philosophy and psychology of creativity

[Connie Miller]

Dear Adam and all I just finished an incredible 50 hour international training in Holland which teaches this model through Souldrama. Each time it becomes more and more powerful to help people who have remained stuck as they align the ego and soul. Nothing can changeuntil one opens the first door of trust and faith and then goes into the door of clarity to embrace their shadow this is our rational intelligence . These are the pre personal stages and are the most ego invested. The third and fourth doors are the personal and align with our emotional intelligence. They bridge the gap between the left and right brain through action methods and they include compassion and love. The fifth and sixth doors are those in the realm of our spiritual intellligence, What I am and embrace humility and gratitude. This is the realm of the transpersonal.Each door builds one up to being both present and spontaneous so that they can to access their creativity as transformation comes with laughter. It is then we can integrate all three of our intelligences Connie
Connie Miller TEP, LPC. NCC 
http://www.souldrama.com/ 
The International Institute of Souldrama 
620 Shore Rd 
Spring Lake Heights 
NJ 07762 USA 

1-800-821-9919 

-----Original Message-----
From: Adam Blatner [mailto:ablatner at verizon.net]
Sent: Monday, July 13, 2009 11:15 AM
To: list at grouptalkweb.org
Subject: philosophy and psychology of creativity

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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