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The Emotions of Creativity

The Emotions of Creativity

I find that photo above my mantle irresistible. If I gaze into it long enough my spirit sings; I’m there, in that place where the photographer found a peaceful moment early in the morning. What I feel is the intent of the captured moment. The photographer – Paul Camponigro – did a great job of connecting his experience with mine through his creation.

Emotions are the simplest reality; our first awareness. Our thoughts can carry us to complex reaches of imagination, but our feelings are more primitively connected to the earth. Emotions lead the mind; we feel before we think. In effect, a statement like, “I can’t believe the way I’m feeling about this” implies that there are two of us: our thinking selves and our feeling selves. Emotional feelings are distillations that can explode into complex thought. Both learned and inherited, we have emotions before we know what we are feeling. We are indifferent until emotions are triggered

It’s difficult to discuss emotions relating to creative artistic expression without digging at the roots of emotions themselves, but it’s not hard to experience the emotive nature of creativity. Artistic expression or performance has an emotional component: Etta James in full voice, an Ansel Adams retrospective, or a dance company performing the Nutcracker are good examples. Back in the 80’s, I choked up watching Larry Bird trade baskets with Dominic Wilkins during a critical NBA playoff series; a creative human performance at its most inspiring. Perhaps a Brahms Concerto brings tears to your eyes or is it the accomplishments of the 17th Century Dutch Masters? What’s up with that? How do these feelings reach us?

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Peppering a musical staff with shotgun holes and playing them as notes is music. It’s music because it is in the form of music and can be played. Provoking as it may be, shotgun music is bad unless you are lucky enough to shoot holes corresponding to a Beethoven Symphony, or at least an emotive measure or two. That is, an emotion other than anger at being subjected to noise. Like a computer randomly selecting musical notes, the artist (marksman) made no attempt to interpret, reveal or otherwise transmute a feeling about their creation. Yet, I wouldn’t discount luck.

The next rung on the “low emotion” musical ladder is that designed for public soothing; those homogenized tonal equivalents of raw tofu. A grocery store tune crackling through a 4″ speaker is an emotional wasteland. Imagine you’re eagerness to connect a friend with the best psychiatrist you know if they boasted an intense emotional connection to a Musak interpretation of the “Long and Winding Road”. His psyche would need investigation, don’t you agree?

Wedding bands play mechanical versions of old favorites, as if the goal is to add as little of their own style as possible. “Hey, that sounds exactly like …” Fill in the blank. At a wedding last month, a version of “Stairway to Heaven” was close enough to the original to make me groan out loud. It was followed by the best “Last Train to Clarksville” replication I’ve heard since the Monkeys split. Each member of the band is a talented musician producing near soul-free versions of familiar once popular tunes. At the same time as the music is played, creativity is scantly identifiable without a fresh contribution from the artist. Show me emotion; risk something.

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Sharing our feelings makes us vulnerable. With artistic expression, emotions offer a distinction between artificial and genuine art. The artificial are those masquerades – no matter how well performed or polished – that pretend to be creative through imitation or rote. Even a small emotional connection at the right moment can change lives. While that may seem melodramatic – it’s frequently true. Artistic expression sans emotion is a dead end; it connects with no one.

Great artists supply emotional tension to invariant forms. A rendered tree can be a child’s pencil line of trunk and branches, but the tree in a Camponigro photograph carries a stronger emotional tension. A tree Paul Cezanne interpreted may prevent me from seeing a tree the same way hence. My past is projected on his interpretation; I visit emotions that the image evokes. In a sense, I find new meaning in the tree through his illustrated perceptions; I draw analogies from my past upon viewing the intimately rendered tree that make me feel something new. He created imagery that left room for my own interpretation: mixing old with new, mine with his.

In his landmark book, “The Courage to Create”, Rolo May offers this insight: “Artists pursue meaninglessness until they can force it to mean something …They immerse themselves in chaos to give it form.” In other words, form is an interpretation communicated through their world view, and artists bring emotion, once buried in chaos, to the surface.

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Emotions disturb equilibrium – at equilibrium we’re neutral. Exceptional art isn’t neutral and neither are significant artists. The stereotypically tormented soul of a painter, sculpture, musician or writer, removed from their torment, risk equilibrium thus dulling creativity. Offer an emotional pillow; comfort, or long term contentment and a muse may be ignored. Orderliness, comfort, and contentment, eliminates the turmoil in which artists plunge to reveal their creation. An artist in emotional retreat is comfortable; no longer struggling against turmoil or challenging complacency.

While I’m not suggesting that all great artists are tormented, [although it may seem that way] I do claim, however, that they challenge reality in a way that peaks them emotionally. Stereotypes don’t emerge from nothing; the artist temperament is well documented. Much has been written about why artists act the way the do. Google it and you’ll see.
Why are artists so damn sensitive [I hear you ask]? Perhaps it’s because they’re receptive and stay emotionally in tune with their surroundings. Or, maybe because they are hopelessly insecure – they are, after all, “putting it out there” – so to speak. I believe, In part, they appear sensitive because of risking emotional vulnerability. That is, if they’re any good. Artists need to stay receptive, like an antennae pointed toward the sky; emotionally open to feel the encounter with reality that brings together imagination, craft, and emotions to the act of creation.

Imagination confronts reality through its muse. Creativity is, at least in part, the manifestation of the artist’s emotional encounter with a muse; imagination merged with reality filtered by an emotional world view.
I know from my experience as a photographer that clicks of the shutter give a nanosecond peak of pleasure; a joy of being in the moment. The best photographers don’t look for that moment so much as they feel it. Once in a target rich environment – whether staged or found – the intellectualizing is over and the fine nuance of emotional connection begins. At that point, composition and other skills take a back burner to the subject / artist connection.

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Finally: conformity, authoritarian power, material success, and apathy corrode our creative powers: these are anti-creative forces. In contrast, childlike emotional freedom, when added to adult passion for creating the immortal, amplifies creativity. Like the ultimate creation we achieve through sexual relations, artistic creations return a potent pleasure.

The Author: Bruce DeBoer is a marketing/creative consultant and photographer who can be found at http://www.BruceDeboer.com , http://www.HireBruce.com , and http://www.synthesiscreative.com

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Last Updated on February 21, 2019

The Secret to Effective Conflict Resolution: The IBR Approach

The Secret to Effective Conflict Resolution: The IBR Approach

In business, in social relationships, in family… In whatever context conflict is always inevitable, especially when you are in the leader role. This role equals “make decisions for the best of majority” and the remaining are not amused. Conflicts arise.

Conflicts arise when we want to push for a better quality work but some members want to take a break from work.

Conflicts arise when we as citizens want more recreational facilities but the Government has to balance the needs to maintain tourism growth.

Conflicts are literally everywhere.

Avoiding Conflicts a No-No and Resolving Conflicts a Win-Win

Avoiding conflicts seem to be a viable option for us. The cruel fact is, it isn’t. Conflicts won’t walk away by themselves. They will, instead, escalate and haunt you back even more when we finally realize that’s no way we can let it be.

Moreover, avoiding conflicts will eventually intensify the misunderstanding among the involved parties. And the misunderstanding severely hinders open communication which later on the parties tend to keep things secret. This is obviously detrimental to teamwork.

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Some may view conflicts as the last step before arguments. And they thus leave it aside as if they never happen. This is not true.

Conflicts are the intersect point between different individuals with different opinions. And this does not necessarily lead to argument.

Instead, proper handling of conflicts can actually result in a win-win situation – both parties are pleased and allies are gained. A better understanding between each other and future conflicts are less likely to happen.

The IBR Approach to Resolve Conflicts

Here, we introduce to you an effective approach to resolve conflicts – the Interest-Based Relational (IBR) approach. The IBR approach was developed by Roger Fisher and William Ury in their 1981 book Getting to Yes. It stresses the importance of the separation between people and their emotions from the problem. Another focus of the approach is to build mutual understanding and respect as they strengthen bonds among parties and can ultimately help resolve conflicts in a harmonious way. The approach suggests a 6-step procedure for conflict resolution:

Step 1: Prioritize Good Relationships

How? Before addressing the problem or even starting the discussion, make it clear the conflict can result in a mutual trouble and through subsequent respectful negotiation the conflict can be resolved peacefully. And that brings the best outcome to the whole team by working together.

Why? It is easy to overlook own cause of the conflict and point the finger to the members with different opinions. With such a mindset, it is likely to blame rather than to listen to the others and fail to acknowledge the problem completely. Such a discussion manner will undermine the good relationships among the members and aggravate the problem.

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Example: Before discussion, stress that the problem is never one’s complete fault. Everyone is responsible for it. Then, it is important to point out our own involvement in the problem and state clearly we are here to listen to everyone’s opinions rather than accusing others.

Step 2: People Are NOT the Cause of Problem

How? State clearly the problem is never one-sided. Collaborative effort is needed. More importantly, note the problem should not be taken personally. We are not making accusations on persons but addressing the problem itself.

Why? Once things taken personally, everything will go out of control. People will become irrational and neglect others’ opinions. We are then unable to address the problem properly because we cannot grasp a fuller and clearer picture of the problem due to presumption.

Example: In spite of the confronting opinions, we have to emphasize that the problem is not a result of the persons but probably the different perspectives to view it. So, if we try to look at the problem from the other’s perspective, we may understand why there are varied opinions.

Step 3: Listen From ALL Stances

How? Do NOT blame others. It is of utmost importance. Ask for everyone’s opinions. It is important to let everyone feel that they contribute to the discussion. Tell them their involvement is essential to solve the problem and their effort is very much appreciated.

Why? None wants to be ignored. If one feels neglected, it is very likely for he/she to be aggressive. It is definitely not what we hope to see in a discussion. Acknowledging and being acknowledged are equally important. So, make sure everyone has equal opportunity to express their views. Also, realizing their opinions are not neglected, they will be more receptive to other opinions.

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Example: A little trick can played here: Invite others to talk first. It is an easy way to let others feel involved and ,more importantly, know their voices are heard. Also, we can show that we are actively listening to them by giving direct eye-contact and nodding. One important to note is that never interrupt anyone. Always let them finish first beforeanother one begins.

Step 4: Listen Comes First, Talk Follows

How? Ensure everyone has listened to one another points of view. It can be done by taking turn to speak and leaving the discussion part at last. State once again the problem is nothing personal and no accusation should be made.

Why? By turn-taking, everyone can finish talking and voices of all sides can be heard indiscriminantly. This can promote willingness to listen to opposing opinions.

Example: We can prepare pieces of paper with different numbers written on them. Then, ask different members to pick one and talk according to the sequence of the number. After everyone’s finished, advise everyone to use “I” more than “You” in the discussion period to avoid others thinking that it is an accusation.

Step 5: Understand the Facts, Then Address the Problem

How? List out ALL the facts first. Ask everyone to tell what they know about the problems.

Why? Sometimes your facts are unknown to the others while they may know something we don’t. Missing out on these facts could possibly lead to inaccurate capture of the problem. Also, different known facts can lead to different perception of the matter. It also helps everyone better understand the problem and can eventually help reach a solution.

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Example: While everyone is expressing their own views, ask them to write down everything they know that is true to the problem. As soon as everyone has finished, all facts can be noted and everyone’s understanding of the problem is raised.

Step 6: Solve the Problem Together

How? Knowing what everyone’s thinking, it is now time to resolve the conflict. Up to this point, everyone should have understood the problem better. So, it is everyone’s time to suggest some solutions. It is important not to have one giving all the solutions.

Why? Having everyone suggesting their solutions is important as they will not feel excluded and their opinions are considered. Besides, it may also generate more solutions that can better resolve the conflicts. Everyone will more likely be satisfied with the result.

Example: After discussion, ask all members to suggest any possible solutions and stress that all solutions are welcomed. State clearly that we are looking for the best outcomes for everyone’s sake rather than battling to win over one another. Then, evaluate all the solutions and pick the one that is in favor of everyone.

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