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The Torrential Flux Of Imagination

On October 04, 2014, in Leadership +50% Extra, by Neculai Fantanaru

Let yourself be conquered by a dominant idea, so that you may prove your competence in solving leadership’s unity in composition.

From the first steps taken towards producing the film "Alexander Nevsky", director Sergei Eisenstein works in tandem with the writer Pyotr Andreyevich Pavlenko that accompanies the crew of filmmakers to Tashkent, in Uzbekistan, on the 18th of June. From there, Eisenstein drives 1500 km, studying manuscripts, miniatures, visiting historic cities such as Samarkand and Bukhara and follows the path of the future canal.

Imagination, tensed by the contact with historical places, begins its famous torrential flux of creation. Thoughts are born hastily in the passion of direct observation. He is into, for example, the mixture of the old, historical and new, contemporary. Obsessions repressed after trying to make the Mexican film are reborn. He is captivated from the beginning by the idea that comes to dominate him: to carry the film’s theme from the beginnings up until today, through three stages of history. Pavlenko opposes this, modestly accepting only a simple "diptych" (before and after the revolution), because he does not believe in solving the unity in composition by passing through three such large stages of human history.

But Eisenstein has use of such composition and will find its artistic solution.*

Leadership: Can you identify that function of thinking that can notice the mystery of new creations, guiding yourself by the perception that only what is suggestive in an area of maximum visibility is authentic?

If we are to reach a certain finality in the creative process, bringing added value to the "uniqueness" that we represent, then we must take into account something that is very close to what we are interested in – vision filtered through imagination. Such a vision which in the context of art is engraved unto a sort of synthesizing reasoning, separated by any form of limitation, extracts all of its power from the acuity of direct observation.

An artist who is passionate, for instance, by the mixture of old, historical and new, contemporary, can find a vital harmony between creation and the overall reality surrounding it. He can, at the same time, become an active force of mediation between the context of research and innovation, by personalizing the flux of thoughts and ideas, in a unique sense, separating itself from that which is outside of self-control.

The art proposed by a director like Eisenstein is a way to define a perspective that only he infers, doubled by a powerful unconscious need of believing in figments of his imagination. And to feel superior because of the perception that guides him, namely that only what is meaningful in an area of maximum visibility is authentic.

The suggestibility imprinted by the director on his work, including a system of concepts and methods designed to strengthen certain feelings, is based on the images meant to be viewed from a certain distance and at a certain angle, so that the spectator enjoys spatiality even when moving in front of the screen.

Creation is the representation of a sensitive expression, possessing a higher meaning and a profound symbolic connotation, which is distinguished by an image in which each particle contains the essence of an entire crystallized universe along a powerful artistic stream.

The basic function of thinking that can conceal the mystery of new forms can be replayed by the remark of the famous sorcerer, Ravenheart: “In an infinite multiverse, all improbabilities must be finite. Nothing that we can imagine is truly impossible. The only question is: what are the chances?”

The great art creators know this unwritten rule all so well: "Since we have a mystery, we will need to have a mysterious function of thinking, that can notice it." Of course, this shift of view towards a different horizon of receiving ideas and concepts, ascribed to thinking that is required to be battered towards brighter goals, where thought survives only in complete concentration and stimulation, is achieved through a process of updating the notions contained in your science.

In order to prove your competence in solving unity in the composition of leadership, of which essence is vision, it is necessary to let yourself be captivated by a dominant idea, which can change your perspectives, which can give meaning to the "whole", which can be favorable to the ideal of perfection.

The unity in composition is given by the mixture of knowledge, experiences and skills, placed in the support of creation that does not reduce itself only to building and valuing specific patterns of thought, but to a science of "enlightenment" which is extremely personal.

The passion of direct observation can be maintained by the processing of conceptual and expressive guiding points in order to obtain new elements of artistic language, but especially by the possibility of making comparisons between different things and phenomena.

The Torrential Flux Of Imagination highlights that intense passion for the act of creation, understood as a type of self-giving that comes out of you in the moment in which the ideas and perceptions (vis-à-vis what creation can offer) are organize and structure themselves in the perspective of a theme that goes beyond the actual context of the events.

Ideas and perceptions can be converted into skills or essential components of skills, with the purpose of raising the bar of values that you value in the option of founding a new advanced science.

* Note: Ion Barna - Eisenstein, Youth Publishing House, 1966.


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