 The World of Abstract
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There is no law which is completely devoid of an element of creativity. If there was such an act would be able to repeat infinitely. But a mere mechanical repetition is only a fantasy, created by ignoring the peculiarities that distinguish one result at a time and in a situation of that of the other. There is not an act that is completely devoid of organization. Without any structure would be a completely chaotic, its components would stand in the way of each other's expression, which prevents the occurrence of any activity at all. An act supposedly totally unorganized is just one whose structure is unexpected, unwanted or unnoticed.
Both when we reason and when we do, we have the structure and creativity. If we ignore the structure, we will be unable to predict or see the need for the result of our actions. The structure is a relation between our start with the kind of terminal to which we, creating along the lines of the structure, must be done. In itself, this structure allows us to predict what should be, not in its concreteness, because it will actually appear at a place and time, but abstractly as a pure form, a necessary consequence. If, on the other hand, we ignore the process of creativity and the difference it makes to the structure, we will not understand how the result could be what he is actually. The result is meant to be what it actually is, that being achieved by the end of a creative process that adds to the structure and performs and its necessary result.
Each result in its full concreteness, is both preventable and unpredictable in terms of either the structure or the creative process by which it is made. But all the results is deductible, even inevitable, given the structure and the creative process. In the realm of thought, however, it is usual to emphasize the rules more than the processes. There is a tendency to ignore the particular course unduplicable of inference in which the rules of reasoning are exposed. Inference is a mystery to the logicians. In the field of action, but rather a tendency to focus on process rather than structure, and therefore assume that the result must be inexplicable, essentially irrational. The reason is a mystery for people productive. There are of course radically creative thinkers who pay little or no attention to every rule, there are artists who belong to the school and use similar techniques to produce drawings which almost belly of the element of creativity in their working. These exceptions, but show bow it would be wrong to deny that there is creativity in thought or workmanlike.
Logicians use the rules that were developed in the past, which minimizes the novelty of the particular results which men deduce that. If the reasoning is primarily concerned with avoiding the derivation of data lies truths such a constraint is desirable. A similar use of rules can be made in the art. This is done when trying to understand or produce works of art according to a formula, as the golden section, the serpentine line, ellipse, major and minor chords, modules, paradox, and so on. It is worth noting and follow these rules as long as one is interested to avoid the ugly part of an effort to produce the good. Reasoning and producing at their best, but are adventurous, beyond the control of any pre-established rules. They may error and ugliness to reach new truths and beauties.
Inference is a creative act. As Brouwer saw so long ago, this is undoubtedly the case in an area where many people believe creativity to be absent - mathematics. There is rarely a productive mathematician who attends logicians. He, too, wants nothing but the truth, but he gets by cutting them on a permanent kingdom, proceeding in small steps to avoid the mistakes of the signal. The artist takes greater risks, adventures in a dense medium, so it fails in most cases - but also signal more advances when in fact it will succeed.
The reasoning tends to focus on some particular point and tries to draw from this starting point another element as well defined, to be characterized as acceptable for a certain purpose. Artists do not start with these articles well defined, and they do not proceed by inference, by moving from one point to another, but filling, by now, living, concrete and perspective vaguely apprehended . We know that when we reason well because we have already accepted truth that defines what kind of result is acceptable. We know that when we produced it when we actually create a perspective embodies vaguely apprehended.
Although each activity has a certain degree of creativity, the term is particularly appropriate for the activity of the artist. His creativity is different from that of others, both in degree and in kind. His combines in a better way for a greater degree of spontaneity, inventiveness, urgency, persistence and emotionality that other activities do. Other activities may pose a greater degree of any one of these than does the artist, but none have them all together in such increased desirable form. More importantly, perhaps, is that the creativity of the artist is directed towards the production of excellence in a sensual form. This is not the concern of any other activity.
Action is spontaneous when it arises from within the independent of any external cause or pressure and without acknowledgment or control by any known rule. It is most obvious in the game, where energy is expended regardless of the circumstances and without regard to established conventions. The spontaneity of the artist is less than the child in part because his habits are more entrenched, because he is forced by his knowledge, because it gives room for other aspects of the creative act, and because it produces a desirable prospect. His spontaneity is controlled and directed.
Creativity of the artist's inventive. It makes use of fireworks, acts of God, the material available in an ingenious way, trying to take every opportunity to achieve a more desirable result. But the craftsman can sometimes be more inventive than the artist precisely because he is so immersed in the means, and not to retain in light of the need for a self-sufficient, a developing agent.
The artistic act is urgent insistent. As lust and avarice, it is deeply rooted and difficult to contradict. Artists create not so much because they want because they must. One could imagine a greater sense of urgency to loveor hate that, but that urgency is partly triggered from outside and badly limited by control of the material that will transform the act. The artist is urgent, but not without a sensitive capabilities for its materials and the demands of his prospect.
The artist stands out, with other masters of disciplines, such as that continues to work at his task until a good result is obtained. There are men who are more persistent, they are simple ideas, which fixed everything else is made to assign, or working more consistently to a given task. The persistence of the artist is a consequence of the insistence that the good achieved. Much of his time can be spent on preliminary work, preparation and training. The fact that a work is produced quickly and effortlessly does not show that it is a slow, easy result of our forces, unknown and undirected, but rather that the actual production of a work may be but a culmination of a part of the activity that took place some time and perhaps unconsciously.
More importantly, the artist's emotions at work. It is emotionally stimulated, emotionally driven, and emotionally satisfied. Because emotions are so involved in its interpretation of what is real, it is best to reserve a detailed discussion of emotions until the next chapter. But today it is important to note that emotions can be expressed more vividly and art effectively outside than inside. The emotions of the artist, however, are purer, being served and controlled by what is actually produced through their agency.
Spontaneity, creativity, urgency, persistence and emotionality do not art, even if closely related in the way beat possible, unless they are caught in the effort to produce the excellence in a sensual form. The artist is one who seeks something that can not be found in everyday life. Like other men, he began by being sensible objects. But he soon discovers that they do not do justice to the promise of qualities thought to reside in these objects, or to his own need to complete by mastering what lies beyond it. Since felt qualities exist only when and how they are perceived, it seems that the qualities can not reside in objects unnoticed, unless these objects are able to perceive these qualities. But no stone or a tree, no sense of cat or cloud the qualities that are commonly said to characterize them. Berkeley believes that these qualities could be objective, have a separate being a collector, if they were resident or supported by any external mind, such as that possessed by God.
This conclusion is not justified. Qualities can be freed from their dependence on the detection objective qualities of becoming mindless substances that occupy space, time, and have just been and gone. But they must first be purged of impurities when they are detected and be locked with structures on the comings and values ??that also lies in the substances. Naive perception is faced with the impure and dull; scientific formulas are conceptual products; simple activity is dictated partly by accident and compulsions exotic needs of a substance or rhythms, without thinking what is considered important This is largely a matter of judgment and preconditioning. To find out what qualities, events, structures or values ??are as substances, we must break up the parameters from their common sense, purge them of their accumulated inconsistencies, and place in things known, reconstructed .
An object in an abstract strand is distinct in nature and function of itself as part of an object of common sense or substance known rebuilt. To understand this, we must release accretions imposed by common sense and experience to know what happens to it when it is integrated with and affected by objects from other strands which, with it, is a known substance. We produce a substance known when, after we purify abstractions that resulted from a packaging sense objects by the senses, scientific attitudes, by a simple immersion in the work, or an assessment, we strengthening all in one being. Berkeley has overlooked the fact that the senses, instead of dealing with what is concrete, end with abstractions that must be reviewed and integrated with other abstractions before we can see things with an objective status.
The counterparts of substances that we know through the construction are just common sense and given objects purified accent, they are no less real, external to us, perceptible, intelligible, dynamic, and value that these sense objects common. An artist is not primarily interested in such substances. It does not purify strands to understand bringing common sense and served as objects are. Instead, he seeks to make a new type of substance, one that is self-sufficient and therefore truly satisfactory. Even when, in architecture, music, sculpture, theater and dance, it uses the same elements that are embedded in common sense objects, subjects them to special conditions of an act of creation. A street noise in a piece of music is a tone that was torn from the common experience and has helped expose new relationships with other tones within a substance that is then, and it product.
The artist, then, is stranded in elements, not reconstructions of common sense objects, but substances that have natures and new careers. To do this, it does not appear to purified strands or objects in them, but modified versions of both. It does not use the perceived qualities, it uses the sensual content. It does not use the mesh as formal science isolates, but this changes the form of useful rules. He does not attend events pure, it infects the events with his emotions to produce new content spatial, temporal or dynamic. And instead of recognizing the important classically, it is preoccupied with getting a substance to be critical. The latter consideration outweighs all others. To see this, we must first see how the artist fits into the cosmos.
An artist is a real, substantial being. Be taken as a simple, disregarding his individuality, his membership of society, or its status as a man he is, with all the other news, oriented towards a single ideal, part of which he and they; in the course of their careers, and determined to materialize. This ideal is an irreducible, cosmic mode of being that the artist, as a man, faces in the guise of a good bond. The artist is, of course, more than a mere man, he is also a member of a culture or society. As such it was, with all other members, is facing the right, not as a single, unitary goal, but as wrinkled, divided in ways that reflect the basic concerns of the culture. As a distinct individual with its own ideas, finally, the artist deals with a specific shape bounded on one or more of these divisions of the good.
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