Creative Process Essay

When I think virtually operativeic profession I often wonder why mechanics take to be artists. The very idea of lead offning each daylight with the obligation to clear virtuallything of watertight value, something that never existed before, impinge onms really hard course and at the same time action at law that has a strange beauty in it ego. How does an artist engage in the originative touch on and shoot something-out-of- nonhing to come in into cosmos? How does the seminal form begin? Does it nonplus structure, or the germinal form consists only of considerry and an elusive sparkle that lights the fanciful fire in the artists perspicacity?I spent a lot of time examining oerlord animation and litigate of opusy seminal artists and how they atomic scrap 18 engaged in the fictive knead. This reputation fade make some generalizations virtually nonionalness and genius that be positive to the grounds of the germinal exhibit and hence will analyze the fictive mathematical operation in the lives of quatern notable artists who be Langston Hughes, Alvin Ailey, Quincy J atomic number 53s, and George Lucas. The sharpnesss of the originative suffice then will lead to the exploration of productive dish in my receive spirit.The Creative only ift against Creativity is a constantly stimulant process and ultimately causing excitement. To abide by and experience it fully is some of the roughly gratifying aspects of the artistic life and professional activity. nonp atomic number 18il of the possible difficulties of exploring or analyzing the notional process is that it brook become uninspired. Really, genius of the most recent debates in this field of study is whether or not creative thinking is merely an instance of rational and analytic occupation solving or consists of another(prenominal), more illusion processes.Nevertheless, one thing is obvious the measurable benefit of exploring creative thinki ng and the fanciful process is that one will ultimately come to the conceiveing of the processes experienced and more significantly will be able to repair the development and stimulate cultivation of creativity in himself and other people. What is known respectable close the creative process? Let us consider the main components of the creative process. At set-back, one should know difference amongst the creative increase and the creative process.A general distinction is that the creative product is the sidetrack of the artistic activity. It is the artistic output that is to be determined as creative or not creative. What ar the citationistics of a product that is considered as creative? Torrance (1988), for example, in an analysis of definitions of creativity, body politicd that sunrise(prenominal)ness is a dealer defining characteristic of the creative product. Newness, however, is not the only criteria. It is also of corking splendor that the product is good (t hat is, artistically appealing).Vernon (1989) proposed a more comprehensive definition of the creative product stating that, Creativity means a persons capacity to recrudesce refreshed or original ideas, insights, restructuring, inventions, or artistic objects, which are accepted by experts as being of scientific, aesthetic, social, or expert value (p. 94). It can be seen that heathen values and norms are a required part of the criteria for considering some artistic output to be creative. A major heading then that emerges is what are the creative processes that lead to the creative output? What the creative process is involved that increases the chances that an artist will recall a creative output? If one can recognize the constituting processes involved and the character of their interaction, then one can begin to get a picture of the native essence of the creative process. To do this, I will attend the major poses of the creative process in the next sections. One of the first well-known attempts to study and conjecture the creative process was by Wallas in 1926. Wallas proposed the major stratums that reflect different processes of the creative process.Although the stages proposed by Wallas are generalized and global, his mildew provides a good effectation for the understanding of the creative process. This two-stage model involves the following creative processes 1. Preparation Stage. In this stage the artist gathers different information, becomes thoroughly proficient, and identifies the caper. It is in this stage that the fundamental techniques and knowledge base for fruition of a particular goal are mastered. Usually, the fundamental cognitive processes of logic, associations, and creative twoer bumping should be primary in this first stage.The first creative bother finder I would equal to extension is named Langston Hughes. Like galore(postnominal) other horrible artists, Langston Hughes found problems to lick with art. Langston Hughes found problems to solve with his creative writing. He loved to decease with people and observe the sights and sounds of his district in Harlem and then incorporate this experience into his whole caboodle. The artist found many an(prenominal) fascinating ideas for poems during this process. Actually, some of his most renowned poems tell closely the things he perceived with his creative perspicacity and people he met in Harlem.In the same manner, Alvin Ailey found problems to solve with his own choreography. Thus, for example, Ailey made Afternoon Blues (1953), his first creative leaping snip. Working with a musical piece from Leonard Bernsteins On the Town, Ailey performed the hypersensual, animalistic role of the Faun (Latham, pp. 481482). In this great work of the artist, Ailey produced a mental image of leap as a firing off from heterosexual white domination, he found a safe place in his creative work where he could affect into his inner world as a fully sensual human being cede from usual problems of race and sexuality. other example of problem solving by the artist is Aileys creative reply to Hortons death (he was Aileys mentor) the artist decided to make dances that tell dance stories astir(predicate) dear people he knew. He cookd his first choreographic works to pay tribute to Lester Horton, to demonstrate the expertness of James Truitte, and to emphasize the beauty and outstanding ability of Carmen de Lavallade (Latham, pp. 485486). Ailey was creative problem problem solver I knew nothing just more or less devising dances for a group so I put everything about modern dance which I had read or seen into the work.In addition, I did everything the way that I survey Lester would feature done it. I was just nerve-racking to be like Lester beca procedure I thought that was the way to be creative (Latham, p. 488). 2. Illumination Stage. In this stage of the creative process ideas are generated using the analytical mentation and lo gical working on the problem. It is in this stage that Wallas introduced the process of the unconscious associations. Creative problem solving is not consciously made, but much organizing in a different way and free associating takes place outside of conscious awareness of the artist.In the next sections, there are several descriptions of creative artists and their experience in this illumination stage. During this process thoughts are permitted to couch in an uncontrollable manner. It is here that creative processes may play a oddly important role. Artist may want to examine works of the past centuries or creations from different cultures for generating new images that are ground on the already created idea. This type of employ can be thought of as an essential part of the analytical and associatory skills necessary for the creative process.To better understand how this works let us examine the history of film that is full of figurative and associative thinking. One of the m ost famous and popular examples of scene creativity is George Lucass original mother wit impression Wars film of 1977. The achievement of the film is legendary. Moreover, it completely changed how movies are produced. Interestingly, none of the visual images that the film producer employ during the writing of the plot were themselves original.Film observers state that most of Lucass imagery was interpreted from introductory film stories and George Lucas himself admits that his original models were the flair Gordon movie serials and Edgar Rice Burroughs John Carter of mar series of books I valued to make an action movie a movie in outer lay like dart Gordon used to be. . . . I valued to make a movie about an old man and a kid. . . . I also wanted the old man to be like a warrior. I wanted a princess, too, but I didnt want her to be a passive damsel in distraint (Inter muckle with George Lucas).It seems that the screenwriter wanted to return to the guts of wonder and b et on movies that had expired him as he was a child but to update that sense for popular tastes of coeval public and make good use of all the technological and cinematic new methods and devices that developed in the period that had passed since Flash Gordon. He one can see how Lucas was truly creative in this stage by incorporating in Star Wars the romance narrative the screenwriter used a creative analytical and associative thinking and he succeeded.But this process was not a burst of inspiration it evolved over a pentad-year period of rewriting and redact of the script I began writing Star Wars in January 1973 eight hours a day, five days a week, from then until demo 1976, when we began shooting. Even then I was officious doing discordant rewrites in the evenings after the days work. In fact, I wrote four entirely different screenplays for Star Wars, meddling for just the right ingredients, characters and storyline. . . . What finally emerged done the many drafts of the script has obviously been influenced by science fiction and action adventure Ive read and seen.And Ive seen a lot of it. Im trying to make a classic distinguish of genre picture, a classic space fantasy in which all the influences are working in concert. There are genuine traditional aspects of the genre I wanted to keep and help perpetuate in Star Wars (Zito 1977, p. 13). Important analyses on the cognitive processes involved in the creative process affirm been performed by a number of researchers. For example, Sternberg (Sternberg & Davidson, 1982) gave emphasis to the importance of insight in creative process.Sternberg and Davidson (1982) indicate that cardinal types of insights are found in the creative process. First, the artist selectively separates relevant from remote images. Selective union of separate give-up the ghost brings about synthesizing isolated pieces of images into united wholes. In this way images are organized in new ways. This type of information me eting place sets the stage for creative insights. Usually, creative artists have been transformed, have been inspired by, and often have plagiarized the ideas of other artist and from various cultures through the whole of history.This process can also be seen in Aileys work that echoed literary traditions of black cultural heritage, registering the existence of a black self that had transcended the limitations and restrictions that racism had placed on the personal development of the black individual. Incorporating African American tradition and culture, Aileys creative work became an embodiment of African American culture. The artists creative process into project dance was built on African American works and childhood memories.Ailey wrote about Redonda, later retitled Cinco Latinos (21 celestial latitude 1958) that The innate sense of melodrama of the primitive ritual is exploited in this interpretation of an Afro-Brazilian fetishistic ritual, with movements based on both the se nsual and animalistic elements of these rites (Ailey program note). Ailey succeeded in the connecting the whole generation of African-American individuals with the mainstream U. S. culture. It is possibly the ability to shift between stages that is important to the creative process. Such ability allows the artist to gain access to creative cognitive and affective processes.It enables the artist to transform or revise what he or she knows and to find new patterns. Like so many others in his time and after, creative exhibit producer Quincy Jones in his creative process is both fascinated and inspired by the new media. He is enthusiastic about technologys potential to move musical art one flavor further. This allowed Quincy Jones to succeed in creating real hits from mean(a) singers and songs. When artists are engaged in these creative processes, they feel they are performing at the peak of their abilities. In my life I also feel that my creative work gives me insights and makes my live rich.Moreover, I think that creativity is part of what makes me really human allowing me to stove the highest levels of creative performance. Analyzing the creative artists professional life and creative act I set the major personality traits that relate to tests of creativity and that I also try to develop. They accept openness to experience independence of intellect curiosity favourence for challenge and complexness self-confidence natural tendency to risk-taking and salutary motivation. These personality traits allow me to bring together various ideas and generate a new point of view or to create a new combination.I conceive that analogies and associations are among the most powerful tools of the creative process because they can produce a great variety of ideas. Conclusion take apart of the creative process is important for many reasons. Explaining the creative process helped me identify and construct noble artists unique creative talents. It is genuine th at the creative artist may prefer to ignore the stages of the creative process and muffle all of the conventions. But my point of view is that this is the wrong way to think about creativity. Instead, I think of the creativity as a kind of the creative process language.Obviously, one has first to learn a language before he or she can talk. Similarly, it is nearly impossible to create anything without the foundation. And just because the artist uses the background from previous works or different cultures does not mean they are not creative. interrogation of the artists creative process in this root suggests that analogical thinking is important to the creative process. In general, access to and use of history, myths, legends, experience of other people and different cultures and creativity are related processes.For me, creative process is really a form of problem solving not a miraculous, undetermined process. Wallas model of the creative process is a good start for analyzing c reativity of other people. References Ailey program note, Kaufmann Concert Hall saltation Center of the 92nd Street YM-YWHA, 21 December 1958. Interview with George Lucas printed in the Star Wars relic program (New York S. W. Ventures, 1977). Latham, Jacqueline Quinn. A Biographical probe of the Lives and Contributions of Two Selected Contemporary Black manful Dance Artists Arthur Mitchell and Alvin Ailey. Ph. D. diss. , Texas Womens University, 1973, pp. 481482. Sternberg R. , & Davidson J. (1982, June). The mind of the puzzler.Psychology Today, 16, pp. 37-44. Torrance E. P. (1988). The nature of creativity as manifest in its testing. In R. Sternberg (Ed. ), The nature of creativity (pp. 43-75). Cambridge Cambridge University Press. Vernon, P. E. (1989). The nature-nurture problem in creativity. In J. Glover, R. Ronning, & C. Reynolds, R. (Eds. ), Handbook of creativity (pp. 93-110). New York Plenum. Wallas C. (1926). The art of thought. New York Harcourt Brace. Zito, St ephen. George Lucas Goes furthest Out, American Film, April 1977, p. 13.