Imagination From the Ancients
The source of my imagination has always fascinated me. I think it's because I've always associated the imagination with limitless freedom (or to raise the cheese-factor, a gateway to endless worlds and ideas). Of course like all writers I've experienced draughts of creativity, and at the time I was powerless to stop let alone understand it.
It helps me to understand the problem by finding a metaphor to explain this process, and as there is very little research into how humans are creative I think there's a lot of room to hypothesize.
One theory comes from my Mysticism and Literature class, called Visionary Lit. The theory behind mysticism suggests creativity, imagination, and inspiration all come from a source that is outside and separate from this material world. Mysticism suggests there is a spiritual element of creativity and the mind, be it conscious like God, or unconscious like a river of energy. Inspiration (according to the mystics) comes from stepping outside this world and connecting with another plane of existence (of course all this only happens in your mind or the spiritual realm).
If flashes of drug-induced Hippie drum circles are washing over your mind let me assure you this is not where I am going. Drugs can force a naked, all access tour of your mind, but often with less control, and negative side effects. Furthermore Mysticism suggests you can connect with the imagination on an everyday basis, in the moment, right now.
It's about opening your mind to the moment, and seeing what's in front of you with-through your imagination. "A fool sees not the same tree a wise man sees" says William Blake, suggesting the difference between a fool and wise man (or wise woman) is the key to seeing the present moment with- through the imagination.
What's fascinating is how long mysticism has existed, with the symbol of the axis mundi (representing the connection between human mind and imagination) going back to the Ancient Egyptian Empire.
A Modern Materialist
Skeptic
As a writer I cannot say I've settle on one perspective of the world. I think it's important to allow some flexibility in imagining what is out there, and despite Richard Dawkins' efforts to eliminate spirituality from the equation I don't think anything should be defined in absolutes.
However, I do believe science can explain a lot about ourselves, and I like to think about humanity from an evolutionary perspective.
Whether its building lego, drawing, writing, or improv acting, there have been moments where I felt my imagination was limitless. Looking at the empty page, or spot on stage my stomach would churn with excitement, and my mind would be flooded with possibilities.
These extreme moments of creative freedom contrast starkly with moments of creative block, and have gotten me thinking about the context and catalyst for each.
This has lead to me to hypothesize that our imaginations are something like a metaphysical muscle in our brain, and like all muscles they need both food and exercise.
Now if food is everything we consume (experience wise), and exercise everything we use our minds for, its safe to say everyone is exercising (in some way) all the time (unless of course you're a vegetable, in which case you fall under the catagory creatively obese) The catch is to exercise in the right way, and eat the right foods.
You can't write good poetry unless you've read a lot of good poetry, Just as you can't write a great story or novel if you've only ever watched movies or television, you have to know the discipline you're working in. I heard a great quote that went "Ferocious consumption is not a hunger for content but for form."
Too many creative people mix their influences with their projects, where the concept for a novel comes from what the 30 second trailer looked like in their mind. That's a fine starting place, but more reading is the only way to expand from that seed, and ride further visions of inspiring scenes or plot twists.
When I was younger I had the misconception that my mind needed to be a pure and well filtered environment, as if letting the wrong ideas in would taint or discolour my original inspired vision. This I've learned is the wrong way to think about creativity, because it doesn't strengthening and redefine the colours you have, it limits the colours (tools, complexity) you have to work with.
My highschool Art teacher once told me "art doesn't come from a vacuum".
Another factor in creative block stems from the reason you're making this in the first place. Purpose, theme, and motivation are sometimes left on the sideline because they weren't a part of the inspiring vision you first conceived, yet its these forces- when properly conceived that set your story, or ideas into motion.
Imagine your creative mind is like a storming ocean deep inside your subconscious, There may be a trillion ideas washing back and forth, but what is drawing them out? What are they to stick to or dock from? themes and myths are great tools for the imagination because they are vague enough to allow maximum freedom, while still acting as a lightening rod for your relevant ideas.
Too often we go into our minds with nothing, expecting something to gravitate toward us, or for ideas to just collide into concepts like swirls of gas into a star (too bad our minds aren't based on the forces of gravity).
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Lastly In these short years on earth I've stumbled upon a powerful tool to cultivate imagination, I call it improv. There is something about improvisation theatre that functions like a 20 K creative triathlon (minus the sweat and pain).
When done right, with equally creative people, improv theatre can break open the flood gates for ideas, characters, plot, and dialogue, all through some impromptu role playing. I believe improv creates a context that most people never find themselves in, and exercises muscles that we can barely stretch.
-First, you must enter the stage with an empty mind, no thoughts, no preconceived ideas.
-Second, (if you've squashed you inhibitions) you will be a in a calm and relaxed state.
-Third, there is a subtle (external) force requiring your creative input (ie you have an audience watching/ waiting for you to deliver your line or response, which unlike daydreaming puts a little pressure on you to think.)
-Lastly, well run improv is a safe and positive environment, where you will almost always receive positive feedback (ie laughter) from your response on stage.
People who love improv will tell you that when things get going, ideas, reactions, and responses flow quite easily, training your mind to both think, act, and react in the moment.
This type of thinking is similar to making conversation and formal debate, but with more hospitable conditions and freedom for creative expression.
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Concluding thoughts
So where does creativity come from? How does it get blocked? And more importantly how do you unblock it?
My Creative Writing professor told me a writer's block doesn't exist. Of course her solution was to just sit down and start writing, insisting that anything will lead to something good eventually. And though I can see where she is coming from she was also trying to ward off dreamers from waiting patiently for their inspiration, this can leave some people waiting a long time, with nothing accomplished.
(check out Kafka's parable called "before the Law" and see how Kafka envisions the search for inspiration.)
However I believe my professor fails short in her perception of the artist. I believe a creative person should work whether they are inspired or not; however- I also believe working when inspired/ with inspired ideas is more preferable.
Artists themselves need to realize that moments of inspiration can be self induced, wielded and ultimately rest in the control of the artist himself. Its your gate, your lock, and only you have the right crowbar to prop it open.
