

The master and his emissary

Iain McGilchrist explores the responsibilities and difficulties in this relationship through the master and his emissary.

The problem with the emissary is archetypal. He tends to feel that he is the master and may attempt to overthrow his power. When successful, misery falls on the kingdom.

Mutual respect

The way I understand this is that the relationship needs an order that keeps the balance between them: ruler and ruled. This doesn’t mean a dictatorship works either. It must be a relationship in which mutual respect for each other’s capabilities is cultivated.

That’s the relationship I’m trying to develop in my music: allowing analysis to support the creative process without taking it over.

First written in September 2026.