Thursday, November 5, 2009

THE CREATIVE INTUITION

Some individuals seem to have an intuitive sense, as they begin their creative work, about what their final product will be like. Indeed, evidence from several sources confirms the role of intuition in the creative processes of artists and scientists; among these sources are autobiographical testimonies, analyses of historical evidence, psychometric assessments, and experimental studies.

In combination, this evidence supports the notion that early intuitions may guide decision making in the process of attaining creative results. But at least three issues remain. First, there may be various forms of intuition. Second, there may also be various forms of creativity. Third, it might well be the case that only certain forms of intuition are related to certain forms of creativity. It is important to develop a clear conceptual framework for distinguishing various forms of intuition as well as for explaining whether and to what extent they interact with one another and with various forms of creativity.

It is also relevant to distinguish intuition from insight, although the 2 phenomena sometimes overlap. Intuition entails vague and tacit knowledge, whereas insight involves sudden, and usually clear, awareness. In the context of creativity, intuition may precede insight. (See INSIGHT)

Earlier intuition was defined as a tacit form of knowledge that orients decision-making in a promising direction. In the context of innovation, a promising direction is one that leads to potentially creative outcomes. For example, Nobel laureates in physics, chemistry, and medicine refer to their own scientific intuition as “a metaphorical seeing of the phenomenon searched for, an anticipatory perception of its shape or its gross structure.”

In time line between an early intuition and its final articulation might very from a brief period to many years, depending on various factors, such as the nature of the problem or the subject’s knowledge base. Jean Piaget, for instance, commenting on the creative process of Charles Darwin, said that he found two results most interesting: the time that Darwin needed to become aware of ideas already implicit in his thought, and the passage from the implicit to the explicit in the creation of new ideas.

In fact, Darwin seems to have implicitly prefigured some of his most relevant ideas in his early writings. Highly creative individuals in other domains, such as Picasso (visual arts), Freud (psycho-analysis), and Cantor (mathematics), appear to have moved along their own creative processes in a similar sequences – starting off with generative intuitions and ending up with more explicitly articulated products after long periods of persistent work (See FREUD, SIGMUND)

This leads us to a further question. If some individuals have an early intuitive sense about their final product will be like, why does it take them any longer to reach the ultimate goal? In other words, how can we explain a creative process in which the beginning is in a way also the end, given that we have a tacit estimate of the end state right from the start?

Perhaps the creative process unfolds as a developmental sequence of representational changes, from vague, syncretic, and implicit forms of knowledge into more differentiated, integrated, and explicit ones. In more technical terms, it is conceivable, at least, that the creative process might operate as a developmental translation – from an implicit code of associative strengths among neural units into an explicit code of symbolic rules. In this cognitive system, implicit neural networks might precede and constrain the generation of symbolic rules.

INTUITION AS CONSTRAINT

A number of scholars hold that divergent thinking (multidirectional and open ended) is the essential feature of the creative process. But, we may wonder, what prevents divergent thinking from becoming mere rambling as the person considers an infinite sequence of potential alternatives? (See DIVERGENT THINKING)

As we all know, any creative process involves a long series of choices: each decision one makes will affect future options, and one’s alternatives at any given will depend on previous decisions. If individuals had to consider each option that arises in any creative search, the growth of alternatives would become astronomical. In other words, the sequence would lead to what cognitive scientists call a “combinatorial explosion,” and it is very unlikely that the creative process would get to the desired result in any reasonable amount of time.

Creative intuitions may fulfill an important cognitive function: By setting the preliminary boundaries for promising exploration, these initial intuitions may keep the creator’s divergent thinking from generating a combinatorial explosion. That is why creative intuition may be technically defined as a tacit form of knowledge that broadly constrains the creative search by setting its preliminary scope.

Although cognitive scientists have widely acknowledged the need to check a combinatorial explosion in a problem space, they have not considered intuition as a potential constraint for the creative search. Instead, they have focused on heuristics.

Creative intuition may fulfill a similar role to that of heuristics by making the search for possible solutions more selective and efficient. Heuristics, however, are explicit rules of thumb, or particular strategies that, for example, deliberately move away from an old path and look for conflicts and resolve them. Conversely, creative intuitions appear to be implicit rough estimates of the final solution or goal, and advances in this problem space might be measured in terms of how close the subject is to achieving a clear symbolic representation. (See HEURISTICS)

Creative intuition has always been difficult to define, explain, and measure. Conceptualizing it in terms of search in a problem space may be a valid and operational alternative for investigating this phenomenon. But it still leaves many questions unanswered.


Source:

Encyclopedia of creativity, Volume 2

By Mark A. Runco, Steven R. Pritzker

Publisher: Academic Press (9 Aug 1999)


Link:

http://books.google.com/books?id=_dK79AdKmIoC&pg=PA90&lpg=PA90&dq=intuition+creative&source=bl&ots=R9dwd7ja1o&sig=dfzAunM0ifvg6mdlQdRKJGs3LZ4&hl=en&ei=9qHySoKxE8j-kAXhq520Aw&sa=X&oi=book_result&ct=result&resnum=10&ved=0CCEQ6AEwCQ

Monday, March 30, 2009

LFS INTRO ACTING FOR CAMERA

London Filmmakers Studio is organizing another acting course for serious actors.

Inquiry please call 012-2950421.

Saturday, January 10, 2009

THE CREATIVE PRODUCER course ended in DEC 2008




Thank you for the supports from the participants who are serious of becoming a creative producers. We had successfully completed the course with certs presentation last December 2008. To those who haven't got their certs, please call CK. Thanks.

Sunday, October 26, 2008

THE CREATIVE PRODUCER course

VENUE : FINAS(next to ZOO NEGARA, Ulu Klang, Selangor)

THE CREATIVE PRODUCER course
DATE : Starts on the 8th and 9th NOVEMBER 2008 for 6 weekends
TIME : 10am - 6pm
(Registration starts at 9.30 am)
FEE : RM600 (student special rate RM300)


The course worth more than RM3500.

Who is Mr. Ike?

Here are some comments from someones who know Mr. Ike:

"Mr. Ike is a very experience writer-director-producer who have been handling many projects in Europe(especially in UK), US, Singapore, Hong Kong and also Malaysia. He conducted many courses such as screenwriting, directing, producing, acting, HD shoot and edit, complete filmmaker, etc. If you have the chance to meet him, talk to him and ask him all sort of film making subjects or problems. He might be the most helpful person to answer all your questions.I never seen a person who is so easy to give out all his knowledge without keeping anything behind. He is so willing to teach everything to anybody that wants to learn. He wants to share with as many people as possible. He believes letting people have the knowledge of making good movies with professionalism is a good thing and that's what his is aiming to do. What I can see is that he also wants to help the Malaysia Filmming Industry so much. I think that's why he is willing to teach with such a low fee..." says CKW, the director of WiraSiswi.

"I learn so much just by attending Mr. Ike's Intensive Acting Class for 6 days. Now whenever I go for casting, everyone in the casting table is so impressed by my acting because I managed to become the characters they are looking for. Even Hans Isaacs don't believe that I just started in acting! Now that I acted in Emma Fatima's production, feature film and many other productions such as Double Vision, etc. I am so thankful to Mr. Ike." said Jefri Jefrizal, a new actor (less then 1 year experience).

References of Mr. Ike Ong:
Sandy Lieberson, Chairman of Film London (London Film Commisson).
Mohd Mahyidin Mustakim, Director General of FINAS
Adman Salleh, director of "AMOK", "BINTANG MALAM",etc.
Suhaimi Baba, director of 1957 (Hati Malaya), Pontianak, Waris Jari Hantu, etc.
Martias Ali, award winning scriptwriter-director
Rusdy Ramli, best actor of FFM
and many more...

INFORMATION On THE CREATIVE PRODUCER course

Please download from the DOWNLOADS SECTION for schedule, syllabus, FAQ and registration form.

Send your the form to londonfilms@gmail.com to register!

Thank you.
from ADMIN

Thursday, October 16, 2008

Coming Soon : The Intensive Editing Course

After having a great success for the Producer Course recently, we receive many requests from the participants for many other courses too.

One of the very important and useful courses is "The Intensive Editing Course" that makes you capable of editing a feature film! In this course we are also giving you more training time.

Book your seat by registering at londonfilms@gmail.com