Creative Process Essay

When I think some inventive personic profession I a lot wonder why finesseists want to be artists. The very idea of commencement exercise gear every twenty-four hour period with the obligation to farm something of strong value, something that never existed before, seems unfeignedly hard work and at the same time activity that has a strange beauty in itself. How does an artist engage in the seminal execute and make something-out-of- nonhing to come into existence? How does the originative process set d bear? Does it assimilate structure, or the inventive process consists just of imagination and an sturdy sparkle that lights the seminal fire in the artists forefront?I spent a lot of time examining schoolmaster purport and work of many imaginative artists and how they argon engaged in the originative process. This paper lead make some generalizations about original thinking and angiotensin converting enzyme that be original to the earning of the original p rocess and then will analyze the original process in the lives of four notable artists who argon Langston Hughes, Alvin Ailey, Quincy Jones, and George Lucas. The insights of the originative process then will lead to the exploration of yeasty process in my own life.The fanciful Process Creativity is a constantly stimulating process and last causing excitement. To observe and picture it proficienty is some of the most gratifying aspects of the artistic life and professional activity. One of the possible difficulties of exploring or analyzing the germinal process is that it give the gate decease uninspired. Really, one of the most recent debates in this sphere is whether or not creativity is simply an instance of rational and analytical problem closure or consists of an separate(prenominal), more magic processes.Nevertheless, one thing is obvious the of import benefit of exploring creativity and the creative process is that one will ultimately come to the understanding of the processes go outd and more primally will be able to improve the development and stimulate cultivation of creativity in himself and other community. What is known about the creative process? Let us consider the main components of the creative process. At first, one should know discrepancy between the creative product and the creative process.A general bill is that the creative product is the product of the artistic activity. It is the artistic output that is to be determined as creative or not creative. What are the characteristics of a product that is considered as creative? Torrance (1988), for mannequin, in an analysis of definitions of creativity, stated that impudentlyness is a principal defining characteristic of the creative product. Newness, however, is not the only criteria. It is overly of great importance that the product is good (that is, artistically appealing).Vernon (1989) proposed a more comprehensive definition of the creative product stating that, C reativity means a persons capacity to produce new or captain ideas, insights, restructuring, inventions, or artistic objects, which are accepted by experts as organism of scientific, aesthetic, social, or techno limpid value (p. 94). It weed be seen that heathenish set and norms are a necessary part of the criteria for considering some artistic output to be creative. A major question 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 generate a creative output? If one can recognize the constituting processes involved and the character of their inter body process, then one can mother to get a picture of the fundamental essence of the creative process. To do this, I will examine the major spirit levels of the creative process in the next sections. One of the first well-known attempts to study and theorize the creative process was by Wallas in 1926. Wallas prop osed the major stages that reflect contrary processes of the creative process.Although the stages proposed by Wallas are generalized and global, his fashion model provides a good knowledgeableness 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 problem. It is in this stage that the fundamental techniques and knowledge base for realization of a particular goal are mastered. Usually, the fundamental cognitive processes of logic, associations, and creative problem finding should be native in this first stage.The first creative problem finder I would like to mention is named Langston Hughes. Like many other noble artists, Langston Hughes embed problems to solve with art. Langston Hughes be problems to solve with his creative writing. He loved to go with people and observe the sights and sound s of his district in Harlem and then incorporate this experience into his works. The artist found many fascinating ideas for poems during this process. Actually, some of his most historied poems show about the things he perceived with his creative mind 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 work. on the job(p) with a musical piece from Leonard Bernsteins On the Town, Ailey performed the hyper stolid, animalistic fictional character of the Faun (Latham, pp. 481482). In this great work of the artist, Ailey produced a mental image of dance as a liberation from heterosexual white domination, he found a safe place in his creative work where he could travel into his inner world as a fully sensual human being free from usual problems of race and sexuality.Another example of problem solving by the artist is Aileys creative reaction to Hortons death (he was Aileys mentor) the artist decided to make dances that tell dance stories about dear people he knew. He created his first choreographic works to pay tribute to Lester Horton, to demonstrate the strength of mob Truitte, and to emphasize the beauty and dramatic ability of Carmen de Lavallade (Latham, pp. 485486). Ailey was creative problem solver I knew nothing about making dances for a group so I put everything about modern dance which I had assume or seen into the work.In addition, I did everything the modality that I thought Lester would have done it. I was just seek to be like Lester because 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 thinking and logical working on the problem. It is in this stage that Wallas introduced the process of the un certified 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 de helping handions of creative artists and their experience in this illumination stage. During this process thoughts are permitted to roam in an uncontrollable manner. It is here that creative processes may play a curiously important role. Artist may want to examine works of the ago centuries or creations from different cultures for generating new images that are ground on the already created idea. This type of exercise can be thought of as an of the essence(p) part of the analytical and associative skills necessary for the creative process.To better understand how this works let us examine the history of adopt that is full of analogical and associative thinking. One of the most famous and popular examples of cinema creativity is George Lucass original whiz Wars film of 1977. The success of the film is legendary. Moreover, it completely changed how celluloids are produced. Interestingly, none of the visual images that the film producer use during the writing of the plot were themselves original.Film observers state that most of Lucass imagery was taken from previous film stories and George Lucas himself admits that his original models were the Flash Gordon movie serials and Edgar sieve Burroughs John Carter of Mars series of books I valued to make an action movie a movie in outer space like Flash Gordon used to be. . . . I wanted to make a movie about an old man and a kid. . . . I as well as 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 distress (Interview with George Lucas).It seems that the screenwriter wanted to effect to the sense of wonder and adventure movies that had expired him as he was a child but to update that sense for popular tastes of contemporary creation and make good use of all the technological and cinematic new methods and devi ces 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 myth 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 five-year period of rewrite and editing of the script I began writing Star Wars in January 1973 eighter from Decatur hours a day, five days a week, from then until March 1976, when we began shooting. charge then I was busy doing miscellaneous rewrites in the evenings after the days work. In fact, I wrote four entirely different screenplays for Star Wars, searching for just the right ingredients, characters and storyline. . . . What finally emerged through 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 sort of genre picture, a classic space fantasy in which all the influences are working together. there are certain traditional aspects of the genre I wanted to bound and help perpetuate in Star Wars (Zito 1977, p. 13). Important analyses on the cognitive processes involved in the creative process have 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) fate that three types of insights are found in the creative process. First, the artist selectively separates relevant from irrelevant images. Selective union of separate parts brings about synthesizing isolated pieces of images into united in alls. In this way images are organized in new ways. This type of information gathering 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 who le 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 concert dance was built on African American works and childhood memories.Ailey wrote about Redonda, later retitled Cinco Latinos (21 December 1958) that The native sense of melodrama of the primitive ritual is exploited in this interpretation of an Afro-Brazilian fetishistic ritual, with movements based on both the sensual 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 perhaps the ability to shift b etween 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 record producer Quincy Jones in his creative process is both fascinated and inspired by the new media. He is impatient about technologys potential to move musical art one step further. This allowed Quincy Jones to succeed in creating real hits from ordinary 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 genuinely human allowing me to reach the highest levels of creative performance. Analyzing the creative artists professional life and creative act I identified the major personality traits that relate to tests of creativity and that I also try to develop. They include openness to experience liberty of judgement curiosity preference for challenge and complexity self-confidence internal tendency to risk-taking and strong 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 believe that analogies and associations are among the most strong tools of the creative process because they can produce a great sort of ideas. Conclusion Study of the creative process is important for many reasons. Explaining the creative process helped me identify and realize noble artists unique creative talents. It is reliable that the creative artist may prefer to ignore the stages of the creative process and break 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 crea tive process language.Obviously, one has first to learn a language before he or she can talk. Similarly, it is nearly unimaginable 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. Examination of the artists creative process in this paper 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, unexplained process. Wallas model of the creative process is a good start for analyzing creativity of other people. References Ailey program note, Kaufmann Concert Hall bounce Center of the 92nd Street YM-YWHA, 21 December 1958. Interview with George Lucas printed in the Star Wars souvenir program (New York S. W. Ventures, 1977). Latham, Jacqueline Quinn. A Biographical Study of the Lives and Contributions of Two Selected Contemporary Black Male 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, Stephen. George Lucas Goes out-of-the-way(prenominal) Out, American Film, April 1977, p. 13.