A Response to the Review of Mirror of Consciousness: Art Creativity and
                        Veda by Robert Pepperell of the Posthuman Laboratory for Arts
                        Research[1]

Bonshek, Anna

doi:10.16995/bst.225

Cited by 2 publications

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“…As Bronowski (1985) has noted, aesthetic appreciation is an activity of the same kind as the original act of creation, albeit lower in intensity. Thus here “the term pratibhā , meaning creative energy, signifies both the artist’s talent and the observer’s response” (Bonshek, 2001, p. 29).…”

Section: The Virtual Reality Of Non-duality In Indian Aestheticsmentioning

confidence: 99%

“…In a phrase, the creator and the ideal critic constitute one unit of analysis as two poles of the creativity continuum—one creating and the other appreciating. According to Bonshek (2001): Indian theories suggest that there are three aspects or stages to art: the first is the creative process of the artist; the second is the artwork; and the third is the viewer’s response—when the artist’s experience is recreated. These three stages occur in one unified process; the absence of any one stage means that the process is incomplete.…”

Section: The Virtual Reality Of Non-duality In Indian Aestheticsmentioning

confidence: 99%

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Mind and creativity: Insights from rasa theory with special focus on sahṛdaya (the appreciative critic)

Sundararajan¹,

Raina

2016

Theory & Psychology

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This article introduces a non-Western approach to mind and creativity, an approach inspired by the notion of sahṛdaya (the appreciative critic) found in the Indian tradition of aesthetics known as rasa. The rasa tradition is preoccupied with a virtual reality governed by the principle of non-duality ( advaita), which we illuminate with another virtual reality—as formulated by the mathematical principle of symmetry in quantum mechanics. Far reaching implications of the principle of symmetry/non-duality for psychology in general, and psychology of creativity in particular, are explored.

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Section: The Virtual Reality Of Non-duality In Indian Aestheticsmentioning

confidence: 99%

Section: The Virtual Reality Of Non-duality In Indian Aestheticsmentioning

confidence: 99%

Mind and creativity: Insights from rasa theory with special focus on sahṛdaya (the appreciative critic)

Sundararajan¹,

Raina

2016

Theory & Psychology

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“…This process is endless, that's why the Vedas are also endless and, in a way, extension of borders. This is reflected in the individual creativity as well, which “can demonstrate the creative mechanics of Nature, and, in so doing, reflect the dynamics and structure of Veda” (Bonshek, 2001, p. 260). All creation is first annihilation, and then a new birth as is borne out by the Nasadiya Sukta in Rgveda (Vidya Nivas Misra, personal communication, March 19, 1998).…”

Section: The Creative Process: Extension Of Bordersmentioning

confidence: 99%

The character of creativity: The vedic perspective.

Raina¹

2015

The Humanistic Psychologist

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This article provides an overview of some insights relating to various aspects of creativity provided by the Vedas-the most ancient scriptural and philosophical texts known to history. In describing the nature of these texts, an attempt has been made to present the Vedic vision of creative and integral excellence, and their emphasis on unitive view of consciousness and creative coexistence. The roles of multifaceted nature of truth, transcendence, intuition, imagination and meditative processes in creative process-all as envisaged in these texts-have been reviewed in brief. This paper also describes the concept of Vac (Word) and the ways it is envisaged to be the source of creativity. Also presented is the theory of gunas (modes of nature) and some of the ways in which Vedic texts define the working self of the creative person and their emphasis on total immersion in creative activity. The crucial role of appreciation and the appreciator in providing creative continuity as viewed by Vedas is also explained. Finally, some implications for studying the creative person and the creative processes from the Vedic perspective are suggested. ''Every creation has a paradigmatic model-the creation of the universe by the gods.''-Mircea Eliade (The sacred and the profane: The nature of religion, 1959, p. 31).''To some degree,'' writes Simonton (2006, p. 490), ''there are as many ways of studying creativity as there are cultural traditions, perhaps as many as there are independent nations.'' Based on two traditions, Mason (1988) has provided a comprehensive account of beliefs about the character of creativity found in the Western history. However, the intention of this article is not to extend the Western perspective on creativity-which has its own strengths-but to offer an alternative view of creativity based on a ''divinely given archetype which human being needs to emulate and in the process fulfill, as well as transcend his=her mere humanity or historic actuality'' (Shah, 2001, p. 7). The article does not intend to make cross-cultural comparisons but to present, as far as possible, the indigenous perspective rooted in Vedic philosophy. This article, due to its nature, has not followed the usual categorization used in organizing literature on creativity theory and research. It could not be done because ''there are theories and investigations that defy categorization'' (Runco & Pagnani, 2011, p. 69). This observation assumes added significance when philosophical perspectives on creativity are examined. As such, forcing any usual categorization on the perspectives attempted here has been purposely avoided.

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A Response to the Review of Mirror of Consciousness: Art Creativity and Veda by Robert Pepperell of the Posthuman Laboratory for Arts Research[1]

Cited by 2 publications

References 0 publications

Mind and creativity: Insights from rasa theory with special focus on sahṛdaya (the appreciative critic)

Mind and creativity: Insights from rasa theory with special focus on sahṛdaya (the appreciative critic)

The character of creativity: The vedic perspective.

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