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Behind the Scenes of Artistic Creativity

Processes of Learning, Creating and Organising

Tatiana Chemi, Julie Borup Jensen and Lone Hersted

Throughout the literature of creative learning, many assumptions and even stereotypes about the artists’ creativity are nurtured, often according to myths going back to the Romanticism. The authors have been investigating and describing outstanding artists’ creativity and learning/working processes, asking the question: how do artists create, learn, and organise their work? This book explores these questions by means of original empirical data (interviews with 22 artists) and theoretical research in the field of the arts and creativity from a learning perspective. Findings shed an original light on how artists learn and create, and how their creative learning and change processes come about, for instance when facilitating and leading creative processes.
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Chapter 4: Artistic emotions and ways of thinking

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The present chapter looks at the emotional, cognitive and relational elements of artistic creation. We will focus on the motivational aspects of artistic creation together with the artists’ conceptualisation of emotions in the processes of creation. How can we break down the artistic creative process into essential elements? How can we break down these processes at abstract level? While the previous chapter had its focus on preparation for artistic creation and the establishment of a relationship with the work of art, the present chapter will look at how the artists leave the creation room. Which emotions and thoughts are reported retrospectively? How do artists relate to their recipients while they compose? How does artistic creation feel and sound in the artists’ narratives?

When the work is done

Beyond the metaphor of dialogue, the interviewed artists actively practice their creativity in relational and dialogical forms. This means, concretely, that artists create while talking to someone or having their recipient in mind during the process. Siri Hustvedt talks about a continuous dialogue among artists that can unfold in already existing frameworks or at a more imaginative level. The artistic role models that inspire artists, in Hustvedt’s case the books or paintings that have been meaningful to her, contribute to establishing an ongoing conversation with a given tradition, with a domain, with a group of peers. However, artists need a wall to play against and this can be a real recipient, someone that gives feedback and can...

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