In “The Conditions of Creativity,” Jerome Bruner writes:
"....there is good reason to inquire about creativity, a reason beyond practicality, for practicality is not a reason but a justification after the fact. The reason is the ancient search of the humanist for the excellence of man: the next creative act may bring man to a new dignity." https://books.google.com/books?id=vAJevMzhIKYC&pg=PA17&lpg=PA17&dq=conditions+of+creativity+bruner&source=bl&ots=axFKI4f3vK&sig=62sjXINvBqq5ju6i-Jsyo5BaZ2Y&hl=en&sa=X&ei=qy4PVcalOZLisATSz4DABw&ved=0CDMQ6AEwAg#v=onepage&q=conditions%20of%20creativity%20bruner&f=false
According to Bruner, it's possible to BE CREATIVE UNDER THE FOLLOWING CONDITIONS:
Detachment and commitment. A willingness to divorce oneself from the obvious is surely a prerequisite for the fresh combinatorial act that produces effective surprise. there must be as a necessary, if not a sufficient, condition a detachment from the forms as they exist… But it is a detachment of commitment. For there is about it a caring, a deep need to understand something, to master a technique, to render a meaning. So while the poet, the mathematician, the scientist must each achieve detachment, they do it in the interest of commitment. And at one stroke they, the creative ones, are disengaged from that which exists conventionally and are engaged deeply in what they construct to replace it.
Passion and decorum. By passion I understand a willingness and ability to let one’s impulses express themselves in one’s life through one’s work… Passion, like discriminating taste, grows on its use. You more likely act yourself into feeling than feel yourself into action… But again a paradox: it is not all urgent vitality. There is decorum in creative activity: a love of form, an etiquette toward the object of our efforts, a respect for materials… So both are necessary and there must surely be a subtle matter of timing involved — when the impulse, when the taming.
Freedom to be dominated by the object. You begin to write a poem. Before long it, the poem, begins to develop metrical, stanzaic,symbolical requirements. You, as the writer of the poem, are serving it — it seems. or you may be pursuing the task of building a formal model to represent the known properties of single nerve fibers and their synapses: soon the model takes over… There is something odd about the phenomenon. We externalize an object, a product of our thoughts, treat it as “out there.” Freud remarked, commenting on projection, that human beings seem better able to deal with stimuli from the outside than from within. So it is with the externalizing of a creative work, permitting it to develop its own being, its own autonomy coming to serve it. It is as if it were easier to cope with there, as if this arrangement permitted the emergence of more unconscious impulse, more material not readily accessible…
To be dominated by an object of one’s own creation — perhaps its extreme is Pygmalion dominated by Galatea — is to be free of the defenses that keep us hidden from ourselves.
As the object takes over and demands to be completed “in its own terms,” there is a new opportunity to express a style and an individuality. Likely as not, it is so partly because we are rid of the internal juggling of possibilities, because we have represented them “out there” where we can look at them, consider them.
Deferral and immediacy. There is an immediacy to creating anything, a sense of direction, an objective, a general idea, a feeling. Yet the immediacy is anything but a quick orgasm of completion. Completion is deferred…
Having read a good many journals and diaries by writersI have come to the tentative conclusion that the principal guard against precocious completion, in writing at least, is boredom. I have little doubt that the same protection avails the