philosophy and psychology of creativity

[jen kristel]

This is great Ivo. I work with Focusing (Gendlin's model) regularly not only with Psychodrama, but art therapy as well and verbal therapy. It is a deeply powerful tool that often I find zeros into the core of the issues using the individuals inner creativity to listen to that deeper self. I finsd that when I do Psychodrama or any other therapy now, I always ask for the person to listen and feel for that felt sense and to listen to that.
Thanks
Jen


Jen Kristel, M.A.,CPT CET
Expressive Arts Therapist

Reiki Teacher/Master
Playback Theatre Director/teacher

Live Simply, so that others may simply live" Quaker Saying








Date: Mon, 13 Jul 2009 17:59:01 +0100
Subject: Re: philosophy and psychology of creativity
From: ibanaco at gmail.com
To: adam at blatner.com
CC: list at grouptalkweb.org

Hi Adam,
Very interesting. I know you are familiar with the work of A. Whitehead. One contemporary approach that I am finding particularly useful is the work of Eugene Gendlin, namely his Focusing approach and Thinking at the Edge. Behind those techniques are a very robust philosophical work that includes the book "Experiencing and the Creation of Meaning" and "A Process Model". As far as I understand it, Gendlin has a pretty good way of finding not just in theoretical terms but in his therapeutic practice creativity. Concepts and experiences like "the Edge", "felt sense", "the implicit", "carrying forward" and so on are essential in his work. Above all, his practice, as I understanding it, always goes beyond the typical pre-ego material, but opens the space to a creativity process that is inherently post-ego. Should be interesting to explore the bridge between your own work with Gendlin's. 

Ivo 

   

On Mon, Jul 13, 2009 at 4:15 PM, Adam Blatner <ablatner at verizon.net> wrote:









The philosophy of creativity is radical, because it 
requires a fine tuning of a particular variable.
    To be spontaneous, one of the 
components that gives rise to creativity, one must open, and believe that there 
is something to which one opens, a kind of "there," a muse, a god, a spirit, an 
unconscious that can be creative, whatever it's called, it's trans-personal, 
beyond the ego and its controls or even the capacity to talk about or define 
what is opened to. It's a kind of surrender.
 
    And yet there is a tendency in 
the psyche to grasp that which one has opened to, to name it, try to define it, 
language it (language here being used as a verb!), know what it is. Yet as soon 
as one crystallizes that which one opens to, it becomes a bit of a cultural 
conserve, and interferes with further opening. 
 
    So the trick is to "believe" 
enough to open, to allow that connection with whatever mysterious source it may 
be to operate; yet not to believe so much that you begin to believe that you 
know what you're believing in, because whatever you think it is, it's more, and 
it's different from your limited understanding. 
 
      My tentative 
solution is to cultivate imagination as an intentional act, to know you're 
playing, imagining, to have that extra surplus reality "frame" around it, to put 
it into virtual parentheses, a working model, a scaffold for intuition. Yet, 
though you use it, you're more than ready to deconstruct the scaffold in the 
service of building another one, a different possibility, allowing for creative 
deconstruction and re-construction, re-opening. 
 
     Still, this model 
itself is tentative, and I'm open to feedback as I wrestle with what seems to me 
to be some paradoxes of creativity. 
 
    Warmly, Adam
Adam Blatner, M.D.
   website: www.blatner.com/adam/   


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