Posts Tagged ‘Genesis 2’


IMAGO FLOW: Creative Limitations – Part I

February 11, 2013

Limitations can enrich or hinder creativity. The difference is in knowing how to make them work for, not against you. The following is the first of two posts on how limitations affect creativity.

I have a love-hate relationship with limitations.  Especially when creating.

When limitations work in my favor I allow them to participate in my creative process; but when they get in my way I spurn them like a Ferrari in Detroit.

Creative flow

Creating in-the-zone allows no stopping to eat… or sleep… or run to the bathroom. Until recently I thought this singular focus was artistic eccentricity.  Turns out there is a scientific reason for neglecting food and drink during a creative frenzy that Mihaly Csikszentmihalyi (how do you pronounce that?!?) calls spontaneous flow or flow experience.1

Mr. C says the human nervous system can process, or attend to, a total of 110 bits of info per second.  That’s not very much—listening to one person talk takes 60 bits. That’s why we can’t understand two people talking at once. It’s physiologically impossible. 2

Creating in-the-zone uses all 110 bits of human brain bandwidth. So hunger, sleepiness, and even being self-aware don’t register when creativity is humming like a V-8 engine firing on all cylinders fed with high-octane petrol.

When you are really involved in this completely engaging process of creating something new… you don’t have enough attention left over to monitor how your body feels or [think about] your problems at home.  You can’t even feel that you are hungry or tired.  Your body disappears. Your identity disappears from your consciousness because you don’t have enough attention, none of us does, to do something really well that requires a lot of concentration, and at the same time, to feel that you exist. So existence is temporarily suspended. 3

No time to eat

This was true for George F. Handel, composer of MESSIAH, which includes the Hallelujah Chorus, one of the most-loved choral works of all time.  Handel began composing the oratorio August 22, 1741. Part One was finished in six days. Nine days later, Part Two was completed. Another six days and Part Three was done. Two days later – 23 days, start to finish – he finalized the orchestration. The story goes that during the composing, he rarely left his room or touched his meals, writing like a mad man—most assuredly firing at 110 bits of information per second—and therefore, unable to notice his most basic needs.

I can’t compare myself to Handel, but I do know something of the intense concentration that makes hours fly with half-eaten meals long since forgotten and cold.


Like the time I worked on this mosaic for a sermon series at Trinity. I began working in the late afternoon, painted through the night, and finished the assembly in a stupor more than 36 hours later. The creative process during that weekend is still a blur to me. I moved from one task to another, as if the process was all decided, and I simply progressed to the next section or task. I don’t remember eating or doing much else except working.

I get like this when writing, too. It’s not uncommon for me to begin writing in the morning, only to realize “minutes” later that the sun has set and everyone wants dinner. On days like these I completely understand the disconnect of time between our world and Narnia!

Since watching Mr. C’s video, I now know there is a scientific explanation for ignoring everything except my current creative project. And I know I’m not loony! Where Mr. C and science fall short, however, is describing the reason for the intense focus.

Imago flow

I believe this drive is part of what it means to be created Imago Deiin the image of God. He created the world, and then made people in his creative image. He created for seven days straight—and then he rested.

Csikszentmihaly calls it “spontaneous flow” or “flow experience”.

I call it the image of God creating through me.


1. Mihaly Csikszentmihalyi: Flow, the secret to happiness at 11:05.

2. Ibid; 8:30.

3. Ibid at 8:50. The tenses and broken English have been cleaned up a little for better readability.


Part 6: The Master’s Assistant

September 14, 2012

(This is the sixth in a series of articles entitled DIVINE CREATIVITY that will present a Biblical apologetic and study on why people are creative. This series contains Scripture passages to read and questions to answer.  Recording your insights in a creative journal may be a valuable exercise.)

Back in Eden, when everything was pure—truth and beauty, creation and motive, God and man—all the glory belonged to God.  At the end of six days, after completing the vast array of the heavens and earth, including man “male and female”, He saw that what He had made was “very good”, and He rested.  Finally, at the beginning of the second week, we get a glimpse of why God created.

>>Read Genesis 2 and note reasons why God created the world.  Also make a list of the interactions between God and Adam.

Many aspects of earth suggest it was created just for humanity.[1]  The distance of the sun from earth, gravity, mean temperature, amount of oxygen in the atmosphere, and many other delicately balanced forces and elements are just right for human habitation.  The first two chapters of Genesis confirm God’s intention to create a place for mankind to dwell from the declaration in 1:28 when God gives Adam and Eve dominion over creation, to the specific provision of food for them in 1:29 and 2:16.

Right before and after God gives Adam the plants to eat, however, there are clues as to why God created the earth— reasons far deeper than merely sustaining man’s physical existence.  In Genesis 2:15 God gives Adam the responsibility for caring for His creation.  He brings Adam into His work, into both His creation and the process of creating.

God also brings the animals He made to Adam and lets him name them in 2:19-20, again, bringing him into both the created work and the creative process.  I imagine this event as the first art show—God presenting His works to His assistant.  I can see God leading the horses toward Adam, then standing back, proud of His work, as Adam admires a steed and mare, looks up at God, and smiles as if saying with his eyes, “You made this?  Incredible!”  Each time others are brought— colorful parrots, massive elephants, delicate beta fish, comical penguins—the wonder on Adam’s face and delight in God’s eyes bind them close as they create together, the Master and His assistant.

And finally, when the last animal scampers away, something, or someone, is discovered missing—a suitable helper was not found for Adam.  Was this an unintentional omission, a divine oops— or perhaps an opportunity?  The latter, I think.  In making Eve, God uses a piece of Adam.  He saved the making of Eve until Adam was present, to allow Adam the privilege of giving of himself in her creation.

>>Describe your creative process.  How does creating with God change your process?  What can you do to spend more time with God while you are creating?[2]

Next week: Back to the Garden

[1] The Anthropic Principle is both scientific and controversial.  See Answer 93.

[2] For ideas see Finding Divine Inspiration, by J. Scott McElroy.

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