I suspect the man who dedicates his life to the creation of limits, but distrust, even more, the artist who says is interested in them.
A man of limits is always a step back because he feels comfortable within all existing borders. He only takes action when those limits seem overwhelmed and a need to make new ones arises. He is the pusillanimous man, void of any courage. He is usually a man of laws, of politics, of creeds. The unlimited man, instead, goes ahead and forces the traditional man to expand his barriers and cover an increasingly larger area. He is the man of true spirit, who feels uncomfortable before any barrier and whose natural reaction is to always jump over it. This group of people is formed by the men and women of genius: the composers, builders, researchers, and thinkers who are always daring, intrepid, and brave.
The man of limits is, of course, a man of traditions. He who brags about his integrity to meet all of them with no exception, and finds pleasure in the customs, routines and cyclical monotony they provide. The man of imagination finds traditions tremendously boring and horrifying. He understands they are the motor of immobility. He knows they are nothing but borders which are forbidden to cross; and, also, that they are always protected by the biggest fanatics.
The man of limits is prone to reduce space and limit nature artificially. He is a builder of walls. And these barriers that he creates, as unnatural as they are, are usually also inhuman. Meanwhile, the naturally creative man applies his imagination in the most natural way. He searches for more surface, more area, more perimeter, and always finds more space for his imagination.
The creative man exceeds all limits by conviction; the man of limits adjusts to a new one by obligation.
The man of limits is a man of faith. He does not question, he believes. He decides to convince himself and remains immobile. Accepts the myth, the story, the scriptures, the book, and sits down to wait for the —supposedly— external consequences that are completely out of his power. His thoughts imply such inaction and carry explicitly that strange and fabulous force which takes control of his life. That is why the natural place of this kind of man is always inside, within the institution. On the contrary, a man without limits refuses to believe. His strength lies in that denial, and with it threatens to shift the sedated thought and the immovable idea. He contradicts, he discusses, he disturbs. Taken by his curiosity he dismantles all stories, discovers the imposture of limits and reveals their fiction. This creative man has his place outside or beyond, in complete solitude.
The man of limits finds himself disturbed by contradiction and incoherence, as he understands them only as mistakes. For that same reason, he fears the fickle nature of human beings —which is also his own nature— and devotes his life to the norm. This is, in other words, to the futile task of trying to definitely delimit life with all kinds of sentences. The man without limits, however, considers the contradiction as the perfect weapon to overcome any barrier and keep moving forward. He is not afraid to contradict himself because he knows incongruity is nothing but a mere symptom of life and the logical consequence of having traveled an unpredictable path.
For the unlimited man, there will never be a greater tragedy than to live a life without contradiction and die being the same person he was at birth. For the traditional man, there is no other destiny but to die being the same person he always was.