Abstract:
A great many individuals who have asked themselves the question,
"What is the making, characteristic of the artist, which is not an
illustration?" have found an answer in something like the following: "This
nontechnical making is plainly not an accident making, for works of art
could not be produced by accidenr' (Tomas, 1964:5). If it is not the
artist's skill, proposes Collingwood (Tomas, 1964:5), then it cannot be
his reason, will or consciousness and must be something else. In this
regard, Collingwood makes the following proposal:
"It must be either his body, in which case the production of a work of art
is at bottom a physiological activity, or else it is something mental but
unconscious, in which case the prodygtive force is the artist's
U[?q_onsq_i_g_y_§._f!Jind" (Tomas, 1964:5).
Although the creative process is not a form of condition or a sort of
unconscious functioning, created artistic products have definite
unconscious consequences and appeal. Rothenberg (1979:351)
proposes that
"work's of art ~r_esent and incorporate UflQOfJ._§CiQ_L/§_ material and they
reson_~te with the u__nqpnsc_iof.!~ey_el of the vi~yver or augien_r;e". Paul Torrance defines creat!yjty as
"a/most inUnite. It involves every sense-sight, smell, hearing, feeling,
taste, and even perhaps the extrasensory. Much of it is UfJ_~lf!e!J! . _nonverbal,
and unconsciqus" (Sternberg, 1988:43).
