737As kids, we create a story, a toy house, or a personality, mindful and imaginative, with little clear idea of what our project will become. This adventurous approach--the "3rd way"--to creating often gets sidelined as soon as we enter school where we learn to advance along one of the two standard paths of contemporary creation, the convenient and cultural paths, with their regulations and constraints. (?)
737
738Even films, books, movies, and storytelling games are largely now made using the same strategy by which we make a new cell phone or car. THey greet the public by way of commercial process, some new-term profitability matters more, in the bottom line business of culture than long-term transformative impact on how people will ultimately think & feel (?)
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739When we create new things, from an original style of dress to a novel, we invest in these things on aesthetic quality that not only pleases us, but hopefully pleases those around us. Pleasing others may take time, but if we stick with our creative process and make adjustments along the way, we might find that our pleasure grows. Paying attention to the feedback we receive from others about the things we create and charging our creators accordingly (...) is a kind of generosity, as if we give to others some precious price of ourselves.
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740According to Plato, beauty of the transient kind (as in a work of architecture or the effective articulation of an argument) led to beauty of a universal and eternal kind [...] For Plato, aesthetics and experience were inseparable. Beauty was connected to experience.
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741According to rationalist philosophers, our perceptions fill into two categories: intuitive and deducters. (?) The aesthetic expression of our intuitors was sometimes referred to as art, and the aesthetic expression of or deductions was called severe. However, created things could be both. et seq.
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742For those who invested the resources to create new things, the sheer utility of science parsed its superiority. Art, by comparison, seemed suddenly far less useful. As a result, it became natural to see science and art as polar opposites. One was practical, the other wasn't. (?)
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743CP Snow 1959 Cambridge Lecture: The Two Cultures
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744The brain's motivation to create stems from a sophisticated rewards system that involves the release of neurotransmitters such as dopamine and somatostation(?), the gathering (?) of sensory information from inside and outside the body, and the activation of mental structures in the basal brain, the lumbar system, and the neocortex.
Wanting, associate learning and likig.
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745Wanting, reinforcement learning, and liking derive from signals that pass through our nervous system, leads to reflections, decisions ,and actions.
Creator's cycle: Ideation, experimentation, and exhibition.
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746Intuition
101
747Creating new aesthetic experiences is doubly generous. Not only does it give value to other, it produces value that never existed before (?)
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