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The Act of Creation: A Study of the Conscious and Unconscious in Science and Art (1964)

door Arthur Koestler

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The Act of Creation begins where this view ceases to be true. Koestler affirms that all creatures have the capacity for creative activity, frequently suppressed by the automatic routines of thought and behavior that dominate their lives. The study of psychology has offered little in the way of an explanation of the creative process, and Koestler suggests that we are at our most creative when rational thought is suspended - for example in dreams and trance-like states. Then the mind is capable of receiving inspiration and insight. Taking humor as his starting point, Koestler examines what he terms 'bisociative' thinking - the creative leap made by the mind that gives rise to new and startling perceptions and glimpses of reality. From here he assesses the workings of the mind of the scientific or artistic genius. The general reader as well as the reader with a deeper knowledge of the topics covered will find this richly documented study of creativity both illuminating and compelling.… (meer)
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Il libro non si giova molto del suo titolo (nemmeno nell'originale inglese), che fa pensare a qualcosa di "divino" e svia potenzialmente il lettore dal vero contenuto del testo, cioè la creatività.È lo stesso Koestler a chiarirlo: «L'atto creativo non è un atto di creazione nel senso del Vecchio Testamento. Non crea dal nulla: discopre, seleziona, mescola, combina, sintetizza fatti, idee capacità, tecniche già esistenti. Tanto più le parti sono familiari, tanto più il nuovo tutto sarà sorprendente.» (pp.109-110)Questa è l'idea chiave del libro, esemplificata da uno schema che mette in relazione tre figure apparentemente distanti, il comico, lo scienziato e l'artista, dimostrando che ciò che li unisce è esattamente la creatività, intesa come interazione fra matrici di percezione e sistemi di riferimento e ragionamento diversi. Nel caso del comico, vi è una collisione che conduce al riso; nel caso dello scienziato una fusione che porta a una scoperta; nel caso dell'artista un confronto (metaforico) che porta all'opera d'arte. Per il resto, il libro dimostra molta erudizione sui tre fronti, soprattutto quello scientifico (la parte sul "saggio" occupa molto più spazio di quello sul "buffone" e sull'artista).
( )
  d.v. | May 16, 2023 |
> Arthur Kœstler, Le cri d’Archimède, traduit de l’anglais par G. Fradier, i vol. in-8° raisin, 16 x 24 cm, 456 p., Calmann-Lévy, Paris, 1965. Prix : 27,15 F.
Se reporter au compte rendu de René BOIREL
In: Les Études philosophiques, Nouvelle Série, 21e Année, No. 2, SCIENCE ET POLITIQUE (AVRIL-JUIN 1966), pp. 280-281… ; (en ligne),
URL : https://drive.google.com/file/d/1zt3kNK49Ua4x3NYfWBZ3iggXuwGcLkMe/view?usp=shari...
  Joop-le-philosophe | Jan 6, 2021 |
Interesting to think about the idea of creativity and humour have connections with bringing together different perspectives. I liked the continuum of human endeavours, showing biology is closer to the humanities. ( )
  yarkan | Jul 18, 2011 |
Koestler puts forward his theory of the shared mental processes that take place in the successful artistic, scientific, and comedic mind, which he calls bisociation. He discusses how discovery of a new beauty or truth relies on the appropriate perception of an idea within two or more previously incompatible or distinct frames of reference. There are lots of examples and stories from the history of science and invention, and these are interesting to read in their own right.
Despite the fact that these associations often spring from the subconscious, they only tend to be made by the most intelligent minds – those which possess the capacity to understand ideas and their connections to other ideas, and the relevance of these connections to the solution of problems.
The artistic and scientific revolutionary are often viewed in quite different ways, but Koestler makes a case that the nature of their general intelligence has a lot in common, despite them being gifted in different specific areas.
This is a very accessible and readable work, and should be of interest to the general academic, the artist, the psychologist, or the scientist. It isn't deeply technical or precise, so I would not class it as a completely serious work of philosophy, but it excels as an inspiring popular work for the non-specialist reader. ( )
  P_S_Patrick | Nov 23, 2010 |
I have come back to this book over the decades, and at various points in life have found reasons to admire its insights. What Koestler does so well is to effortlessly bring together so many disciplines - science, anthropology, spirituality, philosophy, history, and art. Koestler does this without ever overreaching or forcing his point. His wide-ranging learning and thought is astounding, and his writing is consistently brilliant.

He wrote this book at a time when it was still possible to refer to Freud objectively, neither dismissively nor uncritically. His essential thesis is that the spark of artistic creation arises in the friction between "previously unconnected frames of reference." It is this "bisociative thinking" which allows us to experience reality on several planes at once, providing the essential spark that leads to all things creative, from humor to religious insight. A classic. ( )
  downstreamer | Dec 6, 2008 |
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Foreword:  From time immemorial the gift of creativity has been venerated almost as if it were divine.
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Wikipedia in het Engels (3)

The Act of Creation begins where this view ceases to be true. Koestler affirms that all creatures have the capacity for creative activity, frequently suppressed by the automatic routines of thought and behavior that dominate their lives. The study of psychology has offered little in the way of an explanation of the creative process, and Koestler suggests that we are at our most creative when rational thought is suspended - for example in dreams and trance-like states. Then the mind is capable of receiving inspiration and insight. Taking humor as his starting point, Koestler examines what he terms 'bisociative' thinking - the creative leap made by the mind that gives rise to new and startling perceptions and glimpses of reality. From here he assesses the workings of the mind of the scientific or artistic genius. The general reader as well as the reader with a deeper knowledge of the topics covered will find this richly documented study of creativity both illuminating and compelling.

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