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The concept of genius has been a subject of much speculation and debate since the eighteenth century. However, in a world obsessed with creative genius and the possibilities of the human imagination, the actual workings of the creative process and its psychological underpinnings remain a mystery. In On Creativity, a group of
experts seeks to unlock this enigma.
- Sales Rank: #3175100 in eBooks
- Published on: 2015-02-06
- Released on: 2015-02-06
- Format: Kindle eBook
About the Author
Sudhir Kakar is an Indian lay psychoanalyst and he is known for his books in the fields of cultural psychology and religion.
Gunter Blamberger is a German academic and writer. He works at the University of Cologne as a Professor of Modern German Literature
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On Genius and the Workings of the Creative Process
By Raghu Nathan
Nowadays, there is much discussion in the public domain on the concept of genius, on Creativity and on Innovation. We see people like Steve Jobs, Elon Musk, Jeff Bezos and many others being labelled as 'creative' or 'genius-like' or 'innovative'. At the same time, we do not see much elaboration on the precise reasons for marking these individuals out for such special mention except by reiterating the products and ideas for which they are responsible and how much their thinking diverges from the mainstream. What we don't find is a substantive discussion on what this 'Creative Process' really is and how it actually works and what its psychological foundations are. It is this quest which brought me to read this book.
I have always enjoyed reading Sudhir Kakar's insights into cultural psychology, mysticism and psychoanalysis. When I saw that he was one of the authors of this book, I wanted to see what his insight into the subject is. However, it turned out that this book is a collection of six essays on Creativity from six different authors, with Kakar contributing just one, on the Indian perspective of the creative artist. Three articles dwell on the cross-cultural views on Creativity, one each on the Indian, Western and the Chinese. Two others are in the inter-disciplinary perspective from Psychoanalysis and Neuroscience. The final article by James Kaufman looks at Creativity through a generalist approach. Overall, we come across many definitions on what is creative and some approaches to understanding the creative process itself.
The Western perspective is dealt with by co-author Günter Blamberger who suggests that the West has always set wrong priorities by focusing on the personal origin of Creativity , leading to hopeless aporias and myths. The West has a tradition of seeing Creativity as a triad of divine inspiration, mastery of the rules of the domain and scholarly knowledge. Blamberger proposes that we must bid farewell to this concept of 'Genius' and move away from singular creatorship and towards viewing Creativity as an Experience and as a Process. Today's creative practices are mostly processes based on division of labor within collectives and Creativity itself must be viewed as an inter-disciplinary and cross-cultural question.
Sudhir Kakar presents the Indian perspective on artistic creativity based on the classical treatise on the Performing Arts, namely 'Natya Shastra', written around 200 BCE, and on the modern works of renowned art historian, Ananda Coomaraswamy (1877-1947). In the Indian view of the creative artist, he is not a flawed being or prone to melancholia or madness. Rather, to be truly creative, it was necessary for individual personality traits and complexes to be transcended. Coomaraswamy formulates it as '..the Indian artist, though a person, is not a personality'. Creative Imagination is an inborn faculty due to impressions of past births that is so strong in the artist that it responds to the slightest stimuli which are usually ignored by others. Kakar wonders as to how many contemporary Indian artists share this view of the artist as emotionally balanced and artistic creativity as a matter of connecting with the transcendent, spiritual unconscious.
The Chinese perspective of Creativity is outlined by Weihua Niu simply as the very nature of everlasting interaction between the creator and the context, as something evolutionary rather than revolutionary. The focus of Creativity in the Confucian outlook is on novelty and appropriateness, where appropriateness is understood as fitting according to the changing context in a collaborative manner, given a specific situation. On the other hand, the Taoist view of Creativity is to make a connection between oneself and nature, possibly by immersing oneself through meditation.
In the inter-disciplinary discussion, I liked the essay by Margaret Boden on 'Creativity as Neuroscientific Mystery'. Boden says that there are three types of creativity, namely Combinational, Exploratory and Transformational. They are explained as follows:
Combinational Creativity is the generation of unfamiliar combinations of familiar ideas. A scientific example would be viewing the Atom through the Solar system model.
Exploratory Creativity is to use existing rules to generate novel structures. Examples would be to write a new Computer program using a known programming language or writing a new essay in English or creating a new painting in a known style such as Impressionist.
Transformational Creativity is the most exciting of all in that it breaks culturally sanctioned rules within a domain and leads to the creation of a novel idea which seems 'Impossible'. One can think of many examples in Science and in the Arts like Literature and Music.
Boden says that these three forms of Creativity involve different types of psychological processes and that Combinational Creativity is within reach of Neuroscience today. As for Exploratory and Transformational, she says that the human brain is a Connectionist system and we need to understand much better than we do today as to how 'connectionism' can emulate a von Neumann machine before coming to a Neuroscientific view of these two types of Creativity.
Most of us can probably feel good about having experienced some aspect of Exploratory Creativity in our lives and some might have indulged in Combinational as well.
As I came to the last essay in the book, the creative process still remained largely an enigma. Still, the essays provoke our mind and induces us to explore further.
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