But it seems that this power is not always honest and without pose. (But this again is one of the hardest tests of the creative individual: he must always remain unconscious, unsuspecting of his best virtues, if he would not rob them of their ingeniousness and untouchedness!)

In this state all is noise and chaos and devoid of meaning. It is difficult to imagine: our lives are so much more made up of light and sound and thoughts and feelings that form meaningful patterns and which help us to make sense of our lives and may grant us pleasure. The patient experiencing a psychotic episode is robbed of these harmonies. We cannot know the mind of another, and certainly not the mind of a psychotic other, but we can imagine that such noise, such a dissolution of meaning, would be intolerable. In this context it becomes understandable that a person in such a state should urgently seek to find or construct meanings and, in this process, to employ themes that are culturally or spiritually familiar - albeit often in deeply strange ways, given the disorder of mind.

The outsized affective component involved in these performances constitutes one of the hallmarks of the unconscious reaction formation. The desire for whiteness - which is unconscious - is so threatening that it must be defended at all costs. The conscious mind responds, therefore, with an emotional discharge that, while ostensibly an overreaction, is in fact directly proportional to this unconscious sense of threat.

Psychologist Teresa Amabile has studied creativity for more than forty years. She says, if you want to kill creativity, insist that people standardize their work methods, spend as little time as possible on every task, have as few failures as possible, and explain and justify how they spend every minute and dollar. Imaginative people, because they live in a cognitive minefield, do poor work when they are forced to be fast and efficient and to avoid mistakes. If they aren’t constantly struggling, feeling confused, failing, and arguing, and trying, modifying, and rejecting new ideas, they are doing it wrong.

FIVE: What is a Person?

“And this traumatic vignette highlights a central truth about what human beings are: A person is a point of view. Every person you meet is a creative artist who takes the events of life and, over time, creates a very personal way of seeing the world. Like any artist, each person takes the experiences of a lifetime and integrates them into a complex representation of the world. That representation, the subjective consciousness that makes you you, integrates your memories, attitudes, beliefs, convictions, traumas, loves, fears,

desires, and goals into your own distinct way of seeing.” (Brooks, “How to Know a Person”,

p.64)

“People don’t see the world with their eyes; they see it with their entire life.