BEING MORE CREATIVE
Beyond ways of
hearing that limits our hearing
Beyond ways of
looking that limits our seeing
Beyond ways of
thought that limits our thinking
Beyond ways of
knowing that limits our knowing
Beyond ways of
understanding that limits our understanding
CONTENTS
THEMES - STRUCTURED AND SEMI-STRUCTURED EXPERIENCES TOWARDS
BEING MORE CREATIVE
Suspending our Normal
Ways of Knowing
Suspending our Stock
of Knowledge
Being a Connoisseur -
Connoisseurship as a Method of Inquiry and Discovery
Linking
Connoisseurship to Surrender and Catch
Being aware of
differing forms of our awareness:
Simultaneously
Contemplating Subject Verb and Object
Giving our
Unconscious Mind a Task
Fostering a
Contemplative Mode
Recalling Previous
Creative Times and Places and Re-Accessing that Creative State
Using Defocusing to
Aid Entering Deep Contemplative States
Spontaneous Sudden
Creative Expression
This
resource emerges from a flurry of action research into human potential,
intuiting, and creativity in the 1980s in Sydney, NSW. A group of 25 people
with professional backgrounds or interests in human potential regularly
gathered to explore the outer edges of potential and experience of sensory phenomena,
and to playfully and artistically explore engaging the senses and awareness in
novel ways towards increasing creativity and capacity. This resource supports
the evolving of our individual and collective potentials for creativity and the
use of these potentials for better worlds. This Resource also emerges from
material presented to the Inventors
Association of Australia.
Innovations
tend to be obvious once some one or more folk come up with them. Till then the
obvious remains elusive. I’m fascinated with folk who can notice something
significant that no one else in human history has noticed.[1]
Just how do they do that?
Here
we have an opportunity to explore being innovative about how we innovate;
exploring some possibilities as we engage in creative processes. More specifically,
exploring ways of going beyond how we are individually and collectively
innovating; so the theme - Elusive Obvious; innovating the processes we use in
innovating. ‘Elusive Obvious’ was a termed used by Moshé Feldenkrais in his
book of the same name (1981). Feldenkrais was an innovator in movement as a
process for holistic transforming.
Every child is an artist. The problem is how to
remain an artist once we grow up.
Linked
to this John Lennon said
Every child is an artist until he’s told he’s
not an artist.
So
becoming childlike and letting go the limits that other people have been
putting on us. Seeing with wonder in our
eyes. Returning to a state of innocence. Recalling times before our heads were
filled with cotton wool and rags. So some of the experiences here may prepare
your bodymind for entering creative ways of being in the world.
This
links with the next theme.
Suspending our Normal Ways of Knowing
What we normally do
typically generates the normal kinds of outcomes. Being creative entails going
outside the normal in all kinds of ways
Suspending ways like:
o asking
questions
o seeking
answers
o defining
o explaining
and
o using
manipulative thinking - so we can know, so as to predict, so as to control.
Rather, exploring relational knowing to become better
acquainted; an open-ended knowing that re-forms us, and trans-forms us.
Kennen - Following Pelz (1974),
using the German concept ‘kennen’ - not a ‘provable’ manipulatable knowing (the
German concept ‘wissen’), rather kennen implies a knowing to become better acquainted in deep prolonged relating – to become
even more familiar – ‘to kennen’ is ‘denoting something personal (and
inter-personal), subjective, unfinished and unfinishable, involving me and
interesting me’. It involves embracing
rather than grasping. It is
relational knowing.
Stimmung - Pelz (1974) speaks of a
particular mood in accessing intuition and creativity where appearance can
reveal and deceive. In this, Pelz introduces another German word, ‘stimmung’
having, as one of its meanings, ‘a mood that attunes’. I sensed that I work
best creatively when I enter this attuning mood. I also am exploring attuning
moods and creativity tapping wisdom in group contexts (in both senses – that is
exploring constituting stimmung and noticing its spontaneous emergence).
Suspending our Stock of Knowledge -
Suspending our links to
our communal stock of knowledge held in common with others that is
helping set up our limits and binding us; also suspending the inherent limiting
of our taken-for-granted sense of reality, and the idea that we
inhabit a common social world, and share a common reality. Then becoming unbounded,
surrendering to everything and waiting with the possibility of receiving
The Potency of Context - we are always in a
Context. Contexts are changing from moment-to-moment. Contexts have implications;
hence, recognising the very big difference in the nature of, and the task of
perceiving the following:
o The
shifts in Context
o The
different things in the Context
o The
salient in Context
o Distinguishing
task and content
o Framing,
Reframing, and Deframing Context
o Distinguishing
the foreground and background in context, and switching these
o The
non-obvious significant in the context
o The
inter-connecting aspects in the Context
o The
inter-relating aspects in the Context
o The
inter-depending aspects in the Context
o The
Elusive Obvious
o The
simultaneous entanglement of all of the above
Emergence of Intuition: Make connections between
different categories and contexts. Allowing aspects to emerge out of dynamic
eclectic experiential processes rather than have endeavour being an
intellectual exercise imposed on a context.
Serendipity - openness to life’s
abundant possibilities. Connoisseurship and surrendering may contribute to
serendipity - happy accidents and pleasant surprises.
Once
we have a return to innocence we can become intensely involved with the world –
savour its grandeur and minute details. We may become a connoisseur of life.
Connoisseurship
- the ability to make fine-grained discriminations among
complex subtle qualities, the art of appreciation; as a method - allowing the
situation to speak for itself, that is, to allow for an emergent focus beyond
divergence. This involves enriching perception; the sense and significance we
make from all that is streaming through all our senses (Eisner, 1991). More on
this in a moment.
Surrender involves:
o suspension
of received notions (our stock of knowledge)
o total
involvement
o immersion
in contexts
o pertinence
of everything
o identification
o risk
of being hurt, and
In
Surrendering one leaves oneself open to ‘catch’ (Wolff, 1976).
Catch meaning the creative idea,
cognitive or existential result, the yield or harvest, sensing the salient in
context, the implications, the new conceiving or new conceptualising.
It
is typically extremely difficult to step outside of our own limits, our own
conditioning. One time when this may be easier is when we surrender completely
to something. In surrender as in love, differentiation between subject, act and
object disappear. An example of the suspension of even essential categories
among our received notions (Wholf, 1976, p. 20) from Tolstoy’s (1877) Anna
Karenina:
Then
for the first time, he clearly understood that he was not simply close to her,
but that he could not tell where he ended and she began.
Mulling
- Having ideas emerging from embodied experience, and then mulling on this
experience, then theorein (pretheoretical theorising) and using outside-the-square
mulling while suspending our stock of knowledge inferential processes – hunting
for creative inferences.
Inferential Space - Surrender to space, place
and locality as Inferential Space. Sensing for what may be inferred from the
space. Refer previous reference to the Yeomans Farms
Enriching Perceiving - the sense we make of our
senses.
Using ‘Connexity Perceiving’, that is, perceiving all of
the:
o
Inter-connecting aspects
o
Inter-relating aspects
o
Inter-depending aspects
o
Inter-cooperating aspects
o
Interweaving aspects
Also recognising that
at times, all of these are happening simultaneously.
Copying Nature
– sometimes called biomimicry; there is an astronomical
number of aspects of nature that we can call upon for creative imagination; for
example mirroring aspects of fungal mycelium spreading underground in evolving
face-to-face social networking
Sustained Awareness
of our shifts in awareness of our bodies moving may lead to states of
hyper-kinaesthesia – profound pleasure in graceful movement.
Becoming Aware of the
Nuances of our Senses and Sensing –
All
of our sense modes have many sub-modes or submodalities. Some examples in the
visual mode:
o Distance
o Direction
o Colour
or Shades of Grey
o 3D
or 2D
o
Foreground and Background
Increasing perception by
attending to sensory sub-modalities may increase our intuitions towards
creativity.
Simultaneously Contemplating Subject Verb and
Object
Contemplating:
o
Context
Engagers (Subject), (those engaged in the
context) and
o
Engaging
in the Unfolding Context (verb), and
o
What
is happening in context (object)
Then contemplated these three simultaneously.
Naming (nominalisation) may
contribute to stuckness. Transforming nouns to verbs, especially in the present
continuous tense (the verb form with ‘ing’ at the end) creating potential for
accessing the dynamic, aiding recovery of the deleted, and the challenging of
the distorted. ‘I am a failure at creativity. Notice the process: change
the noun ‘failure’ to the verb form ‘failing’. And the noun ‘creativity’ to the
verb ‘creating’. Hence, opening up the possibility of different and richer ways
of representing their experience of themselves to themselves – Failing at what?
With whom? How? When? Where? ‘What would you like to be creating?’ This places
them into a reality where creating is possible. Then access the processes outlined
in this resource booklet
Doing the Opposite – generating excellent
ideas from doing the opposite to what is usually done – like keeping folding a
tarp out rather than in and this way water, leaves and bits of soil drop off
rather than being folded inside the tarp.
Diverging - as converging typically leads to the known and
the predictable
Leaving spaces for open silence, or theme
framed silence, for contemplating and mulling; giving our ‘other parts’ a
challenge, sleeping on it and using our unconscious.
Accessing Unconscious Resources
To
access unconscious competences, capacities and resources surrender to the
unconscious and seek; and you may receive complete and fully formed responses,
and if and when you do, write them down or act on them immediately as they may
evaporate and be unrecoverable. It seems that all the aspects of the conscious
mind are replicated in the unconscious mind - resources, capacities,
experience, learning, knowing, understanding, memories, capacities, competence,
resilience, behaviours, wisdom and other phenomena. Seems that our unconscious
also has scope to be a connoisseur, to contemplate, ponder
and reflect; it also seems to have endless storage space and a massive archive
of goodness knows what order. The unconscious mind may well be like, in some
respects, the proverbial fly on the wall – in a privileged relating and
intimate observing and recording role of everything that happens both inside
and outside of us. Seems the unconscious can engage as audience
and as crowd to the myriad psychodynamic happenings within and between
us, as well as having access to all sensory input from outside and in.
Giving our Unconscious Mind
a Task in simple direct literal (taking words in their usual or most
basic sense without metaphor or exaggeration) terms and wait for a
response. It may take moments, or days, or months. After a while you will sense
when your unconscious is ready to download – typically, in a very complete
well-formed way. Be ready to act and/or write it all down immediately. So to
repeat for emphasis, to access unconscious competences, capacities and
resources surrender to the unconscious and seek; and you may receive complete
and fully formed responses and if and when you do write them down or act on
them immediately as they may evaporate and be unrecoverable.
Fostering a Contemplative
Mode of knowing that has some
resonance with connoisseurship. Following Pelz, contemplating as mode of
knowing is: a kind of intellective-emotive compound of seeing-hearing-smelling-tasting-feeling.
It is appreciative and savouring. It leaves things as and where they are. It
neither proves nor disproves, though it may approve or disapprove. It is the
psychic equivalent of eating, drinking, and breathing.
Contemplation
does not wish to handle its subjects and need not therefore concentrate on
looking for a handle. Contemplating involves embracing not grasping. It is
engaging beloved by beloved. It is soft. It is not hard. It is not exclusively
interested in categorizing them according to function and utility within a
conceptual framework designed by and for sectional interests.
Having a Purposeful Break - Beveridge speaks
about having a purposeful break in these terms: The most characteristic
circumstance of a creative moments in intuition are periods of intense work on
the problem accompanied by a desire for its solution, abandonment of the work
with the attention on something else, then the appearance of the idea with
dramatic suddenness and often a sense of certainty. It feels right. You learn
to do a kinaesthetic check. For example, you get a specific gut feel.
Taking a Long Break
- I did have clarity and sudden insights ‘out of the blue’ after taking a long
break from intense writing or action research. I also found that not reading my
writing for a number of weeks would allow me to see with ‘fresh eyes’. I could far more easily spot things like
clumsy or unclear expression, unintended ambiguity, punctuation errors and the
like when the material was less familiar.
Recalling Previous Creative
Times and Places and Re-Accessing that Creative State. As you’re doing this the whole of you becomes
more and more attuned to shifting states as appropriate to context. After a
time you’ll learn to enter the creative state with inner silence and the superb
creative flows through your fingers to the keyboard in complete inner silence.
Eliciting Creative States – Check out eliciting
processes. A place to start may be the ways of Milton Erickson (refer Hanlon,
1987). Using these ways ecologically on self and others – for example:
Perhaps
you may
come up with something
really creative
relating to X.
Go through your life
experience
and
see
what you
come up with.
Defocusing
- Allied to contemplating is a process Jeremy Narby calls defocusing. As a
metaphor for defocusing, Narby speaks of those stereo pictures where the three
dimensional image only appears suddenly with the relaxed defocused gaze.
Examples of
defocusing approaches are daydreaming, nocturnal soliloquies, and,
contemplating.
Using
Defocusing to Aid Entering Deep Contemplative States
Having
a specific
or
general
intention
to become creative
and
sitting
in a quiet comfortable place
with
little external disturbance
perhaps
one of our creative places or spaces
and
settling
down in ways you know or discover
and
now
hold
up your right thumb about 10 cm(4 inches) in front of your eyes
and
softly gaze at your fingernail
for
a time
without
blinking
until
eyelids
tend to close
and
as your eyelids close
maintaining
now
how
your eye muscles feel
as
you slowly lower your right hand
as
you become even more relaxed
and
have your tongue settle in your lower jaw
and
notice inner silence
and
enjoy this state of creative potential
Spontaneous Sudden Creative
Expression can occur unexpectedly at
any time without intending it while speaking and throughout a writing
endeavour. A key thing I have found with sudden creativeness and insights is to
write them up immediately they occur as they have a tendency to disappear
beyond recall as fast as they come. One or more creative words may even be
embedded within a sentence. So, watch for this spontaneous utterance of gems in
others. And if I draw it to the speaker’s attention, typically they have no
recall of saying it. It was from spontaneous unconscious utterance. Often it is
the sequencing of two or more words. Together these words may embody a profound
insight. And in the company of others when one person expresses a profound
statement the others tend to not notice it either. Typically, no one else
present notices it. So, learning to spot creative wisdom whenever and wherever
it appears.
Recognising the Creative -
Often people do not recognise creativity and wisdom when they hear it or see it
precisely because it is outside the
square. It is beyond their capacity to comprehend. A typical response to
non-comprehending something is to dismiss it as nonsense. So, recognising when
we’re reaching the limits of our comprehending and surrendering to
possibilities.
The
above is a small glimpse of possibilities. Here’s a challenge. Have a go at
exploring the above themes and suggestions in your own life. The above hints at
differing modes of being in the world as an extraordinary innovator. You may
find that synchronicity begins to go through the roof as you begin connecting
more in the world and being open to possibilities.
Reading
and re-reading this Resource and using the Contents page may be a memory
jogger. .
All
of the above processes lend themselves to being embodied – what’s termed embodied
learning and embodied knowing; the form of knowing that emerges from immersing
ourselves in action, experiencing this in our body, and being transformed by
the result. Exploring these ways in groups with your peers is invaluable.
We
may not be able to write about it or put it in words, though we can evolve and have
the knack. Then we’ve got it. And others can say, how in heaven’s name did you
come up with that?’
Beveridge, W. I. B.
(1950). The Art of Scientific Investigation. London, Heinemann.
Eisner, E. W. (1991).
The Enlightened Eye : Qualitative Inquiry and the Enhancement of Educational
Practice. New York, N.Y, Toronto : Macmillan Pub. Co.
Feldenkrais, M.,
1972. Awareness Through Movement - Health Exercises for Personal Growth. New
York, New York : Penguin Books.
Feldenkrais, M.,
1981. The Elusive Obvious. Internet PDF
accessed Dec 2017.
https://universalflowuniversity.com/Books/Books/importsed/The%20%20Obvious%20-%20Moshe%20Feldenkrais.pdf
Hanlon, W. D. (1987).
Taproots: Underlying Principles of Milton Erickson's Therapy and Hypnosis.
London, W.W. Norton & Co.
Narby, J. (1998). The
Cosmic Serpent - DNA and the Origin of Knowledge. New York, Putnam - Penguin.
Pelz, W. (1974). The
Scope of Understanding in Sociology : Towards a More Radical Reorientation in
the Social and Humanistic Sciences. London, Routledge & Kegan Paul.
Tolstoy, L., 1877, p
1046. Internet site accessed June 2017.
http://www.planetpdf.com/planetpdf/pdfs/free_eb ooks/Anna_Karenina_NT.pdf
Wolff, K. H. (1976).
Surrender and Catch - Experience and Inquiry Today. In Boston Studies in the
Philosophy of Science. R. S. Cohen and Wartofsky. Boston, D. Reidel Publishing.
‘Yeomans Property Under Threat From Developers’ (At 4:01
minutes)
https://www.youtube.com/watch?v=s1lI-znogTk
[1]
For an example, refer ‘Yeomans Property Under
Threat From Developers’ (At 4:01 minutes)
https://www.youtube.com/watch?v=s1lI-znogTk