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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 December 2, 2018

7 Public Speaking Techniques To Help Connect With Your Audience

7 Public Speaking Techniques To Help Connect With Your Audience

When giving a presentation or speech, you have to engage your audience effectively in order to truly get your point across. Unlike a written editorial or newsletter, your speech is fleeting; once you’ve said everything you set out to say, you don’t get a second chance to have your voice heard in that specific arena.

You need to make sure your audience hangs on to every word you say, from your introduction to your wrap-up. You can do so by:

1. Connecting them with each other

Picture your typical rock concert. What’s the first thing the singer says to the crowd after jumping out on stage? “Hello (insert city name here)!” Just acknowledging that he’s coherent enough to know where he is is enough for the audience to go wild and get into the show.

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It makes each individual feel as if they’re a part of something bigger. The same goes for any public speaking event. When an audience hears, “You’re all here because you care deeply about wildlife preservation,” it gives them a sense that they’re not just there to listen, but they’re there to connect with the like-minded people all around them.

2. Connect with their emotions

Speakers always try to get their audience emotionally involved in whatever topic they’re discussing. There are a variety of ways in which to do this, such as using statistics, stories, pictures or videos that really show the importance of the topic at hand.

For example, showing pictures of the aftermath of an accident related to drunk driving will certainly send a specific message to an audience of teenagers and young adults. While doing so might be emotionally nerve-racking to the crowd, it may be necessary to get your point across and engage them fully.

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3. Keep going back to the beginning

Revisit your theme throughout your presentation. Although you should give your audience the credit they deserve and know that they can follow along, linking back to your initial thesis can act as a subconscious reminder of why what you’re currently telling them is important.

On the other hand, if you simply mention your theme or the point of your speech at the beginning and never mention it again, it gives your audience the impression that it’s not really that important.

4. Link to your audience’s motivation

After you’ve acknowledged your audience’s common interests in being present, discuss their motivation for being there. Be specific. Using the previous example, if your audience clearly cares about wildlife preservation, discuss what can be done to help save endangered species’ from extinction.

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Don’t just give them cold, hard facts; use the facts to make a point that they can use to better themselves or the world in some way.

5. Entertain them

While not all speeches or presentations are meant to be entertaining in a comedic way, audiences will become thoroughly engaged in anecdotes that relate to the overall theme of the speech. We discussed appealing to emotions, and that’s exactly what a speaker sets out to do when he tells a story from his past or that of a well-known historical figure.

Speakers usually tell more than one story in order to show that the first one they told isn’t simply an anomaly, and that whatever outcome they’re attempting to prove will consistently reoccur, given certain circumstances.

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6. Appeal to loyalty

Just like the musician mentioning the town he’s playing in will get the audience ready to rock, speakers need to appeal to their audience’s loyalty to their country, company, product or cause. Show them how important it is that they’re present and listening to your speech by making your words hit home to each individual.

In doing so, the members of your audience will feel as if you’re speaking directly to them while you’re addressing the entire crowd.

7. Tell them the benefits of the presentation

Early on in your presentation, you should tell your audience exactly what they’ll learn, and exactly how they’ll learn it. Don’t expect them to listen if they don’t have clear-cut information to listen for. On the other hand, if they know what to listen for, they’ll be more apt to stay engaged throughout your entire presentation so they don’t miss anything.

Featured photo credit: Flickr via farm4.staticflickr.com

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