"Although the work that tests, refines, and consolidates what is attained in moments of inspiration is not likely to be, in the arts at least, all conscious calculation, it is largely so. Its object both in art and in intellectual invention, is to make sure that the product is really serviceable."
Brewster Ghiselin selbst, und wie erst in seiner Sammlung "The Creative Process", bestätigt, was Lawrence Kubie ausführt, wenn er dazu aufruft, das Mißverständnis zu beseitigen, das "Unterbewußtsein" mit "Vorbewußtsein" gleichsetzt, und das Unterbewußtsein zum Generator der Kreativität machen möchte.
Dahinter, dies als Anmerkung, steckt in hohem Maß unbefriedigte Religiosität, in der Überantwortung ans Chthonische, aus den Tiefen Heraufsteigende.
Nein, vielmehr ist das Unterbewußte eine Kraft, die die Symbole der kreativen Prozesse verhindern, verschleiern möchte. Das die wirkliche Schaffenskraft mit Zwängen belegt, die die Klarheit des gezeichneten Bildes trüben.
Der Kreative muß vielmehr mit allem Verstand durchdringen, was ihn bewegt, muß mit allem Verstand gestalten und ordnen, was an Material vorliegt. Und erst, wenn er die Grenze des ihm möglichen erreicht hat, wirken jene "geheimnisvollen" Kräfte, die offenbar so manchem so verlockend "leuchten".
Amy Lowell schreibt dazu: "I do believe that a poet should know all he can. No subject is alien to him, and the profounder his knowledge in any direction, the more depth will there be to his poetry. I believe he should be thoroughly grounded in both the old and the new poetic forms, but I am firmly convinced that he must never respect tradition above his intuitive self. Let him be sure of his own sincerity above all, let him bow to no public acclaim, however alluring, and then let him write with all courage what his subconsciouss mind suggests to him."
Brewster Ghiselin noch einmal: "Likewise in pure science the end is not novelty, but use. Neither in art nor in science is the use always anticipated. Application of a scientific truth to narrowly practical purposes may even never occur, and it often follows long after the discovery. But it is evident that in both art and science the inventor is to some degree incited and guided by a sense of value in the end sought, something very much like an intimation of usefulness."
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