CREATIVE MINORITY The Creative & Persecuted Minority

An Artful Look at Science & a Scientific Look at Art

by Iona Miller & Paul Henrickson, PhD*, (Malta)
iona_m@yahoo.com & prh@tcp.com.mt

Dr. Paul Henrickson, Xaghra, Gozo, Malta

Abstract: Power lies with convention and truth with the punished individualist. Control of perception is the essence of power. This scenario denies the joy, the real joy, expressed in immediate aesthetic responses. Research results suggest battle lines seem to have been drawn between those who tolerate creative thinking and those who do not. These authors were influenced by the mentorship of creativity experts E. Paul Torrance for Henrickson and John Curtis Gowan for Miller. They conclude, while the achievements of creative efforts are often very rewarding, indeed, the process of arriving there can be disturbing and painful. Research by Henrickson in Iowa indicated the non-creative personality is content with having achieved a conventional image and as for anything else couldn't care less. Yet, those iconoclasts who have unique creative gifts can make a significant difference to society, science and art. Their relationship to their life's work is often deeply spiritual or driven by a sense of destiny and mission which is revealed in their works. Creativity is an emergent property of extraordinary human development. This article explores the works of creativity experts, promoting deep understanding of the complex territory of human expression, including perception, metaphor, narrative, praxis and theory. Creativity reveals the deep connection between mind and matter that modern physicists are just beginning to explore. The crisis of a global turning point demands something extraordinary from the best and brightest of us. A new model of research must not only include but encourage divergent or "Out of the Schrdinger's Box" thinking.

KEYWORDS: Creativity, emergence, adult development, creative modalities, imagination, consciousness, extraordinary human development, psi, John Curtis Gowan, E. Paul Torrance, Stanley Krippner, Maslow, Jung

Paul Henrickson, Watercolor, London

"It is useful to know that the members of the young tribal horde are not the victims of a conspiracy nor are they prompted by any theoriestheir organs of perception have been altered by the electronic environment" (1). --McLuhan, "Tribal warfare in the 1970's" manuscript. "In a sense, artists are creators of counter-environments. They provide society with analogical models which enable them to escape from their unconscious immersion in their environment. So also with critics. They are the last frontiersmen." --Eugene McNamara, Editor's Introduction to The Interior Landscape: The Literary Criticism of Marshall McLuhan 1943-1962, p.182 "I noticed an almost universal trait among Super Achievers, and it was what I call Sensory Goal Vision. These people knew what they wanted out of life, and they could sense it multidimensionally before they ever had it. They could not only see it, but also taste it, smell it, and imagine the sounds and emotions associated with it. They pre-lived it before they had it. And the sharp, sensory vision became a powerful driving force in their lives." --Stephen Devore "I hope to stress that man as a part of nature is an entity of its processes, processes that in the acts of creativity are unique.... Man has more and more come to admire in his works the feature of self definition as it resembles nature, employing an appearance of it as judgment criteria ...As the productions of mankind come to bear life, the flows and processes, if not life and its components tapped to reform the environment, relying on distant abstracted perspectives that are removed from immediate experience, embedded with principle notions involving a conceptual

stationery aspect, voluntarily remove the first person from the actual perspective, and are not, though self created (excuse the pun as they neither contain themselves or refer to a locus that can be defined as the perspective of mankind), self belonging-i. e. belong to the same set that contains themselves;. ..In contrast, physical and conceptual spaces, proposed to both be ultimately of a physical nature related to physical spaces, a priorily belong to both themselves and the self as they define both the self and themselves , are self belonging. The worlds energy is embodied to the existence and complexity of 3-D form rather than to lines of cause and effect...Two conditions are present to the experience of nature, energy bound to form as well as form bound to energy." --Marvin Kirsh (2010) The Minority Report Each of us is our own greatest creation, a frameless work of art. What doesnt inspire the artistic eye that doesnt merely look at, but sees through to the imaginal depth of any given perception or experience? The soul informs the multisensory experience of being. Inspiration means life, the opposite of death: purpose, direction, meaning, ecstasy, creativity. Groundbreaking creativity is an equally important vector in the arts, life sciences, and physical science. It is the root of innovation. It is difficult to separate spirituality and creativity, as both are tied to the notion of self actualization, stepping beyond oneself, and transcendence. Creativity has a universal meaning that extends beyond time and self. (Gowan; Maslow; Jung) Charles Laughlin defines transpersonal experiences as "experiences that bring the cognized-self into question". Artists are the chaotic attractors of the social field. In an era of visual data-glut, while conventional artists may enjoy great favor, the strange attractors, including leading edge and extreme artists have a special role as catalysts in contemporary life. Artists have always drawn others beyond the limits of their ordinary awareness, confronting them with another reality, initiating them into a world of profound meaning without conventional boundaries. The emergence of art was and continues to be an unparalleled innovation, confronting our psyches with a giant leap in human evolution whose transformative influence continues opening and exploring brave new worlds to this day. Art remains a driving force and living thread woven into the fabric of society from the beginning. The 35,000 year old art of Chauvet cave, showcased in Werner Herzog's dazzling film, "Cave of Forgotten Dreams" is an uncannily modern testament to the awakening of the human soul and spirit. Art was the portal to the spirit world. Originally, artists were shamans, healers, and magicians. Their art revealed the compelling dreamscape of primal man, his beliefs about himself, this world, life and death, and hope for an afterlife. Some might argue ironically that artists are a species of their own. We might poetically call them the first negentropic humans, Homo Negentrop. They created order and meaning from the chaos of existential life, the inferno of passions. Negentropy is the generative force of the universe. Negentropy (emergent order from chaos) is a nonlinear higher order system, a dynamically creative ordering information. Thinking, science, and art are therefore negentropic. Negentropy, like art, is in-form-ative. It is related to mutual information exchange. Information is embodied in the fractal nature of imagery and symbols, which compress the informational content of the whole. Creativity is an emergent phenomenon patterned by strange attractors, which govern the complexity of information in dynamic flow.

Art facilitates negentropy by expanding our general field of experience. Negentropy facilitates artistic realization by creating something from nothing. The creative act is one of uniting the unmanifest with the manifest world in a meaningful, often symbolic, way. Such conception is relevant to consciousness, organization, structure, faith, subconsciousness, emotion, even spirituality. Above all, creativity means trusting the process. Investigation of the negentropic criterion helps us move toward a truly transdisciplinary doctrine for the artistic field of influence. Throughout history the insightful vision of artists expressing in symbolic form the as-yet-unknown has been at the cutting edge of social change. It preceded rational and intellectual social ordering. Artists intuitively extract the gold of their unique vision from creative chaos and manifest it for others to see. Yet a great divide remains. Research results suggest battle lines seem drawn between those who tolerate creative thinking and those who do not. A creative mind tends to create its own parameters and discards those set by others. Several high-profile academics (such as Therese Amabile of the Harvard Business School, Mark Runco head of Torrance Creativity Center at The University of Georgia, and Edward de Bono of The University of Malta) have missed important vectors of the creative process. They all appear to trivialize the character of the creative person and downplay the very real struggle for self identity that the creative personality endures. Such a coercive convention, control of perception, information, and disinformation in the academic arena is the essence of institutional power. It also promotes cognitive dissonance and rationalization. Jung revealed a bit of his own struggle with the deeper power of the unconscious in his statement, Art is a kind of innate drive that seizes a human being and makes him its instrument. To perform this difficult office it is sometimes necessary for him to sacrifice happiness and everything that makes life worth living for the ordinary human being. Marie-Louise von Franz contends, "the creative process is often accompanied by anxiety, depression, loneliness, and fear of the unknown." Creativity means confronting the powers and creativity of the archetypes and other unconscious forces. Dr. Paul Henrickson's research reveals that conventional academia encourages conformity and even lying, self-delusion, or deceptive practice. Philosophy of science as well as psychology can reveal such lacuna in our developmental processes and modelling of creativity. Each creative artist or scientist is creative precisely because he or she is in the process of inventing something unknown to themselves. He or she is devising marks (whatever they happen to be) which, at least temporarily, represent a movement in the direction of a solution to a question. Each psychological type has creative expressions, but intuitive thinkers are innovators as well as organizers or re-organizers. By typology, scientific intuitives (INTJ) and intuitive thinkers (INTP) comprise only 1% each of the total population (far lower for women), and are often grossly misunderstood due to differences in existential style, focus, worldview, and orientation (see Appendix). Psychic abilities are most likely to be expressed when one is relaxed, meditative, and open to new experiences and oriented towards creativity. Family or other support is helpful, as with any talent. Whether psi is a trait or not, creativity correlates with both pattern recognition and intuitive functioning.

According to Sargeant (1999), Scientists search for a real and hidden, internal visibility (invisible to the naked eye) which will confirm the limits of identity. . .This is an act of limitation which inverts its own criteria by relying on a depth model of identity, which is invisible, but gives visibility through microscopic magnification. Yet this search for an invisible core of identity remains open to a visible transgression via artists who are constantly exposing these new certainties as constructs. Scientists are more typically viewed as killers of myth, not its creators. Yet, Einstein, his more visionary contemporaries, and the priesthood of quantum physics sound as esoteric as any of yesterdays mystics. Quantum states are the key mathematical objects in quantum theory. Yet physicists have been unable to agree on what a quantum state represents. A pure quantum state may correspond directly to reality. But there is a long history of suggestions that even a pure quantum state represents only knowledge or information of some kind. Once accepted, theories can become dogmatic and they have become the new mythology, suggesting who we are, where we come from, and where we are going. Physics has moved from a hard-core materialistic perspective to one that honors consciousness as a primary factor in our concept of reality. A viable theory of consciousness must lie beyond the supernatural and mechanical. Entanglement (nonlocality) has been suggested as one such framework. Einstein framed the value of theory: A theory is more impressive the greater is the simplicity of its premise, the more different are the kinds of things it relates and the more extended its range of applicability Frontier science is the multi-disciplinary cutting edge of theoretical and practical research. The leading edge is often the source of breakthroughs, revisioning data and observations in novel ways that open new possibilities. Domains include the mind/body relationship, consciousness studies, complementary medicine, parapsychology, bioelectromagnetics and a growing number of approaches to quantum physics and cosmological questions. In some cases, experimental evidence is strong and theories are weak, or conversely some robust or coherent theories still lack the predictions, experimental proofs, and falsifiability that make for good science. Creativity means being at the point of arising phenomena, inner and outer. Systems biology describes an approach applied to biomedical and biological scientific research, discovering emergent properties of cells, tissues and organisms functioning as a system . Systems biology is a biology-based inter-disciplinary field of study that focuses on complex interactions within biological systems, using a more holistic perspective (holism instead of the more traditional reductionism) approach to biological and biomedical research. But the science-artists of the future will be using not only molecular but subatomic assembly, creating designer bodies and beings -- new forms of existence -- using the building blocks of nature herself as their medium. The prospects of H+ technology and "radical evolution" compete directly with humanity as we have known it. We're becoming "cyborgs" before fully cultivating our humanity. Full-immersion environments seem to make reality temporarily irrelevant. The Human Enhancement Revolution (HER), is a technological, cultural, and metaphysical shift dominated by a new species of unrecognizably superior humans-those born of HER. The term transhumanism has been given to explain how HER emerging fields of science, including genetics, robotics, artificial intelligence, nanotechnology, and synthetic biology, will radically redesign our minds, our

memories, our physiology, our offspring, our physical appearance, and even perhaps our very souls. Frontier physics and biophysics investigates nonlocal phenomenon based in the fact that in the quantum world everything is fundamentally interconnected. It includes interpretations of orthodox theories and a wide span of plausible to fringe theories, that may or may not bear fruit beyond their metaphorical appeal. Mind and consciousness seem to share that property, remaining largely unexplained by simple neurology. Therefore, anomalous effects probably have the most to teach us, and may dethrone even popular theories. Experimental evidence has been accumulating in almost all areas of science that nonlocal and mind-directed effects upon the physical world are more ubiquitous than we previously admitted. As institutional research becomes more open, a theoretical framework is emerging. Double-Edged Gifts Jung wrote about two types of thinking -- directed and imaginal thinking -- left brain analytical thinking with words, numbers and structure, and right brain thinking in images, symbols, stories and dynamic cycles. The brain works differently in each mode, with different active areas and chemicals suffusing the neurons. Jungs two types combine right and left hemispheric brain activity while awake and dream thinking while we are asleep or inspired. In the creative process, the artist or visionary dreams out loud. Art helps us assimilate contents that were previously unconscious, and provides us courage to progress consciously and unconsciously. The process of executing an idea can happen in a brilliant flash or as a chain reaction of multiple tiny sparks. Psyche intrudes on our scientific hypotheses. We can imagine Infinite Space as the Goddess whose womb gives us our very existence. For medieval alchemists, the Earth was the center of it all, and what little they knew of the heavens revolved around it. In a relatively short time we have discovered our own galaxy, countless others and expanded our understanding of the immensity of space and deep time. Space is vast and her awesome mysteries are deeper than the Hubble Deep Field photos which allows us to peer back aeons to the birth of proto-galaxies. Everywhere we look there are hundreds of thousands of galaxies in even a portion of seemingly "empty" space. Maybe perception equals reality, but reality in real-time may not equal truth. The cyclic nature of creative work means breaking things down, cleaning things up, and putting them back together in aesthetically pleasing ways again and again, refining theory and practice beyond physical objectives. The same pattern works for playing with ideas, and is echoed in the ancient alchemical axiom, "Solve et Coagula". Jung said, "The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the object it loves." Creative people holistically use both introversion and extroversion during their process. They use both mind and feelings often simultaneously in concert, and are certainly intuitive and artistic, often sensual virtuosos. They illustrate that the opposites do not exclude, but compliment, each other. For example, they may be introverted in the incubation stage while extraverted in the performance or

presentational phase. All creative people are flexible in their mental processes, paradoxically wielding the opposites. The introvert's attitude toward his collective images is that of the extravert toward the outside world. He lives through them as in a romance or adventure. The extravert responds to unconscious material in an introverted way, that is, with extreme caution, including personal rituals to exorcise the intrinsic power of the object. In our studies on creativity the characteristics that have interested us have been evidences of flexibility, fluency, elaboration, manipulations, in short, evidence of the subjects involvement with the task. In identifying the person with the creative mind set and subsequently assisting that person to bring into form the product of his imagination it has long been acknowledged that it is helpful to take notice of how the person responds to experiences. This is very different from evaluating a persons performance on a test where the correct answers have been pre-determined. It is important to remember that the one predetermining the correct answer is not the subject but some exterior unit. This means, in effect, that the subjects value in whatever quality or characteristic is being tested is in terms of an application of alien values upon the subject . This is precisely the approach used in the vast majority of school systems and it underscores the difference between being a teacher and being an educator. The teacher teaches a process and evaluates his own and the students success by the number of predetermined correct responses. The educator carefully evaluates the behavior of the subject and attempts to coach the subject in appropriate elaborations of the behavior. Different approaches to looking, when viewed in an unbiased way, enable the viewer to considerably enlarge, however temporarily, the stockpile of available interpretations of whatever it is that is being viewed and judged. That is why one of our major aims is to assist in the process of education, that is, that is, the drawing out of ones perception. What happens whenever this approach is used to look at the reality of our environment is that the process of making a decision is drawn out like a fine thread more sensitive to breezes, a final decision is delayed and a greater richness in the components of that decision assured. Creative activity combines the energies of feelings, imagination and thought. Some believe that the approach of ones end of life actually stimulates creativity with increased urgency, intensity and energy. The evolution of the authentic self in adulthood is a dynamic process which is part of the lifelong shaping of identity and self-image. The attainment of authenticity is a central, dynamic task of adulthood achieved through restructuring of the self. (Miller, 2000) Awesome Beauty Aldous Huxley contended, "A child-like man is not a man whose development has been arrested; on the contrary, he is a man who has given himself a chance of continuing to develop long after most adults have muffled themselves in the cocoon of middle-aged habit and convention." Many factors emerge from and shine through this permissive orientation, including ambition and awe. Ambition carries the process, while awe fixates it. A study by Rudd (2012) et al concludes that, "Experiences of awe bring people into the present moment, which underlies awes capacity to adjust time perception, influence decisions, and make life feel more satisfying than it would otherwise."

The experience of artistic awe is aesthetic arrest. Art is a human construct, but beauty is primarily a product of nature. Joseph Campbell, in his lectures on Joyce, clarifies, "The aesthetic experience is a simple beholding of the object....you experience a radiance. You are held in aesthetic arrest." It is the corollary of a primitive trance, or the mystic's ecstasy. This radiance, the perception of shocking beauty, is a resonance with the hidden power behind the world, shining through some physical form. We are stunned, stopped dead in our tracks, and enraptured with a sense of the divine. Joyce, himself explained: "The esthetic emotion...is static. The mind is arrested and raised above desire and loathing." "The object...becomes fascinating in itself. One is held, struck still, absorbed, with everything else wiped away." Ambition undergirds exceptional success. Goal-oriented vision is an almost universal trait among high achievers. Personal vision guides and determines actions to be taken toward goals and dreams. A sense of mission includes overall objectives and philosophy of life (worldview). It is a way of becoming. Ambition is a set of guiding principles that explain who you are. Personal ambitions link with the target, accomplishment, emotional fulfillment, and self-respect. The exceptional are unique, sometimes phenomenal. Particularly in childhood, the gifted are in many ways different from the non-gifted. They have abilities that the nongifted don't have, and some non-gifted people are resentful particularly of the intellectually gifted. The gifted sometimes try to hide who they are in an attempt to fit in. )Silverman) Gifted children in school, for example, "dumb down," purposely not doing as well as they could, but young wizards are not always successful at hiding "the magic" of who they are. Sometimes there are power struggles with teachers and authority figures because they trust their own framing and evaluations. Gifted kids tend to want reasons and they can be quite vocal and persistent in trying to get them. Will power comes with intellectual strength. But the gifted aren't just smart; they are distinct. Gifted children are sensitive, alert and have many perceptual 'antennae.' (Alice Miller) Self Regulatory Process Creativity has frequently been treated as a form of self-expression or a way of understanding or coping with life that is intimately connected with personal dignity, expression of one's inner being, self-actualization, and the like (e.g., Maslow, 1973; May, 1976; Rogers, 1961). Moustakis (1977) summarized the individualistic approach to creativity by seeing it as the pathway to living your own life your own way. The creative life has mythic overtones tied into the artist's presence, transformation and primal self-image or core sense of self. In a talk entitled, "A Neuromythological Approach to Working with Dreams", Stanley Krippner summarizes: Carl Jung brought the topic of mythology into psychotherapy, and he wrote about his own personal myth. One approach to dreamwork is the identification of the functional or dysfunctional personal myth (or belief system) embedded in the dream. This personal myth usually is implicit or explicit in the central image of the dream. In addition, it typically serves as the chaotic attractor that self-organizes material drawn to it by the sleeping brains neural networks. Jungs perspective on dreams is remarkably congruent with many findings in neuroscience as well as the selfregulatory processes that typify contemporary dream theory and research.
Dr. Krippner, Presence!

Barton (1969) concluded that creativity actually requires resistance to socialization and Burkhardt (1985) took the theme of the individual against society further by arguing that the creative individual must fight against society's pathological desire for sameness. Sternberg and Lubart (1995) called this fight "defying the crowd," and labeled the tendency of certain creative individuals to resist society's pressure to conform "contrarianism." However, they are more autonomously self-directed than oppositional for the sake of rebellion. Autarch is an ancient Greek term for selfgoverning, which Jung might contend comes from the Self -- the unified consciousness of a person. Even in the ultra-conformist 1950s Bronowski declared, "We expect artists as well as scientists to be forward-looking, to fly in the face of what is established, and to create not what is acceptable but what will become acceptable . . . a theory is the creation of unity in what is diverse by the discovery of unexpected likenesses. In all of them innovation is pictured as an act of imagination, a seeing of what others do not see". . . creative observation. Sometimes artistic ability and mental acuity combine. There has been debate in psychological literature about whether intelligence and creativity are part of the same process (the conjoint hypothesis) or represent distinct mental processes (the disjoint hypothesis). Evidence from attempts to look at correlations between intelligence and creativity from the 1950s onwards, by authors such as Barron, Guilford or Wallach and Kogan, regularly suggested that correlations between these concepts were low enough to justify treating them as distinct concepts. Some researchers believe that creativity is the outcome of the same cognitive processes as intelligence, and is only judged as creativity in terms of its consequences, i.e., when the outcome of cognitive processes happens to produce something novel, a view which Perkins termed the "nothing special" hypothesis. A very popular model, proposed by Torrance, known as "the threshold hypothesis", contends that a high degree of intelligence appears to be a necessary but not sufficient condition for high creativity. This means that, in a general sample, there will be a positive correlation between creativity and intelligence, but this correlation will not be found if only a sample of the most highly intelligent people are assessed. Creativity is a combination of drive and flow and this thesis is embodied in creative behavior and professional performance. Art is an emergent flow state, welling up from deep within. Maps of consciousness, creative typology, ontological and epistemological notions of creativity help us model the process. From first causes to root metaphors, we can reflect on cosmic creativity and personal creativity, including "how we know what we know" and how to use that distinctive perceptual awareness. Krippner suggests including healing as a high form of creativity. Consciousness is a dynamic field that has the dual aspect of primordial process and appearance. Process is conscious dynamic energy. Process and perception lead to an understanding of appearance. Our consciousness oscillates at the fundamental level between the inherent drive for change and our attempt to maintain identity and stability. We are creative beings and that creativity is an emergent process from cradle to grave. The developmental process continues throughout adult life. We provide a context for nurturing creativity and honor the multitude of creative experiences, forms and media. The domains of Trance, Art, and Creativity span the genius of expression

of human potential. First we get hints of emerging talents which are later stabilized into a creative steadystate through integration and mastery. Genius can potentially be awakened in everyone. Higher art must be intensely personal while being universal and universally accessible. It must show refined knowledge, understanding and respect for the art that has come before to enrich those around us. Much the same can be said for an artfully and heartfully lived life. "Seeking" is the common root of science and spirituality. We can apply a similar strategy to our spirituality, drawing on the best of what the past offers while keeping our practice and service contemporary and relevant. Our lives become multidimensional artful expressions without frames, embodied in living Light. Process-oriented spirituality is eclectic and intensely personal. The connection we have with the inspirational Source that nourishes creative life is the same source that sustains our spirits and funds our compassion. It is a deep well from which we can drink at will of the abundant life-springs of our essential being. The Romantics, arguably beginning with Blake, turned art into a kind of substitute for religion. The East emphasizes a mystical-magical orientation, the West a humanistrationalist POV. Romanticism is an essentially gnostic spirituality, a Mystery religion. But now there is no inter-generational priesthood to have our visions for us; we have them for ourselves. Rather than anti-scientifically considering cognition and technofacility an anti-artistic dirty little secret, digital art and multimedia, for example, embrace the fusion. There is no Romantic terror of human cognition nor need for anti-technical transcendence with direct interface on the horizon. Knowledge is power -- over yourself. controlled with self-awareness and self-responsibility. There is no artificial distinction between the pursuit of knowledge and self-knowledge and aesthetics. Beauty is an affair of the heart but speaks to our whole being, rooted in Cosmos. Perceptive & Silenced Minorities One aim of Henrickson and Miller's respective life-long studies has been an attempt to reach an understanding of the artists generative power, or absence of it, as well as how their personalities project their essences through their work. The meta-gifted have more than one talent or translatable expressive outlet. They also tend to learn early that they will never arrive at self-acceptance by doing things to impress other people or conforming to societal expectation. Some, including gifted children, discover creativity is independent of producing useful products, and they become more interested in the creative process and lifestyle, facilitating an energetic felt-sense of "flow", possibly related to neurohormonal reward systems. Privileges and prejudice come to the meta-gifted because of their naturally turbocharged inquisitiveness. Being psychically gifted doesn't mean you talk to dead people, but that the mindscape of your psyche is as palpably real as the external world. Most notably, there is a drive to seek meaning and meaningful self-expression. Based on a lifetime of research and creative experience, Henrickson concludes, "Many pursue IQ as the Holy Grail indicator of Intelligence. In my experience, this is an unfortunate blind alley, up which most people go, perhaps never to return. I suggest to you the real indicator is not IQ, but CQ, the Creativity Quotient. CQ trumps IQ every time, as indicator of an individual's capability, usefulness and probable future success, fulfillment and self-satisfaction. IQ is important, yes, but it is only a

subset of CQ, part of the story, so to speak." Curiously, his research showed, that the most assured way of getting an appointment is to lie about who you are. His unpopular conclusion was that universities were, in fact, providing teachers for the field who were uncreative and liars. Henrickson's 1970 study, "Lying, Dogmatic, and Creative Persons", in the Department of Art, University of Northern Iowa, suggests 4% of the untrained, uneducated and unsophisticated judging population may be as perceptive as experts in a field. It is not unreasonable to expect a small percentage of any population to be more perceptive than the rest. In what other way might we account for the germination of so many kinds of interests, pursuits and mental activities? Someone, somewhere, at some time had to be more perceptive than others in some manner or other, or leaders in any field could not have been identified. Nor, indeed, could the field itself exist for the existence of different fields presupposes divergent points of view and assumed truths. Consider the idea that this 4% of the population might be the number appropriately destined to lead a society out of the sterile contentment toward the edge of awareness -- the frontiers of the mindscape and social development. Recently, Henrickson encountered this quote from Dan Ariely's The Honest Truth About Dishonesty: When it comes to money, creative people are more likely to cheat to get it than the less-imaginative crowd. This startling announcement shocked him into reviewing what he thought he knew about the way creative people think. Henrickson adds, but only because creative thinkers are creative thinkers regardless of the subject area." The goal Ariely's study was to determine the differences, if any, between creative-types and non-creative types on the stated goal of gaining credits (money, as it were). If the value were consistently profit as measured monetarily, this behavior seems rational, but, in truth, where creative personalities are concerned it is not money which motivates them, but something closer to intense curiosity and a compulsion to discover and these behaviors may be as subject to innovation and intuition as we find in ordinary day dreaming which appears to lack readily identifiable motivation. Where Ariely alleges, "We are going to take things from each other if we have a chance . . . many people need controls around them,", Henrickson sees a subversion."It seems Arielys point may be emerging...we need more effective policing...another way of reducing true creative behavior. The creative personality resents rules, not because he wants to behave badly, but because he resists pressures to conform which bind intuition and discovery." Henrickson concludes that "the distinguishing characteristic of a creative thinker is that his or her motivations for thinking in this fashion are not related to a reward presented or offered by another. The inherent reward is in the doing." "Just how does being creative decrease honesty? The creative personality cannot but be honest in his responses to his medium of creative bahavior." It is statistically likely that the more creative the product the less their audience and, therefore, no reward established by another. Since it had been known, scientifically, for several decades before the Ariely study was performed, that creative minds think more broadly, more variably, and more productively than non-creative minds the outcomes of the Ariely study could easily have been predicted without the study having been made.

This, in turn, raises the question as to why then was the study made? Was it intended only as a form of a common-place replication or was it, after all, an excuse to discredit the behavior of creative thinkers and to encourage a form of back-lash to inhibit projected changes in the status quo? If the latter, it might explain why it appears that the anti-creative forces, in the guise of creativity experts such as Mark Runko urge that the creative mind be trained in discretion. Does it explain why Amabile urges the acceptance of cooperation as a virtue in creative production? Shouldn't she know that the nature of the truly creative mind is to work alone, and certainly, and additionally, that cooperation implies negotiation, compromise and acquiescence to the ideas of others...all of which would diminish the probable creativity of the product.? To say nothing of this making common whatever achievement there might be. Henrickson contends that if ballet dancers such as Mikhail Baryshnikov, Alexander Godunov, and Natalia Marakova under the Soviet regime can dance their way to excellence, a few creative minds might be able to identify escape passages from this current effort at repression. What valuable consciousness this present situation does bring to the fore is what appears to be a fundamental difference between the creative mind which pays attention to its own business and thus is probably apolitical, and the non-creative mind which pays attention to everyone elses business and is very political. Even creative thinkers can play games as well as non-creative thinkers and can, when called upon, shift their imagination gears to fit the circumstances. It should be noted that playing games is not the area in which creative thinking has generally been analyzed, but the effort here, by these researchers, seems to be to discredit the moral structure of creative thinkers. However, Henrickson's research indicates quite the opposite -- that the creative thinker, when involved does not lie, misdirect, or accept false evidence but his or her efforts get put down, down-graded and ostracized all because that perception differs from those of the consensus. On the one hand, the perceptive individual is capable of responding, intuitively perhaps, but still effectively, and with insight, on a level of excellence comparable to the specialist. On the other hand, he is, in most academic situations, required to respond on a level of excellence set by non-specialists (teachers) operating on assumptions they may not care to test, while ignoring the pertinence and sophistication of unscheduled data. Sensitive to the pressures of conformity he might not assert the superiority of his perceptions. By not asserting their pertinency he could retain some of the security offered by agreement with the majority. It could be hypothesized that a significant percentage of persons who are perceptive in specialized ways are correspondingly unaware of what is required to protect themselves from the actions of the mindless majority. We might vainly wish that the majority was not so sensitive about differences, but, that is why they are the majority. The balance sought between openness of expression about sensual perception on the one hand and blind sensual exclusivity on the other and formal hierarchical expression on the other could well describe a situation in which anxiety about the validity of ones perceptions comes into conflict with the need for companionship and the reassurances obtained through agreement. We are not involved here with the psychotic expressions of a personal otherness but only with the milder forms of difference in perception to which non-abnormal

persons are subject. These persons may also be aware of the differences in which they perceive things from the way others perceive them. They may be able to live with this knowledge either by sublimating their responses to their environment and by agreeing, superficially at any rate, to see the world as others see it, or they may decide to let their more sensitive perceptions be examined in greater isolation. Henrickson restated his earlier conclusions in 2000: "In summary, then, we not only have a segment of the population that is more creative than the majority but we have as well, a small group who have not been professionally trained who demonstrate the ability to make professional level judgments and that this more perceptive group consistently achieve a grade point average one grade point lower than the majority, that they are denied access to the teacher preparation program, that they tell fewer lies than the majority and that they are the ones, one might suppose, consistently over-looked for advancements within the field. This is a society, then, that is ruled by the non-creative lying conformist." In 1988, divergent thinker Buckminster Fuller prophetically claimed, "American education has evolved in such a way that it will be the undoing of the society

PART II
CREATIVITY: The Nature of the Creative Process According to Jung, an artist leads a dual existence; he mediates between worlds like a shaman: In his capacity of artist (the person)....is objective and impersonal -- even inhuman -- for as an artist he is his work, and not a human being. Jung observed that every creative person could be considered a "duality or a synthesis of contradictory attitudes," a unique human with a personal life, but also the carrier of an impersonal creative process. The artist's creative achievement cannot be accounted for by an examination of his personal psychology. A Masterwork stands on its own. Jung even went further by stating that: The personal life of the poet cannot be hold essential to his art -- but at most a help or a hindrance to his creative task. He may go the way of a Philistine, a good citizen, a neurotic, a fool, or a criminal. His personal career may be inevitable and interesting, but it does not explain the poet. Society frequently projects artists are folk heroes or antiheroes. In Sam Keen's Voices and Visions, Joseph Campbell states: The creative mythology of the modern artists arises when the individual has an experience of his own -- of order, or horror, or beauty -- that he tries to communicate by creating a private mythology. So it is the creative individual who must give us a totally new type of nontheological revelation, who must be the new spiritual guide. VonFranz lists some criteria for artists in her work, Creation Myths. " ...these four factors -- originality, consistency, intensity, and subtlety -- (show) the differences between someone who has creative fantasies and someone who is only spinning neurotic nonsense...the continuity of devotion an individual is capable of giving his fantasy is very important and shows the difference between someone who is gifted with creative fantasy and somebody sucked into sterile unconscious material." Campbell sees creative artistic work as a "response to the need to escape from danger and chaos and find some new security." This inner quiet repeats the main theme of the hero monomyth. Further development of consciousness leads the artist to acute perception. He no longer simply reflects the collective values, he is now free

to criticize them. Campbell states, "...the world of the artist or the intellectual must be fierce, accurate in its judgment of the fault in a person or society. But along side this judgment there must be affirmation and compassion. What is important is to keep the dissonance between judgment and compassion." The cartography of the psyche is linked to the process of self-discovery in Trance, Art and Creativity. (Gowan) Understanding increases along with creative organization. Taxonomies of consciousness, from ancient Kabbalah to those of Stan Grof and Ken Wilber shed light on the developmental process and our place and expression within the creative field. One gains in ability to combine the familiar in new and innovative ways. To be truly creative requires at least four traits according to Fromm: "capacity to be puzzled, ability to concentrate, capacity to accept conflict, and willingness to be reborn everyday." Maslow extended creative traits to include "spontaneous, expressive, effortless, innocent, unfrightened by the unknown or ambiguous, able to accept tentativeness and uncertainty, able to tolerate bipolarity, able to integrate opposites." Whelan (1965) added, "energy, autonomy, confidence, openness, preference for complexity," etc. Creativity also brings a sense of destiny and personal worth that may or may not be validated socially. This brings a sense of joy, contentment and acceptance of self, which show its transformative ability. Creative people, who accept themselves, also have the further ability for compassion or brotherly love, (agape). Gowan concludes that "creativity has a holistic quality, which restores the balance between right and left hemisphere function, between analog and digital computer aspects of thinking...Man's mind is a device for bringing infinite mind into manifestation in time; creativity is the commencement of this actualization." Like fractal patterns emerging on the computer screen, no process-oriented therapist can fail to notice the aesthetic beauty of the unfolding process of the creative imagination. Experiential psychotherapy facilitates the participating, rather than observing self. Therapy is an art, and as such, it yields esthetic and physical pleasure as by-products. When the therapist joins with the participant, rather than remaining "objective observer", a co-creative shared reality emerges. This shared reality is more than mutual hypnosis, or shared subjectivity. It is a shared field-phenomena -- a virtual world that is essentially an artistic, expressive form--a "living form." Art embodies imagination. A work of art is an expressive form created for our perception through sense or imagination, and it expresses human feeling. A work of art expresses a conception of life, emotion, inward reality--the logic of consciousness itself. The therapeutic art is designed to elicit a full response: sensuous, intellectual, and emotional, not separated but interfused. It has an air of intimacy, of immediacy. The fullness of presentation matches the fullness of response--yielding a sense of lived experience--personal experience. Like art, experiential therapy is inherently humanistic -- concerned with human feelings and values. It helps us embody those values, and the nature of beauty. Beauty is an emotional value which affects our volitional and appreciative nature. It is not inherent in any thing, but is our own pleasure regarded as the quality of a thing or event. It is neither intrinsic nor objectified. It is the first-hand experience of a state of consciousness. It may not be in the eye only, but beauty is in the beholder. Yet the beholder doesn't stand on the outside looking in, but becomes the object of contemplation. When the focus of contemplation is the self, a complex feedback loop manifests of

self contemplating self manifesting self, contemplating self. The therapeutic art is designed to elicit a full response: sensuous, intellectual, and emotional, not separated but interfused. It has an air of intimacy, of immediacy. The fullness of presentation matches the fullness of response--yielding a sense of lived experience--personal experience. Like art, experiential therapy is inherently humanistic--concerned with human feelings and values. It helps us embody those values, and the nature of beauty. Beauty corresponds with healing, creativity, genius, and bliss states or unitive experiences. Art had its origin in magic. It is the path of transcendence from personality to Self, through the Middle Way. Art is the explication of the transformative process. Through art, common experience is transformed to archetypal, timeless experience. Art is nature transformed. Art shapes our perception of things outside ourselves, and embodies the workings of inner life. Archetype, ritual, myth, and dream are other manifestations of this same parataxic mode, as is expressive therapy. It is characterized by the production of images who meaning is not clear or categorical (Gowan, 1975). In parataxic mode, symbols or images are used in a private or idiosyncratic manner. Through art, they can be shared with others, expressing feeling and transmitting understanding. In contrast, in the creative mode (syntaxic) meaning is more or less fully cognized symbolically, with ego present. The dynamic union of chaos and order is symbolic of our human process of transformation: old outworn forms break down (ego death), and that chaos is fertile ground for creative rebirth, rejuvenation. This Royal Wedding means nothing less than finding the lost soul -- the alienated part of oneself which we normally call "Not-I." Soul retrieval is healing. Roots of Artistic Expression Art expresses feelings and understanding. It is the fulfillment of sensation in an audible or visual form. It is an expression of an archetypal process in relationship with life. Art is philosophy expressed in symbols and imagery. For the sensation function, art serves the same purpose that science does for thinking. Other analogies for art include philosophy and psychology for the intuitive function, and the emotions of human society for feelings. The characteristic procedures of the Parataxic Mode include archetype, dreams, myth, ritual, and art. Art forms include dance, drama, music, painting, ceremonial magick, alchemy, perfumery, sculpture, poetics, narrative, scientific conjecture, etc. Jung notes, "The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purposes through him. As a human being he may have moods and a will an personal aims, but as an artist he is "man" in a higher sense -- he is 'collective man' -- one who carries and shapes the unconscious, psychic life of mankind." Art embodies a rhythmic flux of the psyche through a process, performance or a "product." The artist combines his technical skill or craftsmanship with the constraints of his artform. Thus, the creation is not merely the production of his free will, but also reflects the discipline imposed by training and materials. As such, art is the result of a unique combination of consciousness, or cognitive abilities, and subconscious drives or inspiration. In the Parataxic Mode, there is progressive replacement of awe and dread with creativity in the service of archetypal patterns. If the artist has talent, his works also

take on collective, as well as personal value, and reflect the transformative process in society. It frequently happens that artists are "ahead of their time", in that their work receives no wide recognition in their own lifetimes. Yet, great art has an ageless quality. Jung distinguished between two types of artistic creation -- psychological and visionary. The psychological mode draws its inspiration from the phenomena and lessons of life, or human experience (such as life drawing). The visionary mode, on the other hand, contains something of the Divine, and its subject matter is definitely out-of-the-ordinary. Modern examples include the work of Mati Klarwein, H. R. Giger, Alex Grey, Gilbert Williams, and Robert Venosa. One distinction between the two styles lies in the degree of psychological activity or passivity of the participant. In the first mode, the artist "thinks up" and develops the forms pretty much on his own, even if it is emergent. But in the visionary mode his own will seems to defer to an apparently foreign inspiration, and it can feel like it simply comes through of its own will. There may be an element of passivity in both modes, but in a visionary experience it is more pronounced. Visionary art is also generally considered more profound. "Art" is properly considered as a process, not a product, though it results in artifacts often valued by society. The transformative process can be as strong during the creation of an unskilled or under-appreciated piece as for a master-work. It is all relative. Even the performing arts, which were previously exempt, may now be preserved through recordings and film. John Gowan classified the arts in a scale of increasing order from performing arts, to visual arts, to compositions in mathematics and music (which are Syntaxic in nature), and finally verbal creativity. This does not imply that one form is better or "more advanced" than another. But it is an aid in determining nuances of the creative process. In process therapy, "flow" means parareception: "access" to the timeless depths of the psyche with the doors of perception wide open. Areas of extrasensory perception or anomalous cognition include (1) Telepathy; (2) Clairvoyance; and (3) Retrocognition/Precognition. Though these experiences of knowing at a distance are called "extra-sensory," they often appear "as if" received by conventional sensory or mental means, for how else can we "know what we know"? It is a holistic psychophysical experience, affecting the whole self, physically, emotionally, mentally and often spiritually. The impediments of distance and time seem to dissolve; the barriers of spacetime are mysteriously overcome. The intuitive information is 'just there' in one form or another, whether spontaneous or facilitated. However it occurs, information becomes available to consciousness through imagery, sensation and awareness. Transpersonal psychologist Charles Tart (2009) claims, "Science seems to tell us that we are all meaningless products of blind biological and chemical forces, leading meaningless lives that will eventually end in death. The truth is that unseen forces such as telepathy, clairvoyance, precognition, psychokinesis, psychic healing, and other phenomena inextricably link us to the spiritual world, and while many skeptics and scientists deny the existence of these spiritual phenomena, the experiences of millions of people indicate that they do take place." With art, we often we find we know more than we realized but could not articulate at the time. Sometimes a realization of meaning or an "Aha" comes years later, as in the case of this 1988 painting by Henrickson, now entitled "Premonition". He notes,

"Premonition. is a mysterious and intriguing topic. The functional existence of premonitions is terrifying in the awesome humility it produces." The humility comes from the perception of meaningful flow of transpersonal energies through the seemingly ordinary self. Something beyond ordinary emerges spontaneously from the depths of the unconscious.

PREMONITION, Henrickson, (6x6 oil) c.1988,

Homo Lumen: Self-actualization was defined by Maslow as the act of manifesting the capabilities for which one has the potentiality. The structure of our language predisposes us to think in terms of those who finally reach self-actualization, as contrasted with those who merely get to the vestibule of the mansion and wait. But like other more mathematical limits, self-actualization is better measured by the differential than the functional. A better way of conceptualizing is to look at the process, not the end product, and to distinguish those in which the process is wholly developed as self-actualized. In discussion of the sixth (creative), seventh (psychedelic), and eighth (illuminative) cognitive stages, we are on new and insufficiently explored ground; so, the reader must be prepared for some confusion in terms. Here the phrase "self-actualization" will be used to refer to operations at all three levels. Actually, the upper reach of the continuum from the stage of creativity onward is open ended, for once an individual reaches the creative stage cognitively, his conscious mind is opened and enlarged, and he gains new horizons and options. The theory of stages as a construct becomes much less significant than the study of the process. Looking at the system as it were

from bottom-up, there may be advanced stages or processes that we cannot yet conceive. Gowan identifiied three advanced stages - the sixth or creative, the seventh or psychedelic, and the eighth or illuminative. The creative stage is well described in the literature. The psychedelic is described in the literature of psychology (Tart), though it has long been known in the literature of mysticism. The eighth stage is still pretty much unknown territory. Although we can say little about the cognitive processes of the final stage, those processes which are occasional and transitory in the psychedelic period become habitual and fixed in the eighth stage, and thus the doors or barriers between the conscious and preconscious dissolve almost entirely. This stage or process may be referred to as "integral," since the person is truly "whole" or "holy." Alchemy begins and ends in the quest for eternal life. It is a spiritual art and technology of rebirth using natural methods that in their effect transcend nature by amplifying that which is immortal within us. It does not exist in nature but must be prepared by Art. Art is a form of manifesting, making and objectifying the world spiritual physics. Artists and mystics are aware of their own internal space and thus able to enter it, playing the mindbody like a musical instrument. Looking inside, they see the true nature of reality and can express that literally and symbolically. We all possess the creative potential. All creative acts are a marriage of spirit and matter, reaching down into the body as the source of our essential being and becoming. Today, we might describe this resonance as accessing energy that regenerates the mindbody. Healing is an aspect of creativity; nature is within and without us. The adept does not dominate reality but develops embodied psychophysical equilibrium, clarity, wisdom and compassion. Creative work originates in the body and is projected out into the world. The projections are then internalized into awareness. The bodymind of the artist is an alchemical vessel containing the creative flux and lux during the process of transformation. Jung studied the mystics, alchemists, and other philosophies to understand the process of going within to achieve wholeness. This is exactly what mystics do. Awareness and consciousness form a continuous alchemical movement. The creative gold is generated and embodied in the alembic of the mindbody. The mindbody is the same substance as the Cosmos and contains and reveals its mysteries. Alchemy reduces all to the first state, the ground state of being - original experience that is timeless, infinite. Within everyones psyche a seed-center of the self can be found surrounded by a chaotic maelstrom of issues, fears, passions and countless other psychological elements.The classical Void, the quantum vacuum is a carrier of infinite information. The energy body or the field body, along with the scalars of our holographic blueprint, connect us directly with the negentropic potential of the zero-point field. Radiant light literally emerges from this mystic void. Primordial structuring processes are common to both psyche and matter, working in the gap or empty interval between intention and action. So, alchemy refines the way the mindbody generates and processes inherent light as medicine. It refines the aspirant's ability for tapping and amplifying "Medicine Light".

This primordial state is the luminous ground of our being, hidden deep in the heart of things. All other goals are subordinate to this prime directive which includes meditative techniques for continuing consciousness after death. This Philosopher's Stone is also the Universal Medicine, the regenerative Elixir of Life. The greatest mystery is Life After Death: we don't die but continue in transcendent form. This is the secret of man and nature. Global Architectronics Hermann Hesse not only wrote the classic introspective novels Siddhartha and Steppenwolf, but won the Nobel prize in Literature (1946) for his final masterwork published under two titles in English: The Glass Bead Game or Magister Ludi. This work (set in the 23rd Century) describes a cadre of individuals and their headmaster -the Magister Ludi -- engrossed in interdisciplinary play engineering cultural values from behind the scenes. Hesse never clearly explained just how the game is played, but gave many hints to its structure for future aspirants seeking solutions to the critical predicament of mankind through Global Architectronics. The Glass Bead Game requires that its players synthesize aesthetics and philosophy. It is thus a mode of playing with the total contents and values of our culture; it plays with them as, say, in the great age of the arts a painter might have played with the colors on his palette. The Game's synthetic, non-linear information play is a forerunner of virtual reality or full-immersion. After each symbol conjured up by the director of a Game, each player was required to perform silent, formal meditation on the content, origin, and meaning of this symbol, to call to mind intensively and organically its full purport. The members of the Order and of the Game associations brought the technique and practice of contemplation with them from their elite schools, where the art of contemplation and meditation was nurtured with the greatest care. The variety of the phenomenal world reached perfection and ultimate cognition only in the divine Unity. So, "realizing" was a favorite expression among the players. They considered their Games a path from Becoming to Being, from potentiality to reality. For the small circle of genuine Glass Bead Game players the Game was virtually equivalent to worship. The name Castaglia, the place of knowledge, is the Italian form of the Latin Castalia, which was the Roman name for the spring on Mount Parnassus where dwelt the mythical Muses. Castalia was also the name for the abstract realm of the intelligentsia. Under the shifting hegemony of now this, now that science or art, the transdisciplinary Game of games had developed into a kind of universal language through which the players could express values and set these in relation to one another. Let the game begin. Conclusions The Dark Side of Creativity (2010) reminds us that all creativty may not be positive. With few exceptions, scholarship on creativity has focused on its positive aspects while largely ignoring its dark side. This book brings together essays written by experts from various fields (psychology, criminal justice, sociology, engineering, education, history, and design) and with different interests (personality development, mental health, deviant behavior, law enforcement, and counter-terrorism) to illustrate

the nature of negative creativity, examine its variants, call attention to its dangers, and draw conclusions about how to prevent it or protect society from its effects. WHAT'S THE MATTER? We need to learn the art of living well, instead of living better. This means alignment of our physical, emotional, mental and spiritual lives. We can root out the disturbances of the past and transform them into assets, or strengths. We can remove the incongruencies of conflicting agendas and cognitive dissonance in our belief systems and their fallout -- our feelings. When we change our attitudes about ourselves and our past, we initiate a cascade of neurological changes that cover all four domains of our being. We can cultivate deeper awareness. The mind can change what "matters". ANCIENT/FUTURE METASYN: We can take responsibility for our bodies and health, reclaiming our inherent shamanic, yogic and psychosomatic self-healing power. This alone changes our compassionate spiritual relationship to self, others, and universe. The old-yet-new healing paradigm includes non-material but highly-effective shamanic, psychic and spiritual tech that can be applied effectively in any cultural context. Mind is more than a powerless prisoner of the body. It has the power of focus, committed attention and intentionality. Take responsibility for you own healing and well-being, of your own life, the self-organizing power of your own hyperdimensional organism. CHANGE IN A HEARTBEAT: The average heart beats 2 billion times and you can change utterly in any one of them. Reclaim your innate capacity for changing the cellular, subatomic, and psychophysical processes of your energy body. WHAT you THINK and the excitation level of your overall system changes your chemistry, markedly. We are fluid fields, through which energy and matter dynamically flow and change. Lifestyle, diet, emotional state and consciousness play a huge role in health and disease. We can catalyze our psychophysical homeostasis and spontaneous healing processes, complementing any traditional care we may require. SELF-IMPROVEMENT: Who says Life is Fair? If there is no Justice, maybe, there is JUST US. Directed self-motivation is one of the greatest gifts you can give to yourself and it can be learned. You have the power to focus your attention where it will do the most good, the power to create instantaneous change in your moods, attitudes, and feelings. Through subtle, disciplined techniques you can do it by connecting with the creative Source. CONSCIOUS ALCHEMY means changing the psychological Lead of your unrefined personality into the Gold of creative self-fulfillment. Every day is a Vision Quest. Different approaches to looking, when viewed in an unbiased way, enable the viewer to considerably enlarge, however temporarily, the stockpile of available interpretations of whatever it is that is being viewed and judged. What happens whenever this approach of drawing out one's perceptions is used to look at the reality of our environment is that the process of making a decision is drawn out like a fine thread more sensitive to breezes. In both the arts and sciences, a final decision is delayed and a greater richness in the components of that decision is assured. Henrickson concludes, "it is ONLY in decision making that anything approaching creative behavior can take place." Both authors argue with the statement that if "creativity can be taught," it must be known what it is that can or will be taught. Since the creative person is most often specifically unaware of what it is he seeks to prove, the end result is unknown, therefore, the statement suggests that the teacher is also performing as a seer

...one who knows what the creative answer will be, or is. There is a logical inconsistency here. A clearer statement is that the teacher cannot teach creativity but can provide an environment where it might flourish. To reverse the decline in creativity in the schools would require a totally open investigation into the hiring practices, retention procedures, and some changes in the concepts of acceptable behavior. The earlier work, The Perceptive and Silenced Minorities,makes clear the responses made by individuals in their accession to peer and societal pressures. They lie in order to achieve, they deceive in order to get a job and lying and deceiving is what they transmit to their students. G. I. Gurdjieff taught that we are not really awake, but are entranced automatons, controlled by mechanical habits of thought, perception and behavior. Tart (2001) clearly presents the evidence for how deeply asleep we are and its consequences, and then describes methods for becoming more awake, less asleep, more spiritual, less mechanical, allowing us to realize our full potential. An unknown author once said, "Stay young by taking inspiration from the young in spirit who remained creatively active all their lives: Goethe completing Faust at 80; Titian painting masterpieces at 98; Toscanini conducting at 85; Justice Holmes writing Supreme Court decisions at 90; Edison busy in his laboratory at 84; and Benjamin Franklin helping to frame the American Constitution at 80." Csikszentmihalyi (Psychology, Univ. of Chicago) spent 25 years examining "flow," a field of behavioral science examining connections between satisfaction and daily activities. A flow state ensues when one is engaged in self-controlled, goal-related, meaningful actions. But the implications for its application to society are what make it revolutionary. We concur with Csikszentmihalyi's inspiring and challenging message that, "it is how we choose what we do, and how we approach it, that will determine whether the sum of our days adds up to a formless blur, or to something resembling a work of art." Today, science and art arent as polarized in their aims as we might think. They are perennial venues for the emergence of discovery, invention, and creation. The argument is that although science and art are social phenomena, an innovation in either field occurs only when a single mind perceives in disorder a deep new unity. Like art, science is an attempt to control our surroundings by entering into them and understanding them from the inside.

Appendix: Typology
Summary of MBTI Types
http://everything2.com/title/summary+of+MBTI+types

INTP: "Architect". Greatest precision in thought and language. Can readily discern contradictions and inconsistencies. The world exists primarily to be understood. 1% of the total population. INTJ: "Scientist". Most self-confident and pragmatic of all the types. Decisions come very easily. A builder of systems and the applier of theoretical models. 1% of the total population. INFP: "Questor". High capacity for caring. Calm and pleasant face to the world. High sense of honor derived from internal values. 1% of the total population. INFJ: "Author". Strong drive and enjoyment to help others. Complex personality. 1% of the total population.

ENFJ: "Pedagogue". Outstanding leader of groups. Can be aggressive at helping others to be the best that they can be. 5% of the total population. ENFP: "Journalist". Uncanny sense of the motivations of others. Life is an exciting drama. 5% of the total population. ENTJ: "Field Marshall". The basic driving force and need is to lead. Tend to seek a position of responsibility and enjoys being an executive. 5% of the total population. ENTP: "Inventor". Enthusiastic interest in everything and always sensitive to possibilities. Non-conformist and innovative. 5% of the total population. ISFP: "Artist". Interested in the fine arts. Expression primarily through action or art form. The senses are keener than in other types. 5% of the total population. ISTP: "Artisan". Impulsive action. Life should be of impulse rather than of purpose. Action is an end to itself. Fearless, craves excitement, master of tools. 5% of the total population. ISFJ: "Conservator". Desires to be of service and to minister to individual needs very loyal. 6% of the total population. ISTJ: "Trustee". Decisiveness in practical affairs. Guardian of time- honored institutions. Dependable. 6% of the total population. ESTJ: "Administrator". Much in touch with the external environment. Very responsible. Pillar of strength. 13% of the total population. ESFJ: "Seller". Most sociable of all types. Nurturer of harmony. Outstanding host or hostesses. 13% of the total population. ESTP: "Promotor". Action! When present, things begin to happen. Fiercely competitive. Entrepreneur. Often uses shock effect to get attention. Negotiator par excellence. 13% of the total population. ESFP: "Entertainer". Radiates attractive warmth and optimism. Smooth, witty, charming, clever. Fun to be with. Very generous. 13% of the total population. REFERENCES Barton, F. X. (1969). Creative person and creative process. New York: Holt, Rinehart, & Winston. Bronowski, J. (1958). The Creative Process. Scientific American, Sept. 1958. Volume 199; No. 3. Carr, Andrian and Hancock, Philip (2004). The Art and Aesthetics of the Unconscious. The Second Art of Management and Organization Conference, Paris, France. Sept. 710, 2004. www.essex.ac.uk/AFM/emc/ar..._stream.htm Csikszentmihalyi, Mikal, Flow: The Psychology of Optimal Experience, Harper Perennial; First Edition edition (February 1, 1991). de Bono, Edward, (1993) Serious Creativity: Using the Power of Lateral Thinking to Create New Ideas, Harperbusiness. Garreau, Joel (2005), Radical Evolution: The Promise and Peril of Enhancing Our Minds, Our Bodies -- and What It Means to Be Human, Doubleday. Gowan, John Curtis, Trance, Art & Creativity, Brooktondale, NY, 1975. http://www.csun.edu/edpsy/Gowan/content.html Gowan, J.C., THE DEVELOPMENT OF THE CREATIVE INDIVIDUAL, R. Knapp, San

Diego, 1972. Gowan, J.C. DEVELOPMENT OF THE PSYCHEDELIC INDIVIDUAL, J.A Gowan, Brooktondale, NY, 1974. Gowan, J.C., OPERATIONS OF INCREASING ORDER, J.C. Gowan, Westlake Village, CA, 1980. Henrickson, Paul, (2007) Art As Therapy, http://www.scribd.com/doc/4934649/Art-asCreative-Therapy Henrickson, Paul, (1970) The Perceptive and Silenced Minorities,
http://www.gsjournal.net/old/philos/henrickson.pdf or http://www.scribd.com/doc/1026587/THE-PERCEPTIVE-AND-SILENCED-MINORITIES

Henrickson, Paul, (1970) "Lying, Dogmatic, and Creative Persons," Department of Art, University of Northern Iowa, May 18,1970 Kirsh, Marvin, (2010), Uniqueness, Self belonging and Intercourse in Nature, LAP LAMBERT Academic Publishing. Krippner, S. CREATIVITY AND PSYCHIC PHENOMENA, Gifted Child Quarterly, 7:5161, 1963. Krippner, S., "The Psychedelic Artist," In PSYCHEDELIC ART by Masters and Houston, New York; Grove Press, 1968. Krippner, S. "The Psychedelic State, The Hypnotic Trance, and Creative Act." In ALTERED STATES OF CONSCIOUSNESS,, C. Tart, New York, Wiley, 1969. Krippner, S., et al (Eds), (2010), Mysterious Minds: The Neurobiology of Psychics, Mediums, and Other Extraordinary People, Praeger. Krippner, S., et al (Eds), (2009) Perchance to dream: The frontiers of dream psychology, Nova Science Pub Inc. Krippner, S. (2004), Varieties of Anomalous Experience: Examining the Scientific Evidence, American Psychological Association (APA). Kubie, L. NEUROTIC DISTORTION OF THE CREATIVE PROCESS, Lawrence: University of Kansas Press, 1958. Maslow, A. MOTIVATION AND PERSONALITY, New York: Harper Brothers, 1954. Maslow, A. TOWARD A PSYCHOLOGY OF BEING, Princeton: D. Van Nostrand, 1962. Maslow, A.H. Religions, values, and peak-experiences. Columbus, OH: Ohio State University Press, 1964. Maslow, A. MOTIVATION AND PERSONALITY, New York, Harper and Row, 1970. Maslow, A. THE FARTHER REACHES OF HUMAN NATURE, New York: Viking, 1971. Miller, Alice, The Drama of the Gifted Child, Basic Books (July 22, 2008).. Miller, Iona, 2004, Profiling: Psychological Types & Temperaments, http://creativeprocess.iwarp.com/whats_new.html

Miller, Iona & Graywolf Swinney, 2000, An Integrative View of Normal Adult Development and the Consciousness Restructuring Process, Asklepia Foundation, http://creativeprocess.iwarp.com/rich_text_1.html Miller, Iona, (1993), John Curtis Gowan on Creativity & Development, http://creativeprocess.iwarp.com/rich_text_2.html Moustakas, C. (1977). Creative life. New York, NY: Van Nostrand. Neumann, E. ART AND THE CREATIVE UNCONSCIOUS. Princeton University Press, 1959. Neumann, Erich. THE ORIGINS AND HISTORY OF CONSCIOUSNESS. New York: Pantheon Books, 1964. Pflanz, Steven (2003). The art of the unconscious. Psychiatric Times, June 2003, Vol. XX, Issue 6. Piaget, J. THE PSYCHOLOGY OF INTELLIGENCE. London: Routledge and Kegan Paul, 1950. Rudd, Melanie, Awe Expands Peoples Perception of Time, Alters Decision Making, and Enhances Well-Being, Psychological Science. http://facultygsb.stanford.edu/aaker/pages/documents/TimeandAwe2012_workingpaper.pdf

Runco, Mark, et al (Eds), The Dark Side of Creativity, Cambridge University Press (July 12, 2010) Sargeant, Jack (1999). Deathtripping: the Cinema of Transgression. San Francisco: Creation Books. Silverman, Linda Kreger. "Through the lens of giftedness. " Roeper Review. 20.n3 (Feb 1998): 204(7).
http://www.gifteddevelopment.com/Articles/advocacy/g35.pdf

Tart, Charles, States of Consciousness, Universe (January 9, 2001) Tart, Charles, The End of Materialism: How Evidence of the Paranormal Is Bringing Science and Spirit Together, New Harbinger Publications / Noetic Books; 1st edition (April 2, 2009) Tart, Charles, Waking Up: Overcoming the Obstacles to Human Potential, iUniverse (August 21, 2001). Torrance, E. Paul, The Manifesto: A Guide to Developing a Creative Career (Publications in Creativity Research) by E. Paul Torrance (Apr 2002). Torrance, E. Paul, Why Fly?: A Philosophy of Creativity (Creativity Research) (Jan 1, 1995). Torrance, E. Paul, The Search for Satori and Creativity, Creative Education Foundation; First Edition, Jun 1979). von Franz, M.-L., Creation Myths, Shambhala; Revised edition (May 1, 2001).

* Artist/Author Bio: Boston expatriate to Malta, by way of Santa Fe, New Mexico,
Paul Henrickson, PhD is a productive artist in his own right and a contributing author to journals in the fields of education, art education, anthropology, psychology, and is a published art critic. He has written an opera libretto in collaboration with a Maltese composer and been the local manager for performing artists. Dr. Henrickson was born in Massachusetts, (USA). He attended The Rhode Island School of Design, The University of Massachusetts (Boston), Clark University (Worcester), Statens Kunstakademiet (Oslo, Norway), The University of Oslo, and got his doctorate at The University of Minnesota. Henrickson offered art criticism seminars in New Mexico, has administered Art Departments and Divisions of Fine Arts at Vallet City State College, (North Dakota), Radford University, (Virginia), The University of Guam, (M.I.) and was on research assignments at The University of Minnesota and the University of Northern Iowa where the background for "The Creativity Packet" was originated. Dr. Henrickson has also published articles in several professional journals in the areas of education, art and archaeology, and presented research results, along with Dr. R.E.Taylor, at the South Eastern Psychological Association meeting in Miami, Florida. He also devised and developed interesting and unconventional puzzles with nonobjective images and dye cutting intended as an effective training tool in problem solving. Paul would object to anyone labeling his non-figurative compositions as abstract art. He has his own philosophy about the significance evoked in the development and interpretation of art by the coinage of this term. In fact, he emphasizes the fact that the work is not abstract but rather real, and the responses aesthetic responses. From this point of view the compositions are a synthesis of the artists various experiences of a lifetime. They are the vehicles that externalize his inner self, that bridge his inner soul and the external world. He currently resides and exhibits in Gozo, Malta. Contact: prh@tcp.com.mt Website: http://www.tcp.com.mt/henrickson.htm

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