Born in Chicago, Illinois in 1971 Nationality: American Occupation: Artist Movements: Impressionism Styles: His unique style of impressionism captured the essence of his subjects through his use of light and colour. His subjects included the natural beauty of the world around him. He finds beauty in the simplicity of ordinary objects and places, infusing them with a sense of nostalgia and emotion. Genres: He is known for impressionist plein air painting. Subjects: Landscapes, seascapes, cityscapes, gardens, architecture, still life painting and tender portrayals of children playing at the seashore. Mediums: Paprocki works with various mediums, including oil on canvas and watercolour. Unique distinction: His paintings have graced the walls of The White House, the U.S. Embassies in Kuwait and Uruguay, and many large corporations. In 1997, the White House selected Paprocki to paint the program cover for the Annual Pageant of Peace held in D.C. In 2013, the University of Notre Dame commissioned the artist to create four monumental murals for their permanent collection. Influenced by: The works of the French and the American Impressionists. Paprocki’s work has been influenced by his extensive travels in Europe, where he painted and visited great museums. Achievements and the main contribution to Art: Eugene J. Paprocki is an internationally collected American artist. He has been featured in numerous one-man exhibitions and prestigious group shows on two continents. His paintings hang in more than 1000 public, private, and corporate collections in over a dozen countries around the world.
Eugene J. Paprocki. Saturday Afternoon at the Plaza
Early Life and Education
Eugene J. Paprocki was born in Chicago, IL in 1971.
He picked up his first paintbrush when he was seven years old. Practice and encouragement filled his childhood, and he drew inspiration from the frequent trips his dad took him on to New York City. In 1989 he painted a series of Landmark American Hotels and sells first painting, a portrait of the Plaza Hotel in New York City to Donald Trump.
Education: He studied Business and Fine Art at Loyola University in Chicago. After receiving his bachelor’s degree, Paprocki augmented his formal art studies with extensive travels in Europe, where he painted and visited the great museums.
Professional Work Experience and Artistic Journey
This love of travel, including scenic locales such as Brittany, Bruges, Paris, New York, and the Irish Coast, has been the inspiration for his paintings.
Thus, in 2010, he travelled to Belgium, France, and England, in 2012 to England, Ireland, and France, in 2017, he travelled and painted in Ireland and in 2019 painted in France. In 1997 Paprocki won “The Jurors Choice Award,” Oil Painters of America National Exhibition.
Most of his works reflect the influence of these extensive travels.
Notable Achievements
In 1997 the White House selected Paprocki to paint the program cover for the Annual Pageant of Peace held at the Ellipse in Washington, D.C. The painting was very well received and, it is now part of the White House’s permanent collection.
The same year, Paprocki won “The Jurors Choice Award,” at the Oil Painters of America National Exhibition.
His paintings have adorned the walls of the U.S. Embassies in Kuwait and Uruguay, as well as many large corporations.
In 2013, The University of Notre Dame commissioned the artist to create four monumental murals for their permanent collection.
His work has been featured in periodicals such as International Artist, Art of the West, Southwest Art, Gulfshore Life, and more.
Paprocki’s most celebrated artworks include “Cape Cod Morning,” “Autumn Vineyard,” and “Aspen Grove”
Paprocki’s achievements include being a member of the Oil Painters of America and the American Impressionist Society
His work has received critical acclaim and has been featured in several national magazines including Art of the West, Southwest Art, Gulfshore Life, and International Artist.
Exhibitions
He has held solo exhibitions in various locations including DeBruyne Fine Art in Naples, FL, and travelled to countries like France, Belgium, Holland, Ireland, and more.
He has been featured in 18 one-man exhibitions and many prestigious group shows on two continents.
2022-Two-person Exhibition with Claudia Seymour, J.M. Stringer Gallery, Vero Beach, FL (February)
2021-Solo Exhibition, Palm Avenue Fine Art, Sarasota, FL (January)
2020-Two-Man Exhibition with JohnPhilip Osborne, J.M. Stringer Gallery, Vero Beach, FL (March)
Collections
Paprocki’s paintings hang in more than 1000 public, private, and corporate collections in over a dozen countries around the world, including The White House, IBM, and various hotels and galleries.
Selected Public Collections: The White House, Washington D.C.; The University of Notre Dame; Whitehall Hotel and The Tremont, Chicago; Plaza Hotel, Mayfair Regent Hotel, Marriott Hotel, New York City, Ritz Carlton Hotel, Naples, FL.
Private Collections in Canada, the United States, England, France, Germany, India, and Japan.
Eugene J. Paprocki. Crashing WavesBeach OutingEugene J. Paprocki. Notre Dame in Rain Eugene J. Paprocki. Pont Aven in AutumnEugene J. Paprocki. Peonie ArrangementEugene J. Paprocki Eugene J. Paprocki. Trafalgar Square, LondonEugene J. Paprocki. Plaza in SpringEugene J. Paprocki.Evening in BruggeEugene J. Paprocki.Pont Neuf, Paris
If you strike upon a thought that baffles you, break off from that entanglement and try another, so shall your wits be fresh to start again. Aristophanes (c. 446 – c. 386 BC), ancient Greeks playwright
True wisdom consists not in seeing what is immediately before our eyes, but in foreseeing what is to come Terence (195/185–159 BC), Roman playwright
Fortune favors the brave. Terence
Don’t be satisfied with stories, how things have gone with others. Unfold your own myth. Rumi (September 30, 1207 –December 17, 1273), Persian poet and Sufi mystic
Inside you there’s an artist you don’t know about…Say yes quickly, if you know, if you’ve known it before the beginning of the universe. Rumi
There is a community of the spirit. Join it, and feel the delight of walking in the noisy street and being the noise. Drink all your passion, and be a disgrace. Close both eyes to see with the other eye. Rumi
Sell your cleverness and buy bewilderment. Rumi
Let the beauty we love be what we do. There are hundreds of ways to kneel and kiss the ground. Rumi
As one who sees in dreams and wakes to find the emotional impression of his vision still powerful while its parts fade from his mind – Just such am I, having lost nearly all the vision itself, while in my heart I feel the sweetness of it yet distill and fall. Dante Alighieri (c. 1265–September 9, 1321), Italian poet (Paradiso)
The pen is the tongue of the mind. Miguel de Cervantes (September 29,1547–April 22,1616), Spanish novelist
The earth has music for those who listen. William Shakespeare (April 26, 1564–April 23, 1616), English poet and playwright
Genius… means little more than the faculty of perceiving in an unhabitual way. William James (January 11, 1842 – August 26, 1910), American psychologist and philosopher
The essence of genius is to know what to overlook. William James
The art of being wise is the art of knowing what to overlook. William James
Belief creates the actual fact. William James
In the dim background of our mind we know what we ought to be doing but somehow we cannot start. William James
Geniuses are commonly believed to excel other men in their power of sustained attention . . . But it is their genius making them attentive, not their attention making geniuses of them. William James
Seek out that particular mental attribute which makes you feel most deeply and vitally alive, along with which comes the inner voice which says, ‘This is the real me,’ and when you have found that attitude, follow it. William James
The creative writer does the same as the child at play. He creates a world of fantasy which he takes very seriously–that is, which he invests with large amounts of emotion–while separating it sharply from reality. Language has preserved this relationship between children’s play and poetic creation. Sigmund Freud (May 6, 1856 –September 23, 1939), Austrian psychiatrist and psychologist
The unreality of the writer’s imaginative world, however, has very important consequences for the technique of his art; for many things which, if they were real, could give no enjoyment, can do so in the play of fantasy, and many excitements which, in themselves, are actually distressing, can become a source of pleasure for the hearers and spectators at the performance of a writer’s work. Sigmund Freud
…a piece of creative writing, like a day-dream is a continuation of and a substitute for what was once the play of childhood. Sigmund Freud
Sigmund Freud (1856-1939) William Stern (1871- 1938)Joy Guilford (1897-1987)
2. Idea-Spurring Questions techniques, Checklists (G. Polya, A. Osborn, T. Eiloart, R. Crawford, J. Pearson, B. Eberle etc.).
2.1. Kipling technique (5Ws / H).
2.2. How to solve a problem by G. Polya
2.3. Osborn’s Checklists
2.4. SCAMPER – Creative technique for ideation
2.5. Five Why – interrogative technique
2.6. The Phoenix checklist – Creative Thinking Technique
Universal explanatory Matrix of theories about Genius
Genius (from Lat. genius – spirit) is a phenomenon of global scale and its mystery is commensurate with the disclosure of the most mysterious enigmas of Genesis, with the identification of the most universal laws of structure and development of the world.
Holistic system of theories about Genius
1. Attributive theories (from Lat. attributum – sign) identify the specific properties and distinctive features of genius and reveal of particularities of their relationships and manifestations. 2. Structural-functional theories (from Lat. structura-structure, order; from lat. functio – performance) revealing specific features of various integrated intrapersonal components and subsystems of genius, their peculiar combination, as well as their role and contribution to the creative genius self-fulfillment. 3. Procedural – dynamic theories (from Lat. Processus – the passage, progress, and from Greek. Δύναμις – “dynamis” power, force ) reveal laws of sequential change of life forming stages of genius becoming , discover the conditions and factors of its origin, existence and development. 3.1. Genetics theories (from Lat. genesis – birth, origin) revealing the causes of genius , and defining the main determinants of its formation and development; 3. 2. Evolutionary theories (from Lat. Evolutio – unfolding, unrolling) reveal laws and mechanisms of genius formation, as a result of the objective process of development of nature and culture. 3.3. Transnormality theories (from Lat. trans – re, for, norma- norm, rule) see the causes of genius in various aberrations, anomalies in the mental and physical health, in the peculiarity of life circumstances and development, in the strangeness of lifestyle and behaviour. 4. Essential theories (from Lat. essential – the essence) reveal the essence and basic dimensions of genius, as well as deep essential determinants of its manifestation.
In 1804, Napoleon Bonaparte desired to take the title of Emperor in order to possess a great Western empire, just as his idol Charles the Great. However, like his famous predecessor, he was to be crowned by Pope that was believed by hundreds of millions of people, including the French.
At the same time his pride, military might and distrust of the Pope prevented the desire to possess a crown.
Bonaparte had a real-life problem that was based on a collision of two opposite desires: to be or not to be crowned.
Napoleon resolved this contradiction with his usual genius:
The ingenious inventor, the savvy entrepreneur, the innovative scientist, the imaginative writer… No matter what our field or area of expertise, we all seek to be more creative and innovative. We all want to be original.
Many of us regard creativity as an awe-inspiring, almost magical gift that some people are simply born with. But just as creativity can be expressed in many different ways, it can also be learned and sharpened like any other skill.
In the modern world, there is no room for the humdrum or mundane. A clever and inventive mind opens doors to success. Here are five ingenious ways you can begin training your mind to be more creative and innovative.
1. Seek to use both sides of your brain.
Don’t fall for the myth that right-brained people are more creative while left-brained people are more analytical. True creativity comes from using both sides of your brain.
The most imaginative ideas must be logical and rational in order to work. The most scientific and analytical of approaches must still be unique, thoughtful and ingenious.
Roger Sperry’s research into his split-brain hypothesis in the 1960s showed that some activities, such as spatial reasoning and appreciation of beauty, stimulate the right hemisphere of the brain, while things like analytical thinking and language stimulate the left hemisphere.
But creativity requires a whole-brained approach because it requires lateral thinking, or thinking about things in new ways. When we “think outside the box,” we devise fresh approaches to solving problems and meeting challenges.
Work to build your whole brain by using both right and left sides. Try juggling or doing origami, or just do daily activities like writing your name or brushing your teeth with your non-dominant hand.
Start looking at things differently — literally — by wearing your watch upside down or using your phone upside down. Try writing backward: it worked for Leonardo da Vinci, who wrote his notes in “mirror writing.”
2. Cultivate a thirst for knowledge.
A lifelong thirst for knowledge will fuel your creativity. A thoughtful and intelligent mind demands a constant flow of information. By continually learning and growing, you feed your mind with ideas and expand your thinking. Seek to be broad-minded and open to new concepts and approaches.
This includes being willing to try different ideas and not just dismissing something you disagree with out of hand. Communication isn’t a one-way street. It means being willing to question everything, to keep yourself motivated and curious about the world around you.
Work to develop both vertical knowledge, which is a deep dive into a particular topic, and horizontal knowledge, which means having a solid amount of understanding in a wide variety of fields.
Having a broad range of knowledge in different areas will give you the background to pull new ideas from. But being deeply familiar with one area will give you the insight necessary to innovate within that field.
3. Explain things back to yourself.
Being creative also requires that you understand the information you have been given. It’s one thing to read a book and study a subject, but it’s another thing entirely to be able to explain that topic to someone else (or yourself). Being able to explain new knowledge shows that you have processed and internalized the information on a deeper level.
If you can explain something back to yourself, you can also expand on it, reshape it in your own unique vision or integrate your own ideas. You can follow threads of ideas and create new concepts.
To be a good explainer requires you be a good listener. After all, you can’t fully absorb and retain information if you haven’t really heard what has been said.
Get in the habit of explaining things back to yourself to further solidify knowledge. This process can also help you think through areas that may be improved, which will boost your ability to brainstorm and build on concepts.
4. Take breaks to “switch on” your creative side.
Have you ever been hard at work at a task that required problem-solving, feeling like you’re on a roll, only to realize later your ideas were mostly redundant and uninspired?
According to Harvard Business Review, our natural inclination is to keep working on a problem even when we aren’t making headway. When working on an idea that requires creativity, we often reach a dead end without realizing it. Research shows that it’s crucial to take breaks at regular intervals to give your mind a chance to refresh.
Set a timer, and when it goes off, switch tasks. Do something else for a while, and then return to your original task. Doing this will help you switch on your creativity and keep your problem-solving productive and innovative.
If you’re having trouble, try approaching a problem from a different perspective. It may help to work backward, starting with the solution, or to turn a problem on its head and conceptualize it from a different angle.
5. Let your imagination run wild.
One of the best things you can do to hone your creativity is to tap into the natural imaginativeness and ingenuity that you had as a child. We loved to play and pretend as kids. We learned how to create imaginary worlds where anything was possible. We enjoyed challenging ourselves with games and tests of skill.
Give yourself time to let your mind wander, to explore, to daydream, and then use the ideas that surface as part of your brainstorming. Challenge yourself with creative exercises, such as doodling in a sketchbook or writing flash fiction.
Keep a journal of your ideas, however fantastical or impractical they might be. Giving your mind time to dream and problem-solve is a great way to build your creative muscle.
If you cultivate a mind that is imaginative, open to all possibilities, balanced, full of knowledge and refreshed frequently, your genius and creativity will start to flourish.
Personality Creative Vision of the World is a complex hierarchical system consisting of values and worldview attitudes, emotional position to the world, as well as the creative method, understood as a multi-level techniques and as a tool and means of its transformation.
In the basis of holistic creative vision is a creative interaction with the world. This interaction has complex, multi-level nature, which reflects universal structure of all integrative objects. This fundamental, “going-all-the-way-through” structure is reflected in a hierarchical creative attitude of the personality, which includes axiological, cognitive, affective and behavioral components, where the first component is not the highest separated level of the structure, but its basic system-forming factor, the core and centre of organization.
Each of these components manifests itself through the means of the appropriate pairs of opposed, complement mechanisms of creativity:
Table 1. System of complementary mechanisms of Creativity
Components
Pairs of Mechanisms
Axiological
Idealization – Problematization
Cognitive
Decentration – Simplification
Emotional
Identification – Meditation
Behavioral
Self-actualization – Personification
These components are realized by means of the following social psychological mechanisms of creative activity: idealization, decentration, identification and self – actualization, and each of its mechanisms manifests itself in real creative activity in the form of concrete means, rules and techniques. The essential condition of creative interaction of a personality with an external world is the realization of a unified system of mutually connected mechanisms.
Idealization is understood as vision, seeking and revealing of the ideal nature of object, a mental constructions of its ideal image in which supreme values are harmoniously blended and the vital contradictions are resolved. It is creating and fulfillment of ideal plan and underlying task, generation of daring hypothesis, embodiment of pragmatic and aesthetic ideal, realization of ideal final result. Problematization is a discovery and point thinning of vital contradictions of the object, a process of problem finding and problem determination. It is perception and search for shortcomings, blanks, discord, asymmetry and imperfections of object. It is a strive for splitting of the united object, finding opposite features of phenomena, vision its dark sides and “shadows”. Decentrationmanifests itself as a process of creation different approaches toward an object, changing one’s mind and taking into account various points of view. This mechanism represents the process of mental replacement of habitual connections by different unusual ones, deviation from traditional patterns of thinking, destruction of traditional notions, mental inertia and stereotypes overcoming. It is the process of generation various unconventional ideas and unusual images. Simplification is understood as getting rid of all complicated, inconsequential, tangled, insignificant and confusing, as achievement of clarity and elegance of the form and at the same time depth and accuracy of the contents. It is ability to concentrate upon the essence of an object, express its complexity by means of simple and clear notions. It is capacity to choose best one combination, basing on criteria of hidden order, harmony and beauty. Identification is realized by means of active immersion and embodiment in objects and their circumstances, blending with them and experiencing emotional resonance. By means of this mechanism, the personality is absorbed in the object of material and non-material nature, it is transformed into them and gets to know their internal impulses, circumstances and logic of development. Meditationis alienation and feelings of isolation from the external and inner world, maintaining necessary distance from the object of interaction, impassive and fresh perception of its nature, real relationships, its harmony, beauty and symmetry. It is a vision of the world and oneself in a new way through defamilirization or making familiar things and phenomena strange. Self-actualization is understood as a process of the most complete revelation and development of one’s personal potentials, as a productive and integrated self-realization of creative possibilities.
Mechanism of self-actualization reflects not only free and subject’s spontaneous self-expression, but its internal activity, ability to make efforts, aimed at the self-mobilization, and highest possible realization of one’s own creative potential.
Integrated self-fulfillment involves realization of ideal designs, plans and models, spontaneous self-expression, self-unfolding, self-determination and self-assertion. Personification is an animation and inspiration of the objects, endowing them with human properties, subject’s characteristics and recognition of their independence and their right to self determination and self-development. It is letting objects to go, getting them right on free activity, letting them take its own direction. Besides this mechanism manifests itself as creation of a self-generating and self-developing structures which independently move to an ideal goal, making an unified well-balanced system, capable of an independent search and productive reconciliation of its contradictions.
Major stages, mechanisms and techniques of Creative Vision
Creative interaction with the world is rich not only in content, but also in temporal structure, which includes series of consecutive stages: perception and emotional experience of objects, their analysis, comprehension and operating them.
Creative Perceptionof reality starts with releasing from the traditional systems and notions, stereotypes returning to the primordial ignorance, to “nothing”, to origin and source of the world aloofness from the world is naturally replaced by insight, ecstasy a surprise at the riches and beauty the world. The complete renunciation from one’s “Self” with its distortive internal impulses and the load of acquired knowledge gives rise to the new world, in all its cleanliness freshness and beauty. 2.Creative consciousness independently reduces the threshold of sensation, increases their intensity concentrates attention on each of them, simultaneously synthesizing them into a bright unified image. Activity of the perception reveals itself in consideration the object from different angles, it allows to notice something new, mysterious, handsome, subtlety and details, predict their future and the ideal essence. 3.Creative Emotional experience.The creative perception of reality is full of emotional experience and enjoyment of the colors, sounds and shapes of an object. As a special kind of trans-personal experience we define blending, unification with an object of perception, up to complete immersion into its space, time and essence. Hence, the complete saturated of the peak experiencing, “assimilation” with another object, is naturally followed by the cognitive removal, impassive contemplation of its structure, harmony and beauty. While the creative perception starts with the getting rid of the stereotypes and fixations, the creative analysis of the reality is caused by doubts releasing from the captivity of the common since, denial of traditional theoretical concepts. 4.Creative Thinking consists of abilities to penetrate into the essence of the object, to separate the signs and single out strong opposite and also masked but useful one’s. At the same time, it reveals itself in free transition to its over – and undersystems, to understanding causes and consequences of their activities, unfolding of temporal structures de-termination of trajectory of their development. Volumetric and polyphonic vision of the objects is maintained by means of creation of different approaches to their exploration application of various points of view of professionals, dilettantes, geniuses, children, living and inanimate natural objects. Creative analysis also implies the revelation of all contradicting systems, allocation and intensification of the main, vital elements, that determine the line of development. 5.Creative Comprehension of the objects and phenomena of reality consists of the prediction and anticipation of their future conditions, mental creation of ideal properties and circumstances. It also includes resacralization of the objects, acceptance of its universal value, understanding it as a necessary link in the Universal chain of events, embodiment of the clots of human spirit, labor and emotions in it reflecting essence of Absolute. 6.Creative Manipulations. Creative interaction with the world consists not only of perception and recognition of its ideal essence and submission to its main lows, but also of spontaneous, expressive self-revelation striving to play with the essence and forms of the world a wish to break usual connections to over come causality and time and of experience its pliability and plasticity. Creative attitude towards the world always includes some elements of the game, risk and humor acquisition of fantastic power ability to manipulate its objects ideals and laws. Creative personality consciously brings an intrigue mystery and paradox into its attitude towards the world fills it with problems, intensifies conflicts, endows the objects with the subject’s attributes and determines the rules of the game. It revives inanimate objects reinforces and strengthens their essence fills them with the signs and properties of the ideal, set them in paradoxal situations, splits them into numerous constituents, creating new and useful combinations and patterns out of them. In this case, the desire for creative manipulation of the objects of the world is based on the realization that the reality is already implicitly contains in itself its own future, that everything in nature exists only in an extremely enlarged or reduced, expanded or collapsed over time, that all is connected to everything and just the natural evolution or deliberate experimentation with reality can arouse and build new relationships, substance and form. The complexity, multilateral and informative riches of personality’s interaction with the world is compressed, summarized and lined up by means of a special method, represented in an unfolding algorithm that includes a series of consecutive operations and directed intellectual efforts.
Method of creative dialogue personality with the World
1. Creative Perception
1. Purification. Return to the beginning. Stop the time, tear all existing connections, return to the originality primordial ignorance, to “Nothing”, emptiness and silence of the world.
2. Bright, clear and keen perception of the surrounding object’s signs. 2.1. Sounds. a) Percept solely sounds, absorb them and dissolve into them. b) Single out each separate sound in turn, be able increase its intensity. c) Apprehend new, unknown noises, space vibrations. 2.2. Colours. a) Percept solely colours. b) Single out each colours and be able to increase its intensity. c) See the luminescence and the twinkling of the Space colours. 2.3. Smells (a,b,c). 2.4. Tastes (a,b,c). 2.5. Touch sensation (a,b,c). 2.6. Configurations (a,b,c). 2.7. Motion of the object (a,b,c). 2.8. Percept all object signs together. a) Synthesize all sensations, create unified, polyphonic image. b) Break the borderline between oneself and the world, be opened to its rhythms, feel oneself the inseparable part of it. 2.9. Surprise and ecstasy. Discover the world a new, give it a new and fresh look, see things around as they are.
3. Isolation and perception of the separate qualities of object. 3.1. See solely new qualities . 3.2. See the beauty and harmony. 3.3. Find a mystery and enigma. 3.4. Notice the subtlety, details and nuances.
4. Spatial decenration. 4.1. See the object: a) from above b) from below c) from the inside.. 4.2. Percept object from the position of: a) an small insect, b) a huge mountain. c) any another object and subject Percept object : a) as an insect-small, b) as a mountain-big comparing to object. 5. Temporal decentration. a) See the object in the its past and in the future b) see germs of the future and traces of the past in the object. 6. The expansion of Vision a) See the objects located in the room all together, b) See simultaneously all the events happen in the house at the moment, c)…in the town, d)…in the your country, e)…on the Earth, f)…in the Universe. b) See the history of the object, its origin, Culmination and completion on the “unfolded time screen”.
2. Creative Emotional Expereance
1. Enjoying the play of colours, sounds and shapes, the delight of the world beauty and harmony. 2. Emotional decentration. Emotional attitude towards the object: a) Love, b) Hatred, c) Indifference, d) Irony, e) “Sub specie aeternitatis” 3. Identification with the object, immersion and assimilation with it, intuitive comprehension of its unique essence. 4. Cognitive self-division from the object, holistic, simultaneous perception of object’s connections, harmony and symmetry. 5. Enjoyment of the play with the object: manipulation of its qualities and perception of its unexpected manifestations. 6. Transpersonal, peak experience of its original and exceptional value.
3. Creative Analysis
1. Doubt the existing conceptions, be free from imposed settlement of the common sense. 2. Determine the nature of the object. 2.1.What’s its main function? 2.2. What are its main needs and goals? 2.3.What does it produce? 2.4. Simplify the object in the imagination, put aside everything secondary, unimportant. a) Express its essence in one word, b) By symbol, c) By a metaphor ( including that containing paradox ) d) In a formula, e) On a diagram. 3. Split the object into its constituents, define a) substantial, b) opposite, c) weak but useful 4. Comprehend the whole complex of connections and relations with other objects. 5. Define the structure of the object. 5.1.Distinguish between the structural levels. a) What is the over-system and its goal, b) What are the under-systems and their goals (determine how the system transforms the matter, energy and information). c) What is the anti-system and its goal. 5.2.Define the temporal structure. a) Imagine the object in the past and in the future, b) Define the line of the development: the beginning, the peak and the end. See the point where the object is located at the present moment . 6. Semantic decentration. 6.1.Apprehend how the object is treated in different sciences: philosophy, economics, psychology, physics, mathematics, etc. 6.2.Unified, polyphonic vision of the object, creation and application of different points of view of: a) A genius, b) A professional, c) A laymen, d) A child e) An animal f) An inanimate object. 6.3.Place the object in different imaginative paradoxical, fantastic situations. 6.4.Semantic “rotation” of the object by means of different lists of test questions. 7. Determine the main contradictions within the object between: a) Ideal and reality, b) Aims of system, over system and under system, c) The present, the past, the future, d) Recourses and their use, e) Opposite signs.
4. Creative Comprehension
1. The vision of the ideal nature of the object, mental creation of its ideal image and conditions of its realization.
2. Resacralization of the object, admission of its undoubtful value.
3. Treating the object as a necessary link in the history and the ref-lection of the Absolute.
4. Blending in and assimilation with the Absolute, acquisition of the unified, cosmic consciousness, cosmic consciousness, reception of the energy and information streams from the superior worlds.
5. Creative Manipulation And Handling
1. Free, profound and sincere self-expression and affirmation of one’s own genuine
nature, enjoyment of liberty, ability to create, overcome of causality and time, reinforce the essence of objects and forthcoming them closer to the ideal. Dizzy realization that “Everything is possible” and “Everything is achievable”.
2. Free handling with the object.
Table 2. Major Techniques of Creative Vision
Space
Time
Content
Idealization
1. Insert parts of the space into each
other like set of nesting dolls.
2. Go to the super-system.
3. Used the superior higher dimension.
1. See the process as the temporal
integrity: the beginning,
the culmination and the end.
2. Start from the end point.
Techniques:
a). Preliminary actions.
b).”Pre-planted pillows”.
1. Imagine that everything have been achieved, all contradictions resolved.
2. Start from the end point.
3. Give the object the ability to independently resolve contradictions and problems, imagine that everything comes true by itself like in a fairy tale. Techniques: a). Creation of the perfect plan;
b). “Universal Action” – object performs the functions of any other objects can be whatever you like.
Problematization
1. Giving asymmetry to the structure of the object
2. Restructuring: a whole – performs one function part – opposite.
1. Swinging open of opposites in time: the principle of periodic action.
1. Increase and sharpening of differences.
2. Creating a collision between two harmful factors.
3. The principle of paradox, of the “explosion”, an incident and catharsis.
Decentration
1. Change the dimension of the object.
2. Turn the object incide.
3. Resize the object and its parts
from 0 to ∞.
1. Watch the object from the future and the past.
2. Turn the time back.
3. Change time of the events from time 0 to ∞.
4. The principle of “breakthrough”.
1. Put an object in the most unexpected situations.
2. Using the transition states.
3. The principle of partial or excessive action.
4. Implement the opposite effect and anti function.
5. Change the price and basic function from 0 to ∞.
Techniques: a). do the opposite b). turn harm in favor ,
c). increase a harmful factor and use the energy of injury
d). compensate a one harmful factor by others.
Simplification
1. Getting rid of needless parts.
2. The “carrying out” principle.
3. Mediator’s principal – manipulation with a copy of the object.
1. The principle of “substitution expensive longevity on the cheap short-lived sequence”.
1. Deliverance from internal and external constraints.
2. Getting rid of the false assumptions and redundant information.
3. Getting rid of the usual terminology, the creation of neologisms.
Identification
1. Take up the position of the object in space and to see other objects from its point of view.
2. Adopt the shape and dimension of the object.
1. Feel the object rhythm and natural frequency, enter into resonance with him.
1. Get used to object, re-embody object.
2. Using the principles of uniformity, synchronization and resonance. Techniques: a). personal analogy
b). “Method of Little Men” – imagine oneself like the team
of little men who become a parts of the object.
Meditation
1. Removal from object in space.
1. Keep at a distance from the past and future.
1. Anaxiomatization – a temporary aloofness from the problem, devaluation of problem and conventional ways and methods of it’s solving. Solving the problem by means of their elimination, through complete rejection of them. Solving the problem by it’s elimination, by avoiding and ignoring.
2. Cognitive exclusion and alienation from the subjective “Ego” also from the object and the relationship with him.
Self-actualization
1. Unfold the object into the separate parts and shuffle its:
a). among themselves;
b). with parts of other objects.
2. Turn form a single object in the form of another.
1. Fragment process at the stage (periods of time) and shuffle its:
a). among themselves;
b). with the stage of other processes.
2. Turn the temporal order ant rhythm of one object into the order of another one.
1. Single out the object attributes, properties, functions and shuffle its:
a). among themselves;
b). with the properties and functions of other objects.
2. Transform the qualities of one object into another one, to see the transition point.
3. Endow the object with senses of other objects.
Personification
1. The minimizing of Intervention principle.
2.Principle of Non-interference.
1 Principle of Dynamization: make immovable objects or its separate parts – mobile.
1.The principle of “wu-wei” (non-action). Eliminate the idle actions.
2. Creating such kind of a structure, which itself resolves emergent contradictions.
3. Implementation of the principles of self-service, self-correcting and independent use of resources.
The method described above can serve as a form of creative self-training or meditation where the sequence the value and the velocity of the stages can be changed depending on conditions and qualitative kinds of involved into interaction. Using mechanisms of immersion, coagulation and automation it appropriated by the personality, consolidated and turned into a steady personal structure the creative position of the personality. At the same time this method is the way of unified creative vision of the reality and serves as a basis for the definition and revelation of vital contradictions of the object and presents the possibility to create different methods of solving specific life problems. 1. Markov, S.L. (2011) Formuvannia tvorchogo bachennia osobystosti jak universalnyi metod aktivizacii tvorchosti [Formation of creative vision of an individual as the universal method of enhancing creativity]. In S.D. Maksimenko & L.M. Karamushka (Eds.), Actualni problemy psichologii. Vol 1. (pp. 374-380). Kyiv: Publishing House “A.C.K”.
Famous celebrities including Coco Chanel, Ralph Lauren, David Letterman, Oprah Winfrey, Heidi Klum, Sienna Miller, and Miranda Kerr share their perspectives on creativity. They emphasize concepts like failure as a step towards success, the importance of innovation and dreaming big, trusting instincts, and the transformative power of attitudes. Creative expressions, they reckon, are essential to personal fulfillment.
FRANK BARRON Frank Xavier Barron
(June 17, 1922, Lansford, Pennsylvania – October 6, 2002, Santa Cruz, California) (Aged 80) Nationality: United States Category: Scientists Occupation: Psychologist, Professor, Non-Fiction Writer, Poet Specification: A pioneer in the psychology of creativity and in the study of human personality, professor of Psychology at the University of California Santa Cruz. Psychology of Creativity Gender: Male Family: Barron married Nancy Jean Camp in 1961, and they had three children: Francis Charles Xavier, Brigid Jessica Sarah, and Anthea Rose Maeve. Education: In 1937 he attended La Salle University, from which he graduated with a Bachelor of Arts in 1942. He received his Master of Arts from the University of Minnesota in 1948, and his Ph.D. from the University of California at Berkeley in 1950. Influences: Dante, Augustine, Yeats, Galton,Pavlov, Fechner, W. James, Freud, Jung, Bergson, Teilhard de Chardin, Binet and Piaget. Career: Barron served the U.S. Army (1943 – 1946) in Europe as a medical sergeant. He taught as a visiting professor at Harvard, Bryn Mawr College, University of Hawaii, Wesleyan and from 1949 to 1968 worked as a founding member of the Institute of Personality Assessment and Research (IPAR) at UC Berkeley. From 1969 until his retirement in 1992 he taught courses in personality and human creativityat the University of California, Santa Cruz. Personality: Barron had a gentle heart, great sense of humor and impressed with his erudition , subtlety of mind and love of language. He was fond of poetry and wrote a book of poems “Ghosts”.
Genius… means little more than the faculty of perceiving in an unhabitual way.
I. Three pillars of activating creativity
CREATIVE VISION 
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