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Being and Creative Consciousness

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This article is a narrative inquiry into how personal meaning is made through the experience of a creative process during a six months sabbatical leave. The article’s intent is to interrogate the nature of creative experience as realized in a
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  The Third International Conference on Design Creativity (3rd ICDC) Bangalore, India, 12th-14th January 2015 BEING AND CREATIVE CN!CI"!NE!! J.BrewisSurface Design Deart!ent, "ae #eninsula $ni%ersity of &echnology, "ae &own, South 'frica A#stract$ &his article is a narrati%e in(uiry into how ersonal !eaning is !ade through thee)erience of a creati%e rocess during a si) !onths sa**atical lea%e. &he article+s intent is tointerrogate the nature of creati%e e)erience as realied in a heno!enological descrition throughartwor, generated *y li%ed e)erience. &his ontological aroach is highlighted to reflect a way of !aing, roducing and a way of *eing. Because the world we li%e in is re%ealed to us through our senses in e%eryday life, it see!s already fa!iliar and we often fail to reflect on what we are aware of in ter!s of our hu!an reality or !ode of *eing that will allow us to articiate in an integration of nowing-acting-*eing. igher education continually sees to educate according to conte!orary%alues rather than de%elo intrinsic caa*ilities of students to ena*le the! to *e creati%e.  Keywords:  Creative, experience, ontological. %& Defining a sense of 'Being 'fter /0 years of teaching Design at the "ae #eninsula $ni%ersity of &echnology, I set !yself a roect ; Crow,  with two outco!es in !ind. irst I was looing forward to i!!ersing !yself in theli%ed creati%e rocess which haens in the !o!ent of *ringing forth interreting3 consciousness of self fro! a conte)t and content of understanding, *est descri*ed as unconceal!ent of Being+. 'lthough I ha%e *een in%ol%ed with creati%ity in the classroo!, disco%ering !y own sense of self andthe connection with other for!s of life e)ternal world3, I yearn for self-renewal and the truthfulnessof own e)erience. &his sense of interretation, of re%ealing what the artwor already oints to isallied to eidegger+s notion of heno!enological descrition. Second, I hoe to cast a renewed lighton our ersistence to ursue creati%ity fro! a theoretical ersecti%e at the uni%ersity resulting in us *yassing the srcin and authenticity thereof concluding in redicta*le design outco!es and studentsnot a*le to access an e!*odied understanding in their creati%e field. e engage in the world we li%e in *y choosing how we *reathe, touch, !o%e and relate to thingsaround us. Stefan 6weig in his study of 7ietsche as creati%e and solitary !an gi%es us insight into thegreat hilosoher as a !an with all his weanesses, *rilliance and rohetic nowledge 6weig, 201/3.It is not surrising that 7ietsche e)eriences Being as e!*odied and that he co!lains8  I possess a most unpleasant irritability as regards the instinct of purity, so much so that I perceive physiologically, I actually feel in the most intimate sense the proximity and depth of the souls entrails.’  6weig, 201/3 3rd ICDC 1  #ro*le!s faced in igher 9ducation such as student engage!ent with their studies, self-ercetionand self-definition re%eal that the o*%iousness of us relating to our e%eryday *eing in the world has *een lost to us since ancient :ree ti!es and it is !y *elief that an ontological aroach to learningcan re!edy our situation and can oen us to new ossi*ilities, a way of thining, e)eriencing and *eing. $lti!ately the ai! of an ontological aroach for Design is to set the stage for creati%einno%ation in a glo*al !aret dri%en *y entrereneurial and sociological change.ro! a heno!enological oint of %iew if we ha%e a ercetual encounter with for instance a crow,the seeing of the crow would *e inherently cororeal. e need to focus our eyes on it to identify the%isual en%iron!ent noticing the selecti%ity of *oth the te!oral and satial i!age which we are nota*le to !aniulate or in%ent differently to what is secifically resent in what we are seeing. I !y *ody3 articiate *oth acti%ely and assi%ely to gi%e rise to a sense of the e!ergence of crow+. &hissense+ is !ade *y !e through !y *ody *eing in that sace and ti!e. I can now say that heno!enologically !y e!*odied dialogue has !ade sense of the crow in the natural en%iron!ent. ;erleau-#onty, in his  Phenomenology of Perception  clai!s that our intentional e!*odi!ent of asituation *rings !eaning to the e)erience of our world *y allowing our consciousness of things insace and ti!e to e!erge as e!*odied e)erience indeendent of us. <ur relationshi with the naturalworld around us can *e co!ared to Buddhist *elief that all things are interdeendent, inseara*le andin a rocess of constant *eco!ing =arela, &ho!son > ?osch, 1@@A3. 'n ontological continuity *etween the natural world and us with which we are in%ol%ed in and ine)trica*ly art of will e)ressthe ercetual encounter as an e!*odied e)erience. In this en%iron!ent nowing is not only theacti%e agent for e!*odi!ent, *ut also for *eco!ing. e can only interrogate the ontologicaloeration, according to ;erleau-#onty, of sense as the self-interrogati%e *eco!ing of *eing. In  Being and ime , eidegger clai!s that we are not !ere hu!an *eings set in the world as indi%idual thiningsu*ects, *ut we are  beings!in!the!world  + who inha*it life *y ha%ing to roduce so!ething, interactwith so!ething, interrogating, creating, etc. &he !ethodology of heno!enology re(uires a *ac and forth in%estigation and discussion of trutha!ong %arious le%els of (uestions ased during the ti!e of creati%e de%elo!ent and e)erience of the artwor. It is the nature of this co!le) rocess of interrogating the e)erience of the lifeworld, inthis instance "row, that re-thining, re-drawing and re-doing will create deth *y constructing!ultile layers of !eaning re%ealing ossi*le a!*iguity. ro! this *eing-in-the-world we can understand that an encounter with art and design cannot si!ly *e su*ecti%ely roected onto the wor *ut the wor+s !eaning can e!erge through our own dyna!icengage!ent with it. 'n enacti%ist aroach sees *eing, nowing and action as inseara*le fro! eachother and shifts searate e)eriences of eole, o*ects and laces to the i!ortance of relationshis *etween eole, o*ects and laces. &he enacti%ist ersecti%e resulted fro! the ter! autooeisis+created *y u!*erto ;aturana and ransisco =arela which refers to co!le) dyna!ic syste!s of sontaneous and self-sustaining self-organiation. & The Cro* +ro,ect &ed ughes+ 9nglish #oet Caureate 1@43 Crow  was acclai!ed as a !ost e)traordinary wor of genius+ *y the great !aority of re%iewers. I was insired *y this oet+s Crow  who is deely rooted infoltales, !ythology, theology and e!*odied e)erience. ughes ass (uestions a*out hu!anrelationshis, nature, sur%i%al, *eliefs, felt !eaning, creation, e)istence, truth and sirit. ughesdescri*es "row in ter!s of &ricster Citerature which  draws its effects from the un"illable, biological optimism that supports a society or individual whose world is not yet fully created, and whosemetaphysical beliefs are only #ust struggling out of the dream stage.’   ughes > Sagar, 20123?esearching the e!ergent changing %isual dialogue of the co!ing-into-*eing of "row is !y roect. Ie)eri!ented with different !edia charcoal on aer, en and in on aer, en on fa*ric, fa*ric 3rd ICDC 2   aint, sil, linen, cotton organa, nitting, crochet and sculture. ;y 200 setches were dated as !yintention was to ournal e%ery stage to trac !y de%elo!ent of the rocess in action.I set out to e)lore the e%er elusi%e act of creati%ity with (uestions of 1.hat haens during creatingEand 2. ow does the rocess de%eloE I was looing forward to ournal and to engage in dialogue with!yself. 's the days rogressed howe%er and I *eca!e deely in%ol%ed in !y wor, the ournaldisaeared under iles of drawings as did !y srcinal ideas. . -ig.re %  &wo early setches on aer illustrating the de%elo!ent of "row+s identity. 3& Creative E/0erience as 1ethodology I co!!itted to start wor e%ery day at h00 and found !yself often drawing all night, ainting,reading and roducing artwor, struggling with oy and satisfaction and starting anew the followingday !o%ed *y the sirit right *rain function3 of creati%ity in search of !eaning. I was aware of arelationshi *etween felt e)eriencing and !y su*ect !atter "row3 which functioned sy!*olicallyas :endlin e)lains8   $eaning is formed in the interaction of experiencing and something that  functions symbolically. %eeling without symboli&ation is blind; symboli&ation without feeling is empty’  :endlin, 1@@A3 &herein !y encounter e)eriencing *eing as an unconceal!ent and *ringing-into- *eing the creati%e life force that creati%ity is8 frightening, forthright, e)hausting, discontent, oy andconfusion. Because the rocess of creating through focusing and i!!ersion !o%es the creator into a heightenedstate of awareness, I could not *rea this recious unintelligi*le receti%ity with the edestriananalysis or account of what haens to enter anything into !y ournal. or the first ti!e I *eca!eacutely aware of the different functions of the left and right *rain and I decided not to engage in anyleft *rain function lie writing when I was roducing artwor. &his disco%ery of not *eing a*le toreflect in !y ournal ca!e as a surrise and was in direct oosition to !y educational hilosohy of teaching students through their reflecti%e understanding of their wor while they were in rocess. or the first ti!e I could understand the difficulty the students e)erienced in ournaling while they werestill getting to gris with their roects. It was clear to !e at this stage that two tyes of discussion were e!erging8 the hilosohical+,(uestions of Being, and scientific+, (uestions concerning the nature of concets8 creati%ity. I wasi!agining, fe%erously catching fleeting articles of !eaning-!aing with !y "row in the !o!ent of a thought in *rushstroes, en stroes, dye aint, gar!ent for!s, etc. and at the end of it all I could dowas to collase into *ed co!letely sent fro! *eing in the ;o!ent+. &his way of resonding iscalled an enacti%e aroach where reality is not co!letely deendent on the constructed creation, *utit is inseara*le fro! the structure of the ercei%er =arela, 1@@23. ughes+ oetry is an e)a!le of this aroach where reality is not a gi%en *ut is ercei%er-deendent therefor allowing us to 3rd ICDC 3  in%estigate the ri!ary relationshis *etween e)erience as we understand and feel it3 andsy!*oliation of interreted concets.Su*ecting !yself to creati%e e)erience and *eco!ing a learner i!!ersed in the sa!e situation of !aing, roducing and a way of *eing as !y students, is a %alua*le learning lan and it ena*les !e tointroduce and share results with the students in the design faculty and to interrogate teaching andlearning in our faculty anew.&he creati%e rocess usually starts with !e deciding on the !aterials, sie and the!e and de%elos as Ias !yself (uestions a*out intention, the!e, and story concerning "row. ro! there I can !o%e inand out of the i!age understanding what is called for in dialogue with !e osing rele%ant (uestionsand answering the! as I go along. <ne *rush stroe can !odify the i!age and the story can *echanged to reflect an oosing intention. &his rocess descri*es a *ringing forth of an artwor.eidegger descri*es the rocess of creating as truth haening in the *ringing forth of the wor. If weha%e to answer the (uestion what is the difference in *ringing forth as a rocess of creation and *ringing forth in a !ode of !aing of a craft, the sa!e alies. &he ancient :rees na!ed art andcraft *y the sa!e na!e8 techn'   although it didn+t oint to art or craft, and was not at all consideredtechnical. eidegger e)lains8 or   (ree" thought the essence of "nowing consists in al)theia, that is, in the revealing of beings. It  supports and guides all comportment toward beings. echn', as "nowledge experienced in the (ree" manner, is a bringing forth of beings in that it brings forth what is present as such out of concealment and specifically into unconcealment of its appearance; techn' never signifies the action of ma"ing.he artist is a technit's not because he is also a craftsman, but because both the setting forth of wor"sand the setting forth of e*uipment occur in a bringing forth that causes beings in the first place tocome forward and be present in assuming an outward aspect. +et all this happens in the midst of thebeing that surges upward, growing of its own accord, physis.’   eidegger, 2003&he wor of art arri%ed at out of conceal!ent into unconceal!ent is descri*ed through the !ultile!o%e!ents in !usic8 &he sirit of the oening !o%e!ent of a Sy!hony followed *y  the tiny sharp staccato  of aphorisms, the sordino  of the songs, the  iicati  of the moc"ery, the ris(uF  styli&ations and harmonies of the prose, the maxims of the poetry. + 6weig, 201/3 &he *ringing forth of the artwor isne%er a cold intellectual o*ecti%e affair *ut the wor itself recalls a dee ersonal i!!ersion to reachinto the unfatho!a*le deths of the sirit right *rain function3 of creati%ity which does not dwell onthe surface of things *ut waits to *e disco%ered in the inner!ost fi*res of each hu!an *eing.&he (uestion that arose now was how can I *est re%eal the li%ed e)erience which I disco%ered in !ydrawings of crowE &he *ringing forth of !y insight into the essence of the heno!enon of crow iswhat I want to create in ti!e and sace, so that one can touch, feel and see e)erience3 the !essagethat was *eing e)ressed. &he gar!ents would *e weara*le and the style would co!le!ent and aidthe !essage con%eyed *y the drawn, ainted, dyed, e!*roidered, and nitted or crochet design. &oconte)tualie the narrati%e, I would style each gar!ent according to the !essage of the design and hotograh each one so that the hotograh *eco!es an artwor in itself. 'n e)a!le of how thestyling of the gar!ent relates to the design can *e seen in figure / the cocoon styling of the dress atonce inhi*its crow fro! flying yet it frees the hu!an *ody fro! feeling restricted at the sa!e ti!eco!forts it *y allowing the ar!s to retract into a safe sace at any chosen ti!e. In the hotograh of the dress fro! the *ac the shadow of the erson enacts crows+ dialogue.In the fifth !onth, I *roe the silence and introduced !usic and dance into !y wor. ' stor!yinto)ication entered the rhyth! of !y drawings as crow was released and gi%en wings. Get another  ossi*ility was unleashed when I realied that !o%e!ent !ore articularly erfor!ance and dancewould *eco!e art of !y offering together with the non-!o%e!ent in the hotograhs of !ye!*odied sy!*oliation of the story of crow. 3rd ICDC 4  -ig.re & &o two drawings are e)a!les of "row resonding to #ina Bausch+s dancing. &he drawingon the left e!*odies  Pure oy on the right is Crows -ithyramb.   -ig.re 3& &he conte)tualiation of !y gar!ent de%eloed fro! "row in dialogue with the influence of Butoh dancing. In Butoh dancing the dancer o*ser%es the *ody as container for e)erience+ and narrates the o*ecti%ethrough a resonant e)ression of doing Butoh which re%eals as an e)change of *ones+ the li%ed *odye)erience. &he Butoh dance of darness3 is an e)loration into the unconscious, i!agination, and ri!al relationshis of the dancer and the world. It has its roots in :er!an 9)ressionis! 7eue &an3and is a !o%e!ent that *egan in Jaan in the late fifties the consciousness that underscores Butoh isthat of a silent screa!. &he *ody rocesses used in Butoh can *e referred to in ter!s of li%ed *odiliness+ conte)tualied in ;erleau-#onty+s heno!enology. #ina Bausch is the founder and rincial choreograher of the 7eue &an. In a docu!ent hat !o%es!e+, which I reroduce here, not necessarily in a sentence or conte)t *ut as such "ey words    !ycolla*oration is with the "row, #ina discusses her life, wor and insirations Bausch, 200438 3rd ICDC 5
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