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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 June 19, 2019

6 Ways to Be a Successful Risk Taker and Take More Chances

6 Ways to Be a Successful Risk Taker and Take More Chances

I’ve stood on the edge of my own personal cliffs many times. Each time I jumped, something different happened. There were risks that started off great, but eventually faded. There were risks that left me falling until I hit the ground. There were risks that started slow, but built into massive successes.

Every risk is different, but every risk is the same. You need to have some fundamentals ready before you jump, but not too many.

It wouldn’t be a risk if you knew everything that was about to happen, would it? Here’re 6 ways to be a successful risk taker.

1. Understand That Failure Is Going to Happen a Lot

It’s part of life. Everything we do has failure attached to it. All successful people have stories of massive failure attached to them. Thinking that your risk is going to be pain free and run as smooth as silk is insane.

Expect some pain and failure. Actually, expect a lot of it. Expect the sleepless nights with crazy thoughts of insecurity that leave you trembling under the covers. It’s going to happen, no matter how positive you are about the risk you are about to take.

When failure hits, the only options are to keep going or quit. If you expect falling into a meadow of flowers and frolicking unicorns, then you’re going to immediately quit once you realize that getting to that meadow requires you to go through a rock filled cave filled with hungry bats.

2. Trust the Muse

Writing a story isn’t a big risk. It’s really just a risk on my time. So when I start writing a story, I’m scared it will be time wasted. Of course, it never really is. Even if the story doesn’t turn out fabulous, I still practiced.

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When I’ve taken risks in my life, the successful ones always seemed to happen when I followed the muse. Steven Pressfield describes the muse,

“The Muse demands depth. Shallow does not work for her. If we’re seeking her help, we can’t stay in the kiddie end. When we work, we have to go hard and go deep.”

The muse is a goddess who wants our attention and wants us to work on our passion.

If you’re taking a risk in anything, it’s assumed that there is some passion built up behind that risk. That passion, deep inside you, is the muse. Trust it, focus on it, listen to it.

The most successful articles and stories I write are the ones I’ve focused all my attention on. There were no interruptions during their creative development. I didn’t check my phone or go watch my Twitter feed. I was fully engaged in my work.

Trust the muse, focus your attention on your risk, let the ideas and path develop themselves, and leave the distractions at the side of the road.

3. Remember to Be Authentic

Taking a risk and then turning into something you’re not, is only going to lead to disaster. Whether you are risking a new relationship or new opportunity, you must be yourself throughout the entire process.

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How many times have you acted like you loved something just because the men or woman you just started going out with loved it?

For example, I’m not an office worker. I have an incredibly hard time working in a confined timeline (ie. 9-5). That’s why I write. I can do it whenever the mood strikes, I don’t have somebody breathing down my neck, telling me that I’m five minutes late, or missed a comma somewhere. I don’t have to walk on eggshells wondering if what I’m writing will get me fired or make me lose a promotion. I can just be myself, period.

One girlfriend didn’t understand that. She believed solely in the 9-5 motto, specifically something in human resources because that was a very stable job. I was scared for my future, but I stuck with the relationship because of my own insecurities and acted like I would do it to make her happy.

Here’s a tip: NEVER take away from your happiness to make somebody else satisfied (note I didn’t say happy).

Making somebody else happy will make you happy. Doing something to satisfy somebody is murder on your soul.

4. Don’t Take Any Risks While You’re Not Clearheaded

I’d been considering the risk for a couple weeks. It all sounded good. I was 22 and I could be rich in a couple of years. That’s what they were selling me, anyways.

One night, while at a house party with some friends, I found myself at a computer. A couple of my friends were standing nearby and asked me what I was doing. I told them I was considering starting my own business and it was only going to cost me $1,500.

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Of course, when a bunch of drunk people are surrounded by more drunk people, things get enthusiastic. It sounded like the best business venture in the world to everybody, including me. So I signed up and gave them my credit card number.

A few painful months and close to $4,000 dollars lost later, I quit the business. I was young and fell into the pyramid scheme trap. It was an expensive drunk decision.

Drinking heavily and making decisions has a proven track record of failure. So when you have something important to decide, don’t let your emotions take over your brain.

5. Fully Understand What You’re Risking

It was the start of my baseball comeback. I got a tryout with a professional scout and killed it. After the tryout, he talked to my girlfriend and myself, making sure we understood I would be gone for up to 6 months at a time. That strain on the relationship could be tough.

We understood. I left to play ball, chose to stay in the city I played in, and a year later we broke up. Not because of baseball, see point 3 above. Taking big risks can have massive impacts on everything in your life from relationships to money. Know what you’re risking before you take the risk.

If you believe the risk will be worth it or you have the support you need from your family, then go ahead and make the leap.

You can get more guidance on how to take calculated risks from this article: How to Take Calculated Risk to Achieve More and Become Successful

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6. Remember This Is Your One Shot Only

As far as we know officially, this is our one shot at life, so why not take some risks?

The top thing people are saddened by on their deathbeds are these regrets. They wish they did more, asked that girl in the coffee shop out, spoke out when they should have, or did what they were passionate about.

Don’t regret. Learn and experience. Live. Take the risks you believe in. Be yourself and make the world a better place.

Now go ahead, take that risk and be successful at it!

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Featured photo credit: Unsplash via unsplash.com

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