DESCRIPTION OF DEEP CREATIVITY
Deep creativity is a name for the deliberate creation of new forms that, when contemplated (by the creator or by others) open a window to intuition of our silent, formless depth. It's the steadying of attention, the integration and transcendence of experience (ref: "Form is emptiness; emptiness is form").
We distinguish "deep" creativity from "superficial" creativity by both the process and the outcome.
The primary characteristic of deep creativity is unified intention. "Unified intention" means non-distraction, coherence, cohesiveness of directed attention. It is the creation of a "space of attention" into which a new creative impulse may emerge.
The tangible form we create in such a space of "coherent attention" ("dhyana" or absorption of attention) reveals, when we place our attention upon it, two "layers" of existence in addition to the tangible manifestation, itself: 1) a subtle communication of a feeling intuition and 2) silent empty space (without center or boundary) perfectly coincident with manifested fullness, our own essential self-nature.
The evident characteristic of superficial creativity is the lack of cohesiveness or of intuitive depth; it lacks simple integrity and communicates scattered attention. Most creativity and "art", stemming from mental ideation rather than intuition, falls into this category.
When we create from a deep place, we are engaged in a process of deliberate feeling-attention, with intention poised for new intuition. Deep creativity is not "random" creativity, but deliberate, coherent creativity, not synthesizing from existing parts from a mental place of "good ideas"; deep creativity manifests "something from nothing" using the creative medium to make something more than the mere sum of parts -- a holon, not a pile. We create from source; we create as source. The distinguishing characteristic of such deep creation is a sense of wholeness, of singleness, of unified integrity that gathers and steadies attention in contemplation.
THE STAGES OF DEEP CREATIVITY
We start by directing attention into what we intend, holding attention there in a disposition of expectation with creative intention poised, as a cat stalks a bird. We are, at once, open, receptive, and poised for activity. This is "active samyama" -- the contemplation of an object (even the emergence of a subjective object -- a creative impulse) until its essential nature is perceived.
As perception of the essential nature of the thing you are creating emerges, we experience an "originating intention" -- creative insight that can be enacted deliberately as an act of creation. Still in subtle form, an originating intention has sufficiently developed (in a kind of intuitive gestation) when creative energy (attentional force) congeals into a coherent intention (morphogenetic field) characterized by sufficient intensity -- creative thrust -- to bring it into tangible form.
Creating a coherent originating intention (morphogenetic field) involves recognizing and releasing/dissolving any ideas, feelings, or intentions that are influences upon your creative process other than what you are creating. These "other influences" surface as you exert effort or intention into the process of developing your originating intention. (Again, to create a coherent originating intention involves placing attention in the direction of what you want to create; those "other influences" appear as distractions to that creative process).
We then create a form that expresses that originating intention ("Upper Left") by acting deliberately upon a creative medium (words, paint, sound, resources, something "Upper Right") -- a creative process that might be termed, "tangification" -- the act of making something tangible (ref: Y.Y. Meru -- "The Creative Spiral", as presented in books, "Origination","Mastership" and "Attunement", and the Creative Spiral Opuses). To do so requires sufficient mastery of attention, intention, of our own actions, and of the medium in which we are creating to create deliberately. In a way of viewing it, creativity involves bridging between subjective interiority and objective exteriority, the capacity to view manifestation from both viewpoints, simultaneously. The simultaneous fidelity of inner and outer and the difference-in-appearance of inner experience from outer expression make all creativity an act of paradox (ref: Da Free John -- "The Paradox of Instruction").
The tangible "creation" becomes a feature of culture ("Lower Left") and a component of cooperative society and its infrastructure ("Lower Right").
In the case of this present writing, for example, the act of deep creativity required setting an intention -- to create an essay on deep creativity, the time needed to formulate an expression that fulfills that intention, recognition of what that expression would be, and sufficient mastery of language to implement that intention; in other media, other kinds of mastery pertain, but the same requirements for creative intuition and adequate mastery of the medium of creation apply. The combination of an originating intention and mastery of the medium make possible a creative act with a high degree of fidelity between originating intention and tangible result.
Once a creation has been brought into (or taken) form ("tangified"), it is available for contemplation. Contemplation of the tangible creation reveals the degree of its fidelity with the originating intention, allowing for refinement of the tangible expression. Sufficient fidelity between subtle perception ("originating intention") and its tangible creation, such that the subtle and formless layers may both be intuited, constitutes a successful "deep creation."
Once the tangible expression has been brought to a high degree of fidelity with the originating intention, its place within the milieu of already-manifested-actuality may be seen and understood by means of observation of that milieu, and reflection and consideration of the place of the "new creation" within that milieu; once that reflection has reached maturity, we may offer that "new creation" for integration into that greater milieu.
Then, we may begin the process again in a cycle of awakening, differentiation, integration, and transcendence.
For examples of deep creativity in sound, click http://somatics.com/somusic