Theoretical aspects of creativity

As one of the many tasks of man, Music in its many and varied forms has expressed not only a social need but one of the most transcendent aspects of Human Creativity. Such as the printed image of the great "Gestalt" of the Creator, who would have carried out his universal work from the same Word. That Art has as its daughters all pictorial, sculptural, literary, musical, theatrical, dancing creations, etc. It is an indubitable fact from the beginning of the times in which Man was "thrown into the world" in the saying of Kierkegaard and was involved in a Nature that forms a substantial part of his Life since then and for forever. The entire Universe forms, according to my particular experience, a great constellation of rhythms, melodies and harmonies as if it were a great eternal concert.

In this PsychologyOnline article, we talk about the theoretical aspects of creativity.

Index

1. Creativity: definition and importance
2. goals
3. Theoretical aspects of Creation / Creativity
4. The Word and the gesture of Creation
5. The theories

The creativityBeing one of the most sophisticated and structured psychic processes, it allows the most different, complex and transcendent human activities to be carried out. In this creative process our entire personality is involved.

Because of its articulation with human nature, creativity is a indispensable source from which it is possible to obtain to put into practice in the most concrete way possible all that wealth of resources that are "asleep" in our psyche. Perhaps we should resort to these potential resources at all times in our lives in which changes of a high significant content take place.

The creation or the act of creating it is an essential characteristic of the human being. This is one of the mysteries that lie at the bottom of our unconscious. It will be in creation that "something" that was not happening, and it will be man who has the power to create and modify the nature of things that will serve as his daily and transcendent "sustenance".

When we analyze the history of creativity, we marvel at the enormous progress that manifests itself in the 20th century: theories atomic, relativity, quantum mechanics, nuclear physics, genetics, immunology, cybernetics, radio astronomy. discoveries man realizes the intimate nature of things, which, as always, are never as they fully appear to our senses. When it is created, man approaches essences, but when it is repeated, it only reaches a mere appearance.

It will be in the work of art as such (art from the Latin "artao": joining parts), it will unite cosmically (orderly) everything that appears chaotic to man. In this way, Art (although not every time) shows that organizing aspect, be it a tendency to balance and harmony innate in human consciousness. We could also speak of "another order" or of "a new order", when the work of art or the technique -since both are complementary- presents forms that deviate from the conceptions classical. The uncertainty that characterizes these end of the century, also presents here in its unique credentials.

All human creation advances in the sense of increase the order and order the uneven even when certain disorders give us so much aesthetic pleasure. Human creation develops and would develop in the sense of giving meaning to life.

Nevertheless, creativity does not develop constantly. There are certain inaccuracies in the emergence of it. There are historical times in which creativity is deeper and others in which it does not appear. In this sense, it could be said that creativity in both the creator and the historical creation advances by leaps and bounds. Leaps of an epistemological nature. These can be observed both in the creation of the technique and in the artistic creation, be it musical, literary, pictorial.

One creation succeeds another as in a necklace of real pearls, between which there is a necessary temporal-spatial separation. Your unit will give you the veracity and certainty of its contents.

It will be in the current human creativity where we will find these four characteristics:

1. They are of a high and complex level,
2. almost all creators are dead,
3. All these changes affect a part of human nature and
4. it grows unevenly (our physics would be better than Aristotle's, but contemporary sculpture would not outperform classical). The music of Mozart, Beethoven or Brahms retain their organic and structural validity until these very times that we have to live.

Taking into account some and other factors listed above, we can consider this article as important for all those activities in which technique and artistic factors are found together. We have proposed for the moment four substantial objectives:

1. Reflect on one's own creative capacity, knowing, witnessing and acting in accordance with what each person can and wants to do. Power and willing are inextricably related.
2. Promote authentic creativity, bringing together the own and innate resources that each human being possesses, demystifying the easy resources of plagiarism and copying.
3. Propose a mode of individual and group creativity, taking into account not only the needs of the creator but also those of the historical moment in which he lives.
4. Establish the recovery of the ethics that every creative act proposes when it is authentic and is at the service of the Common Good.

It is in Music where creativity seems to have been embodied most eagerly. Music is made in all the towns of the world. Popular or profane as well as religious music, both accompanying the continuous evolution of Humanity.

From time immemorial, Creation has preoccupied the mind of man. Questions about Creation have always raised in Humanity, questions of all kinds. Thus, both the myths and the legends and fantastic interpretations about when, why and for what was man created, has generated a hermeneutical beyond which all the sciences have also dealt with in accordance with their fields of research.

But it will be the religion who since its inception has had Creation as the starting point of everything created. Creation that has not been finished, but continues in a deep process of re-creation. Creativity will account for this process of re-creation.

According to our criteria, the Creation will correspond to a divine plan and the Creativity with a human plan. In this way, we delineate the planes of application of both words, although we want to make it clear that Creativity in fact emerges from Creation itself.

But to access Creativity in accordance with an articulation that I developed in Sports Psychology, we will use the specialized domain of human science. This is also possible in other areas of applied psychology.

To this end, the most sincere method will be to find solid foundations by gathering the greatest amount of information available starting from that aphorism proposed by Husserl, that is to say "return to things same ". For this, if we go through history, along its length, we will find men who have made contributions of exceptional importance in the various fields of action of our species. Artists, technicians, visionaries, innovators in all areas have left firm testimonies of the high symbolic capacity that human and which in itself marks the abyss between what is clearly human and the intended evolution from the animal species, even when this is ascertainable. It is obvious that if we all share this world, we have similar "things" to inhabit it. But, the fact that we call our neuro-vegetative system that, and from time to time we find humans who We call not without a certain prejudice "vegetables", in very little we can assimilate a vegetable to the remarkable and wonderful "machine" that it is the man. Obviously, vegetables have their thing! And what about the trees our oldest and most serene friends!

The act of creating is a essentially human characteristic and only man can perform this infinitely creative act that, even today, is presented to us as a kind of mystery for its meaning and its relationship with the deepest thing we possess, our transcendence.

Will be through the word or through the creative gesture that an individual or group of people make the call creative act, that from our position, we will say "creative act". It is through this typically human act that something that previously did not exist is born, or is discovered in a different way. This act as shown by Anthropology has a structural and symbolic characteristic and is registered in the domain of the human.

But something happened with the "ancients", those who still show us their culture today. What is possible to observe, giving rise to different interpretations; is the fact that, as pointed out by D. Morris (1989) are "remained beings." Their culture has not advanced. But, we must ask ourselves, will it be necessary?

When we approach these "primitive" cultures with due respect, we discover that these "left-overs", who have been isolated and even held back by the called civilization have invented lifestyles, languages, art, cults, which, when carefully observed, present a degree of originality fascinating.

Taking into account the approximately three million years old that our planet is, humanity in a very short time has made a vast and deep history. Is it because that symbolic power that men possess, does it allow it? If this symbolic power is so rich, how can its immediate consequence, creativity, not be?

The fact of this remarkable discovery that man represents the universe itself with his singularity, having been created with the same matter that the universe possesses. At this point, would it be possible to think of man as the result of an unlikely succession of coincidences? Would we not be here within one of the many myths that it was necessary for certain scientists to verify their own atheism?

Is not man a probable and logical manifestation, born of an intelligent and orderly "process"? P. Putnam (The future of Land Based on Nuclear Fuels, 1950) has calculated that if our species came from a couple that had lived ten thousand years before Christ and had grown steadily at a rate of 1 percent per year, the mass of human flesh would form a sphere several thousand light-years away. diameter. It is obvious that this is an arithmetic calculation, but it gives a good image of the expansion properties that living matter possesses, although when this type of calculation seems paradoxical and absurd.

On the other hand, why are biologists compelled to say that organisms are extremely improbable objects, that evolution is a system that generates high degrees of improbability? Isn't this also a mythical need at the service of a fashion paradigm?

According to most of the prevailing theories in antiquity, once created matter, it would gradually degrade until an end ("Eschatón") in which it would die. These investigations were always carried out in closed systems and at the molecular level, which is why they were subject to large result errors. These processes gradually inspired formulas such as the one in which "nothing is created, nothing is lost, everything is transformed."

This vision that has especially characterized the last century has been substantially modified compared to the investigations and discoveries of the twentieth century. Radioactivity, the theory of relativity, quantum mechanics, nuclear physics, cybernetics, astronomy, etc., have been able to reveal each in their own way, that energy is not created or lost, as well as that there is really a degradation of the matter of the universe.

On the other hand, according to TO. Ducrop (Le roman de la matiere, 1970) clarifies that: "The energy transactions that take place at the fine, atomic, corpuscular, infra-corpuslar levels, perish governed by what cybernetics calls positive feedback."

In short, the great universe law will not be a degradation, but a regular assessment of its substance.

Matter is called to give rise to increasingly evolved associations. At the beginning of the chain, there were the particles. At the other end, we will find life. Cybernetics will be the architect of evolution.

This life is watched by H. Brown (The Challenge of Man's Future, 1954) as: "If quantitatively life does not form more than an excessively thin film on the surface of the planet that supports it, however, it has been existing throughout throughout most of Earth's history and qualitatively the human nervous system represents the highest observable organization of the subject".

It was also in this century that the image of Freud, With his discovery of the laws that regulate unconscious processes, he sustained an overdetermination of these in all our behavior. To this extreme position was added that of Marx who in turn believed he discovered that another deterministic causality emerged from economic relations.

Each in his own way and having those authors who also adhered to this radical position, we observe that all of them believed they found in the deterministic principles the knowledge of all the causes of a phenomenon for which we would be in a position to predict it in a absolute.

This deterministic principle has been put in parentheses from the theories of Einstein, Heisenberg and Wiener. What important comparison could we make between these scientists and the musical creations of Schonberg, Dallapicola, Webern, Honneger and many others who introduced new paradigms that suggested the beginning of new forms of hear.

Everything would seem to indicate that human creation (creativity) develops in one sense: grouping and increasing the various orders in which Life itself manifests. Music is a constant witness to the change of times and in this way it manifests itself in different structural modifications, to which the "ear" should go accustomed as they were used in the time of Beethoven several listeners of trills that were not considered very "Saints".

This unfinished way of finishing an article is not random, but also motivated by the need for it to remain so indefinite and hesitant like the vibration of the Universe, which in its "useless" expansion clearly shows that Creation, at least, has not yet finished of being.

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