by M.K.SADIGH

The original Persian Article was published in Shahrvand weekly newspaper in Toronto Ontario Canada #481 may 2000.

Creativity defined as a state of capability which a person discovers his own sets of laws, and replaces the previously learned paradigms and norms. In this state of mind, which characterized as, creative thinking, he will liberate himself from the boundary of the established norms. This liberation followed by flexibility, selectiveness, durability and freedom in his decision and judgment.
Personal freedom led to creativity occurs only, when individual, in his intellectual domain, seeks solution for his own problems. It is then that he distances himself from mental obligations and relays only on his knowledge. He resorts to the existing available references. At the same time, he evaluates and selects the most relevant ones. Since he is already, liberated him from reliance to the established intellectual patterns. In this case, he is able to have a free selection, rejection, and judgment and finally modify his ideas appropriately.
Even though he exploited the old ideas in the process of achieving intellectual maturity, but certainly he must alters them drastically to more suitable ones to satisfy his specific purpose. In a process of free judgment, the individual without interference and influences of the imposed established norms riches to his own free choices. In fact in such condition he is ready to emend, and replace the old established norms with his own new ones. The whole process of creativity happens unconsciously within the realm of intellectual creative thinking. He is then ready to re evaluate the elements of his thought. He re orients them in his own way: alters them and even completely substitutes them with his created norms. It is in this particular stipulation that creative mind, produces entirely new precedent
The final evolution in a creative mind is to examine the potential and validity of the new precedent. Its credibility for acceptance, validity. The appropriation of this new order remains to be examined, experienced and verified in the realm of pragmatic experimentation. It is only trough assessment that the rectification and finally perfection take place. Either in art or in science, the process of creativity varies in different circumstances with mental capacity of different people. No matter what the circumstances, the creative people denounce and annulated the established paradigms. In any case the outcome of a creative mind is a new and different order of thought. In art or any other manifestation of human life, Creativity, is not, only a virtue attributed to some exclusive and selected group of the society. Within a social structure, people's creativity only exceeds to a level of potency for change, when the established norms can no longer satisfy their needs. It is only in that level of intellectual maturity, they successfully challenge the established paradigms.
The creative mind usually works in an active environment. Facing variety of dilemmas, just like ordinary people. But their awareness and attention to the significance of the problems, puts them in different category. Their comprehension of the consequence of changes motivates them to solve their problems, and if there is no available solution, they will discover one for them. Such accomplishment usually has a dynamic effect that creates a strong wave. Its impact penetrates to far reaching places in the historical and cultural levels. In some cases will be the bases of an entirely new movement in science, art, or technology.
Understanding the value and significance of creativity is a crucial factor of criticism in general and particularly in arts. In certain moment of the human history, some movements generate a cognizable potential of producing significant changes in social orders: sciences, philosophy and arts. For example Paul Cézanne 1838--1906 raised in an educated and rich family with an extensive general knowledge. He introduced an entirely different view, both: in presenting his ideas in art, and a totally different concept of aesthetics. He influenced the views and philosophy of art, and created a dynamic puissance in the whole artistic evolution, especially, post impressionism, in the twentieth century. Cézanne deviated from the main ideas of presenting the nature in different methods of presentation, in order to reach the reality of changing nature. In contrary to all his contemporaries, he often referred to the nature only as a reference, to develop his own conceptual structure of his art. His main attention was focused on technical formation of a painting, rather than its representational capacity. The development of this idea evolved to, cubism, a major motivation for variety of new styles in painting and extended to other art movements of twentieth century.
In a general sense reference to the elements of the nature was simply an excuse for execution of his own idea. He did not copy any thing from it, or represent it, as was the main consideration of all his predecessors. Whatever he was making as landscape, mountain, or tree, it was completely different with the ones Monet, or Pissarou were painting in their art works. He strongly believed that, the nature and art are two different phenomena, this different viewpoint consequently contributed to a completely new approach to art and, a new understanding of aesthetic. In the course of history, in different aspects of life, many movements motivated by the creative people such as Cézanne: In Christian religion Espinoza, in physics Einstein and in political philosophy Karl Marx. The impact of the creative ideas of these people revolutionized human life. Certainly left a long lasting and extensive impact for years to come after their occurrence.
We can conclude that creativity should be associated with thought and coherence. Therefore, if intellectual capacity and development, besides the biological and genetic transition, leads to intelligence, then we can consider it as prerequisites for creativity. When a person assumes this capacity, he is capable of reconstructs, and reorganizes completely different sets of norms. However, to be creative, a person should be intellectually capable and trained for coherence and creativity. Such preparation achieved only trough education but not necessarily channeled trough institutional training. This edification achieved and materialized by cultural and traditional makeup. For the same reason knowledge, and consciousness along with technical ability is prerequisite for creativity, whether it is in arts or in sciences. A painter would never be a successful practitioner of his art, without possession of appropriate knowledge. By the same token a scientist could not be a creative person unless acquire sufficient scientific knowledge, capable of denounced the validity of the old, and established laws, and produce the new ones.
It seems creativity, as we maintained before is process for renewing our thought and subversion of old to new. But certainly there is different between creativity in arts, and creativity in science. Creativity in arts is mainly motivated by sensation resulted to expression of human feeling. In this state of mind the person disassociate with all his previous attachments. On the contrary creativity in science the scientist is compelled to relay on a scientific discipline to guide him to a level where he will eventually comes up with his own. That does not alienate him from flexibility, endurance, and sensitivity in the process of creativity. Acceptance of distinction between, art and science, and, artist and scientist, is a preconception and traditional acceptance. Either in philosophy or in cultural cognition, the recognition of tow distinction is not surely finalized or even accepted. Habitually. We accepted two different domains, without substantiating its proven distinction.
The ultimate goal of this essay is to identify the impact of motivational factors of changes. Particularly those that changed the intellectual capacity of modern man, reorient the characteristic of human's natural sensitivity. Traditionally, we called a phenomenon (art) because was not produced by logic. Art was always assumed and considered as expression of sensation and feeling. After drastic changes in human behavior, art is recognized as a complete different discipline, which is the amalgamation of art and science. The manifestation of this mixture reflects a great deal of highly technical professionalism, which creates unmatched, UN believable new images of different manifestation of life that had never been produced by human before. These masterworks of cinematography definitely could not be produced without the assistance of scientists and their active participation in the process of creation. Clearly we are witnessing a revolution that caused all the preceding walls of separation between cultural elements came tumbled down. The motivation of the practitioner of art no longer is only the expression of feeling but rather the result of: scientific calculation, discipline, comprehension, feeling, vast capability of philosophical, historical, and technology capacities. The geniuses generated by such educational composition and impulse, certainly are not (traditional studio painters any more), neither they are artist, nor scientist, but rather, both in one amalgamated potential. This new identity clearly appears particularly in an artistic community of the artists involved with the computer production of artistic works in movies. These new generation of (artists-scientists)
Should be extremely intelligent, knowledgeable, sensitive, technically capable and highly creative?
The, viewers, and audiences of the new trends of aesthetic production whom are intensely fascinated by the works, and affected by their impacts are perplexed. They are no longer arrest their imagination to a limited border, or within a limited frame as they did in the past to seek in their assumption to interpret the image. The new image encompass him, and engulf his senses, there are enough in the image that could overshadow any attempt, visual, audio, intellectual, historical, philosophical, and many symbols and clues from human life that the audiences associate with them. They do not look at, a structure of (form, isolated from content), literature separated from history, philosophy, politic, and other manifestation of life. They are looking at a totality of amalgamation of all the manifestation of life. They are looking at life. The audience does not know what they viewing are art or science, or those who created it are artists or scientists? The atmosphere where they enshrined and captured by its impact is an artistic or a scientific atmosphere, or perhaps both?
Since the climax of the post-modernism brought about a battery of drastic changes in every aspect of our life the characteristic of many things changed. Consequently it was the same striking dynamic of post-modernism that tumbled down the structures of the old stubborn paradigms and created the new order. The new changes at first were accompanied with the absolute chaos, disorientation, and confusion. This phenomenon first was noticeable in artistic world, particularly fine arts. From the beginning of the twentieth century, we witnessed enormous of fluctuations. This dynamic was the motivation for geneses of variety of new ideas. The whole range of new viewpoints of post-modernism era, and finally from (Dadaism to new Conceptualism) a vast atmosphere of controversial, and contradictory outcome of artistic movements. These new phenomena demonstrated the strong interaction of art and science. Presenting the fact, that there is no borderline and partitions between the art and science anymore, and fusion of these two is unavoidable.
In 1883 when, M. E. Chervil published his theory of contrast of color for textile industry, artists such as Gorges Seurat & Paul Signac were the first to adapt his theory. They used his scientific principal and created the, pointillism, a method of using the color in painting without mixing them, in order to achieve full intensity of the colors. This adaptation alone resulted in the whole range of changes in visual art. Even the impact of this adaptation expanded to post-modernism, (OP Art, POP Art and Color Field) of sixties. Painters such as Joseph Albers and Victor Vassar Ely created new styles of paintings, which influenced many other artists and resulted in a vast spectrum of flourishing art works. In this era, artists no longer bounded to the their preconceived pallets and repeating the same old rules, but rather working in a world far more extensive than the method of, Gustavo Courbet. 1819-1877.
French painter known for his realistic depiction of everyday scenes. In this era, the new theoretical ideas of Sigmund Freud, Carl. Jung, and especially Charles Darwin's theory of evolution had smashing effects on artists and their intellectual capacities. They created a dynamic potency, which had no match in the whole past human history. This interaction abolished the borders between art and science and created a new structure for arts. The post modernist artist was not working only with his feeling, but rather with all his developed, expanded intellectual faculties.
The whole, isms, period of artistic activities, starting with impressionism to the post modernist movements of sixties to nineties, were all the manifestation of drastic changes of artistic world. These movements resulted in a vast shift in artistic behaviors. Whether those influenced and rooted by (1916 Dadaism of Zurich and Andre Bretons Manifestations) or those, which influenced by other scientific theories. The outcome of these interactions was not the product of an artist who produces his work in his solitude. But rather a person involved in intellectual activities far exceeded than limitation of only image making. The artists of the periods from 1906-1990 reached to a conclusion that they had been surrounded by a completely different world with different motivations, which calls for different demands. Imitation or repetition of, known, was no longer the issue, but rather invention of the new issues was the core of the artiste's attention. The artistes active involvement in: science, philosophy, political consciousness and to a great deal activism were the new molds for the formation of his new trait.
In the world of action and reaction, metamorphic deformation, subversion and substitution, still there are artists, serving the fossils of antiquity. Those who are not affected by the dynamics of their time occupy themselves with mediocrity and halting the progression of the history. In the other hand, there are artists such as Jasper Johns who were persistent in their pursuit and revitalized the new Dadaism and expanded the span of their horizon to a vast discovery of new possibilities. We live in the world, which every moment, there are drastic changes in technology, and this swift deformation directly, or indirectly affect everybody's life. It is difficult to believe an artist possibly lives remote from this fast phase evolution and not be influenced by it. The time of confinement was over when the media turn the walls of privacy down, and trough the radio, television and now Internet every active person could be in touch with the rest of the world. The scope of the activities of artist such as Jasper Jones expanded from limitation of technical mediocrity to the most extensive conceptual expressions. With the internet-link we are going far more faster than ever in the history of human life.
It was possible to have a short cut in the past and jump over the steps and get to the further ones in a feasible measure. Now the old measures are no longer appropriate or even fast enough to allow any adjustment to be made. This adjustment is so swift that is bugles any body's mind. The mind bugling speed of change does not allow short cuts, compromise, hesitation, and isolation. No matter in what degree of stagnation a person prefers to remain in, the puissance of change is going to affect him. The name of the game is no longer to only survive but it is to be constantly on alert, and stay on the pick of the wave in order to not sink into the banishment of this abstruse and confused ocean of profundity.
Perhaps in the arts as well as other manifestation of life, still there are many whom advocate the stagnation. Persistently stubborn in their validity and harmonious proportion with the speed of change. The truth is that they are not only left out far behind the fast phase of historical advancement, but they will hold the correct and fellow of progression stalled. The painter of pour and undeveloped taste definitely will transfer his handicapped deficiency to his culture. A painter presenting the out dated, Ghajar, period of Iranian history will not demonstrate the dynamic of his own time but rather the atmosphere of which no longer matches his time. Consequently, create no incentive to lead his audiences to any further advancement beyond what they already have, therefore, they remain in stagnation.
An artist such as Henry Moore was strongly influenced by, Pre-Colombian art; he adopted the trait of their aesthetic, developed then to the principals matching the paradigms of his time. In his work you do not see or even detect the atmosphere of, Pre-Colombian, but rather the image of the man who lived, developed, and will progresses to eternity. This universality is immortal, is rational and is completely different with what the imitators of,Ghajar, painter doing. The, Per-Colombian art, Henry Moore art, Persian art, they are all manifestation of human life in a broad sense, and in their time of production. The art of every epoch of human life is only the reflection of its own time, when that time past, there is no appropriation for that art except its historical and cultural value. Moore work does not takes us back regressively and stagnate our consciousness, but gives us a ride with a vehicle which was created in the past and continuous to be an constructive channel to the future. His proficiency and knowledge of know how, and know why takes him far beyond the obedience of the established mannerism, norms and paradigms. He and people like him never bound themselves to what exist but rather what has a marked appropriation for the time they live in and what rotate the wheel of progression.
In a time span of more than four thousand years, a cultural treasure resulted of so many historical fluctuations and we, the Iranian, inherited that, it is mind bugling that still we are conditioned to believe only (miniatures, only Ghajar, or only calligraphy) are the marked identification of our identity. As it was maintained at the beginning of this essay, jogging in one historical stillness moment will not take us forward. The calligraphy of Kalhor belongs to his time. The drawings of Reza Abbasid reflect the serenity of his atmosphere and not the restlessness of our modern living. The scope of Reza Abbasids communication was not any thing more than a radius of walking distance from where he resided to people whom he communicated with. But, now the radius of communication of any person exceeds to a global measure.

M. K. Sadigh
June 5- 2ooo