Artists” Creative Process
When I take into consideration inventive profession I often wonder why artists wish to be artists. The very thought of starting every day with the obligation to create something of strong worth, one thing that by no means existed before, appears really onerous work and at the similar time activity that has a strange magnificence in itself. How does an artist interact within the inventive course of and make something-out-of-nothing to come back into existence? How does the artistic process begin? Does it have construction, or the inventive process consists simply of images and an elusive sparkle that lights the inventive fire within the artist’s mind?
I spent plenty of time examining professional life and work of many creative artists and how they’re engaged within the inventive course of.
This paper will make some generalizations about creativity and genius which are basic to the understanding of the creative process and then will analyze the inventive course of within the lives of four notable artists who’re Langston Hughes, Alvin Ailey, Quincy Jones, and George Lucas.
The insights of the creative course of then will lead to the exploration of inventive process in my own life.
The Creative Process Creativity is a continuously stimulating process and finally causing excitement. To observe and experience it fully is a few of the most gratifying aspects of the artistic life and skilled activity. One of the possible difficulties of exploring or analyzing the artistic course of is that it can become uninspired. Really, one of the most current debates in this sphere is whether or not or not or not creativity is simply an instance of rational and analytical downside fixing or consists of other, extra magic processes.
Nevertheless, one thing is obvious – the primary good thing about exploring creativity and the creative course of is that one will in the end come to the understanding of the processes skilled and extra importantly will be in a position to enhance the event and stimulate cultivation of creativity in himself and different folks. What is understood about the inventive process? Let us contemplate the main parts of the inventive process. At first, one ought to know difference between the creative product and the inventive course of.
A common distinction is that the artistic product is the output of the artistic activity. It is the inventive output that is to be determined as artistic or not creative. What are the traits of a product that is thought-about as creative? Torrance (1988), for example, in an evaluation of definitions of creativity, stated that newness is a principal defining attribute of the creative product. Newness, nevertheless, isn’t the one criteria. It can also be of great significance that the product is nice (that is, artistically appealing).
Vernon (1989) proposed a more complete definition of the inventive product stating that, “Creativity means a person’s capacity to provide new or authentic ideas, insights, restructuring, innovations, or creative objects, which are accepted by consultants as being of scientific, aesthetic, social, or technological value” (p. 94). It can be seen that cultural values and norms are a necessary a half of the factors for considering some artistic output to be artistic. A major query then that emerges is “what are the inventive processes that lead to the creative output?
” What the inventive process is concerned that will increase the possibilities that an artist will generate a inventive output? If one can recognize the constituting processes concerned and the character of their interplay, then one can begin to get a picture of the elemental essence of the artistic process. To do this, I will look at the main levels of the artistic course of in the next sections. One of the primary well-known attempts to study and theorize the inventive course of was by Wallas in 1926. Wallas proposed the most important phases that replicate different processes of the artistic process.
Although the levels proposed by Wallas are generalized and international, his mannequin provides a good foundation for the understanding of the creative process. This two-stage model includes the next artistic processes:
In this stage the artist gathers different information, becomes thoroughly proficient, and identifies the problem. It is on this stage that the elemental methods and knowledge base for realization of a specific objective are mastered. Usually, the elemental cognitive processes of logic, associations, and inventive drawback discovering must be major on this first stage.
The first inventive problem finder I wish to point out is called Langston Hughes. Like many other noble artists, Langston Hughes found problems to unravel with art. Langston Hughes found problems to resolve together with his creative writing. He loved to communicate with people and observe the sights and sounds of his district in Harlem after which incorporate this expertise into his works. The artist found many desirable ideas for poems during this process. Actually, some of his most famed poems inform in regards to the things he perceived together with his inventive thoughts and folks he met in Harlem.
In the identical manner, Alvin Ailey discovered problems to solve together with his personal choreography. Thus, for example, Ailey made Afternoon Blues (1953), his first inventive dance work. Working with a musical piece from Leonard Bernstein’s On the Town, Ailey performed the hypersensual, animalistic role of the Faun (Latham, pp. 481–482). In this nice work of the artist, Ailey produced a mental image of dance as a liberation from heterosexual white domination, he discovered a protected place in his inventive work where he may journey into his internal world as a completely sensual human being free from ordinary issues of race and sexuality.
Another example of drawback solving by the artist is Ailey’s inventive reaction to Horton’s demise (he was Ailey’s mentor): the artist determined to make dances that tell dance stories about expensive individuals he knew. He created his first choreographic works to “pay tribute to Lester Horton, to show the strength of James Truitte, and to emphasise the wonder and dramatic ability of Carmen de Lavallade” (Latham, pp. 485–486). Ailey was inventive problem solver: “I knew nothing about making dances for a bunch so I put everything about fashionable dance which I had read or seen into the work.
In addition, I did every thing the best way that I thought Lester would have accomplished it…. I was simply making an attempt to be like Lester as a end result of I thought that was the means in which to be creative” (Latham, p. 488).
In this stage of the artistic process ideas are generated utilizing the analytical considering and logical engaged on the issue. It is on this stage that Wallas introduced the process of the unconscious associations. Creative downside solving is not consciously made, but much organizing in a different way and free associating takes place outside of conscious consciousness of the artist.
In the next sections, there are several descriptions of artistic artists and their experience in this illumination stage. During this process ideas are permitted to roam in an uncontrollable method. It is right here that artistic processes might play a very important function. Artist may need to examine works of the past centuries or creations from completely different cultures for generating new images which are based mostly on the already created thought. This sort of exercise could be thought of as a vital a half of the analytical and associative skills essential for the inventive course of.
To better understand how this works allow us to look at the history of film that is crammed with analogical and associative thinking. One of the most famous and popular examples of movie creativity is George Lucas’s authentic Star Wars movie of 1977. The success of the film is known. Moreover, it utterly changed how films are produced. Interestingly, not one of the visible photographs that the film producer used through the writing of the plot have been themselves unique.
Film observers state that most of Lucas’s imagery was taken from earlier movie tales and George Lucas himself admits that his authentic models were the Flash Gordon movie serials and Edgar Rice Burroughs John Carter of Mars sequence of books: “I wanted to make an action film – a movie in outer space like Flash Gordon was once. . . . I wanted to make a film about an old man and a kid. . . . I also wished the old man to be like a warrior. I wished a princess, too, however I didn’t need her to be a passive damsel in distress” (Interview with George Lucas).
It seems that the screenwriter wished to return to the sense of marvel and adventure films that had expired him as he was a toddler however to replace that sense for popular tastes of latest public and make good use of all the technological and cinematic new methods and gadgets that developed in the interval that had handed since Flash Gordon. He one can see how Lucas was really creative in this stage by incorporating in Star Wars the parable narrative; the screenwriter used a artistic analytical and associative pondering and he succeeded.
But this course of was not a burst of inspiration; it advanced over a five-year interval of rewriting and modifying of the script: I started writing Star Wars in January 1973 – eight hours a day, five days every week, from then until March 1976, once we started taking pictures. Even then I was busy doing various rewrites in the evenings after the day’s work. In fact, I wrote four entirely totally different screenplays for Star Wars, searching for simply the best components, characters and storyline. . . . What lastly emerged via the various drafts of the script has clearly been influenced by science fiction and motion adventure I’ve learn and seen.
And I’ve seen lots of it. I’m attempting to make a classic type of style picture, a basic space fantasy in which all of the influences are working together. There are sure conventional elements of the style I wanted to maintain and assist perpetuate in Star Wars (Zito 1977, p. 13). Important analyses on the cognitive processes involved within the inventive course of have been carried out by a number of researchers. For instance, Sternberg (Sternberg & Davidson, 1982) gave emphasis to the importance of insight in artistic process.
Sternberg and Davidson (1982) point out that three forms of insights are found in the creative course of. First, the artist selectively separates relevant from irrelevant images. Selective union of separate parts brings about synthesizing isolated pieces of photographs into united wholes. In this way pictures are organized in new methods. This type of knowledge gathering sets the stage for creative insights. Usually, artistic artists have been transformed, have been inspired by, and sometimes have plagiarized the ideas of different artist and from various cultures by way of the whole of historical past.
This process can also be seen in Ailey’s work that echoed literary traditions of black cultural heritage, registering “the existence of a ‘black self’ that had transcended the restrictions and restrictions that racism had positioned on the personal development of the black individual. ” Incorporating African American custom and tradition, Ailey’s artistic work grew to become an embodiment of African American culture. The artist’s inventive process into concert dance was constructed on African American works and childhood memories.
Ailey wrote about Redonda, later retitled Cinco Latinos (21 December 1958) that: “The innate sense of melodrama of the primitive ritual is exploited in this interpretation of an Afro-Brazilian fetishistic ritual, with actions primarily based on both the sensual and animalistic elements of those rites” (Ailey program note). Ailey succeeded in the connecting the whole generation of African-American individuals with the mainstream U. S. tradition. It is maybe the flexibility to shift between stages that is essential to the inventive course of. Such ability permits the artist to realize access to artistic cognitive and affective processes.
It allows the artist to transform or revise what she or he knows and to find new patterns. Like so many others in his time and after, artistic document producer Quincy Jones in his inventive process is each fascinated and impressed by the new media. He is captivated with technology’s potential to move musical art one step further. This allowed Quincy Jones to succeed in creating real hits from strange singers and songs. When artists are engaged in these inventive processes, they really feel they’re performing at the peak of their skills. In my life I also feel that my inventive work provides me insights and makes my reside wealthy.
Moreover, I think that creativity is part of what makes me really human allowing me to achieve the highest ranges of inventive efficiency. Analyzing the inventive artists’ skilled life and inventive act I identified the main character traits that relate to checks of creativity and that I additionally attempt to develop. They embrace:
- openness to experience;
- independence of judgement;
- preference for problem and complexity;
- natural tendency to risk-taking;
- and strong motivation.
These character traits enable me to convey collectively numerous ideas and generate a new perspective or to create a new combination.
I believe that analogies and associations are among the many most powerful tools of the inventive process because they’ll produce a great variety of concepts. Conclusion Study of the creative process is important for many causes. Explaining the inventive course of helped me identify and realize noble artists’ distinctive creative talents. It is true that the creative artist may favor to disregard the phases of the inventive process and break all the conventions. But my point of view is that that is the mistaken means to consider creativity. Instead, I consider the creativity as a type of the inventive process language.
Obviously, one has first to study a language before she or he can talk. Similarly, it is practically inconceivable to create anything without the foundation. And simply because the artist uses the background from earlier works or different cultures doesn’t imply they do not seem to be inventive. Examination of the artists’ artistic course of in this paper suggests that analogical pondering is essential to the artistic course of. In basic, entry to and use of historical past, myths, legends, experience of different people and totally different cultures and creativity are associated processes.
For me, inventive process is actually a type of problem solving – not a miraculous, unexplained process. Wallas’ model of the creative course of is a good begin for analyzing creativity of different people.
- Ailey program note, Kaufmann Concert Hall Dance Center of the 92nd Street YM-YWHA, 21 December 1958.
- Interview with George Lucas printed within the Star Wars memento 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 Women’s University, 1973, pp. 481–482. Sternberg R. , & Davidson J. (1982, June).
- “The thoughts of the puzzler”. Psychology Today, sixteen, 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 artwork of thought. New York: Harcourt Brace. Zito, Stephen. “George Lucas Goes Far Out”, American Film, April 1977, p. 13.