Teacher. Looks like we are approaching another summary.
Beta. May I?
Teacher. Sure.
Beta. In order to create, an author needs:
Firstly, to have a subject, like he wants to make a picture of someone;
Secondly, to have an aesthetic idea of how he wants it, how to make it beautiful;
Thirdly, the aesthetic idea has to be kind of unique;
Fourthly, to be skillful enough to implement these three;
Fifthly, to catch a moment when all four meet.
Delta. Isn't the fifth point included in the fourth one?
Beta. Why?
Delta. You said "catch," right? Isn't that about a skill?
Beta. No, I actually meant a moment of time. It should happen. It is not enough to be ready. You are ready to catch a moment, but the moment must occur, right?
Delta. Got it.
Alpha. I can imagine a photographer saying to himself: I'll do it beautiful such and such, blah-blah-blah...
Gamma. Maybe yes, maybe no...
Alpha. You make a quick shot, when you see it is worthy... this is it.
Kappa. And what happens, if you don't like the picture?
Alpha. Then you do it again. That's it. You do not theorize here.
Beta. Of course, you do. You ask yourself what was wrong and do it again.
Delta. Ha, you guess! That's what you do!
Alpha. Ah, long time...
Gamma. Why not? You guess and check it, and guess again and check it again,.. until you have gotten what you like most... until you're satisfied... On the other hand, they say Mozart never did drafts, he just wrote his music.
Kappa. But others do drafts and their art can be no less talented, I think. Like I know that Degas made countless sculpture models for his paintings and was never satisfied with them. He even had them destroyed driving his agent crazy. And other people have always considered these sculptures to be works of genius.
Alpha. Mozart was a genius.
Delta. You can do guessing and checking in your mind and nobody will ever know, how many drafts you actually did.
Gamma. And you can do it fast.
Alpha. Yea, a thousand strokes per second: strike-strike-strike-strike-strike...
Teacher. Is this really so important?
Alpha. What?
Teacher. All these technicalities... how it finally comes to perfection.
Alpha. I didn't start this.
Beta. It is interesting, although is not relevant to the initial question, I agree.
Teacher. What, in your opinion, is the most important point in your summary, Beta?
Beta. I cannot skip any one of them.
Kappa. Yes, you can. Just ask, how necessary each of them is.
Beta. They all are necessary. You drop any single point and you will not get a work of art.
Kappa. But you really don't know how to make a beautiful picture in the beginning, right? How does your aesthetic goal work then?
Beta. And if one doesn't have this goal, how can a beautiful picture happen then?
Kappa. What if you wanted to make one picture, but happened to spot another subject?
Beta. That means I just changed the subject, but I could not skip it at all, right? You cannot make a picture of nothing.
Alpha. Why don't you make "nothing" your subject then?
Beta. Still have to have a subject.
Delta. OK, what if we ask another question: can these points of yours be applied to art only?
Alpha. The initial question was about creativity in general, not about arts.
Gamma. Yes, and we even have questions, whether art is always creative and whether all we asked about art could be applied to non-arts and vise versa.
Teacher. That is right.
Kappa. Listen, Beta: one can be really-really non-creative even having some subject, right?
Beta. ...Yes, obviously.
Gamma. Can one be non-creative and have a creative goal?
Beta. You mean one can want to create something?.. Just want?
Kappa. Yes, and this will be number two, agree?
Teacher. I am recalling that Beta said the idea must be about how to make something beautiful.
Gamma. If we are talking about arts!
Delta. Yea, we can drop this requirement about beauty.
Beta. I feel like you are going to leave me bone dry.
Alpha. You will survive, don't worry.
Kappa. Hold it. Number three: one can have excellent skills...
Beta. ...And accomplish nothing. I give up.
Delta. Wait-wait, you cannot have the third point in place and be non-creative!
Gamma. That the idea should be unique? This works by definition, doesn't it?
Alpha. How will one know that one's idea is unique?
Kappa. What do you mean?
Alpha. Someone could have had the same idea earlier.
Kappa. What difference does it make?
Delta. If you come up with something new for yourself, it does not make you less creative if some other guy did it before.
Beta. Definitely... You are seeing something new and you know it is new.
Kappa. Seeing?!
Alpha. If you are seeing something, then everyone can see it.
Kappa. How about a photograph?
Alpha. ...No, it's different... I told you many times: you have to be quick.
Beta. Or else? It disappears?
Alpha. ...Not necessarily... But other people won't see it your way.
Delta. You said if you see it, everyone can.
Kappa. No one will!.. until you point it out!.. This is, how it works!.. For one. For two, I think we were talking about some kind of inner seeing... Like we were discussing earlier... You guess, you try,.. say don't like it, do it again... until you like it. It's like you're seeing something in your mind and try to match it.
Teacher. What is it?.. Assuming the subject is here... And the subject is seen for every passer by... Remember that flower, Alpha suggested? But you, creator, have to see something invisible for others, right? What is it?
Beta. It is "how!" I said it in my summary! It is _how_ you want it.
Gamma. And what is this "how," anyway?
Kappa. Can we hypothesize that it is _how_ you organize your subject..?
Delta. OK, let's take that flower. What do I have to do? Organize things around it in my mind?
Alpha. You do nothing around it! You shoot! Quickly! This is it! You don't have time for long discussions, calculations, plans, checks, whatever! You just shoot! End of story.
Beta. Listen, Alpha: why are you skipping everything we have been discussing and repeating the same thing like a parrot over, and over, and over?
Kappa. Beta!
Beta. OK-OK, sorry.
Teacher. I think we have gotten to a very interesting point. At the very moment of creating you arrange things in your mind in some unique-to-yourself-way. I think, this is the essence of creative process.
Kappa. Uh, you did a summary this time.
Teacher. It was too tempting... and exciting.
Beta. I believe this formula can be applied to things aside from art as well.
Alpha. To passing a test.
Gamma. Why not? If you try to recreate a piece of knowledge... By the way, Alpha, it was you who offered the theme of test. Maybe you have a say on that?
Teacher. Actually I do not see what the specific situation of the test adds to our analyses. Maybe we can talk about recalling things in general... what do you think?
Delta. We already have a question about seeing. Recalling seems to be in line.
Kappa. If we add the arrangement thing to Beta's summary, we will have a pretty decent tool to research different examples.
Teacher. This is absolutely perfect! Who is to implement the idea?
Gamma. I can do it: A creation happens when a creator catches a form, so that he can arrange his subject in some new way. He has to be skillful enough to implement the new arrangement.
Teacher. A form?! This is new!
Beta. This is the word! A new arrangement of some subject and the new form that things get organized into. Form sounds better.
Alpha. Better than what?
Beta. Arrangement.
Delta. Arrangement sounds more like the process and form sounds like the result. Both are suitable in a way.
Alpha. If you say: "Arrange things in some new way" it is just long for "create."
Kappa. For me these are not simply "long" and "short," because the long formulation shows how it really works, while the term "create" just names the process.
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