"I do tend to take lines from other lines I like, and then write around them"

Syd Barrett's quote, "I do tend to take lines from other lines I like, and after that write around them," uses intriguing insight into his innovative procedure and artistic mindset. This declaration reveals a collage-like technique to songwriting and poetry, one that welcomes motivation drawn from existing works while at the same time innovating new expressions.

Barrett, the founding member of the legendary band Pink Floyd, was known for his creative lyrics and unconventional musical structures. His statement suggests that his artistry was not about beginning with a blank slate however rather taking part in a continuous dialogue with artistic impacts around him. By taking "lines from other lines," Barrett acknowledges a practice of loaning and adjusting elements from other works that resonate with him. This reflects a broader artistic custom where imagination prospers on a structure of intertextuality-- the relationships and affects in between creative expressions across different contexts and times.

Writing "around them" suggests a procedure of weaving new narratives or meanings around existing lines. This strategy showcases Barrett's talent for changing pieces of motivation into something distinctively his own. It's a process of reinterpretation and reinvention, suggesting that creativity is as much about reimagining existing components as it is about creating brand-new ones. This method can imbue a piece with layers of meaning, as the original line's significance might alter or enhance within its new context.

Barrett's method can be considered as a kind of tribute, an acknowledgment of the impact other works have on an artist's output. It likewise highlights a communal aspect of creativity where ideas are constantly exchanged and transformed. This resonates with the more comprehensive concept of art as a continuum, where each piece becomes part of a larger discussion covering time and area.

In summary, Barrett's quote talks to the dynamic and interconnected nature of the innovative procedure, highlighting both the influence of existing works and the innovative capacity of recontextualization. It invites us to consider the ways in which art is both derivative and initial, a tapestry of old and new threads woven together in ever-evolving patterns.