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From the very nature of the inner conditions of creativity it is clear that they cannot be forced, but must be permitted to emerge. The farmer cannot make the germ develop and sprout from the seed; he can only supply the nurturing conditions which will permit the seed to develop its own potentialities. So it is with creativity.

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A certain amount of creativity and rebellion must be tolerated - or welcomed, depending on your point of view - to maintain the process of regeneration. Every rule was once a creative act, breaking other rules.

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If you happen to be one of the fretful minority who can do creative work, never force an idea; you'll abort it if you do. Be patient and you'll give birth to it when the time is ripe. Learn to wait.

The mainspring of creativity appears to be the same tendency which we discover so deeply as the curative force in psychotherapy — man’s tendency to actualize himself, to become his potentialities. By this I mean the directional trend which is evident in all organic and human life — the urge to expand, extend, develop, mature — the tendency to express and activate all the capacities of the organism, or the self. This tendency may become deeply buried under layer after layer of encrusted psychological defenses; it may be hidden behind elaborate façades which deny its existence; it is my belief however, based on my experience, that it exists in every individual, and awaits only the proper conditions to be released and expressed. It is this tendency which is the primary motivation for creativity as the organism forms new relationships to the environment in its endeavor most fully to be itself.

For the truly creative mind in any field is no more than this — a human creature born abnormally, inhumanly sensitive. To him a touch is a blow, a sound is a noise, a misfortune is a tragedy, a joy is an ecstasy, a friend is a lover, a lover is a god, and failure is death. Add to this cruelly delicate organism the overpowering necessity to create — to create — to create — so that without the creating of music or poetry or books or buildings or something of beauty and meaning his very breath is cut off from him. He must create. He must pour out creation. By some strange unknown pressing inward urgency he is not really alive unless he is creating.

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Csikszentmihalyi suggests that the common idea of a creative individual coming up with great insights, discoveries, works, or inventions in isolation is wrong. Creativity results from a complex interaction between a person and their environment or culture, and also depends on timing.

In order to be open to creativity, one must have the capacity for constructive use of solitude. One must overcome the fear of being alone.

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The essence of real creativity is a certain playfulness, a flitting from idea to idea without getting bogged down by fixated demands. Of course, you don’t always get what you thought you were asking for. From this era on, I think invention will be the parent of necessity—and not the other way around.

The truly creative mind in any field is no more than this: A human creature born abnormally, inhumanly sensitive. To him... a touch is a blow, a sound is a noise, a misfortune is a tragedy, a joy is an ecstasy, a friend is a lover, a lover is a god, and failure is death. Add to this cruelly delicate organism the overpowering necessity to create, create, create — so that
without the creating of music or poetry or books or buildings or something of meaning, his very breath is cut off from him. He must create, must pour out creation. By some strange, unknown, inward urgency he is not really alive unless he is creating.

The impulse to think, to philosophize and spin beauty and brilliance out of mind and soul, is somehow the offspring of resistance — of an effort to overcome an apparently insurmountable obstacle. Hence cultural creativeness is more likely to flourish in an atmosphere of restriction, of an imposed pattern of thought and behavior, than in one of total freedom.

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