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创造的过程不是凭空的,它需要有一个环境。其中,除了偶然性或客观性的范畴——外在于创造者的一切事物,如文化熏陶以及各种刺激并可供使用的物质材料等,还包括个人的心理生活——想像和无定形认识等各种心理活动。在审美的创新中,无处不体现着这一过程是一个悖论的结合体。从表面上看,与科学探索往往要排除由感觉、先入为主等各种自我干扰之不同,艺术的创造性思维模式则本能地要保持高度的主观性。然而,其给人的这一主观性印象,恰恰是建立在最广义基础上的内觉环境与深刻的反向思维模式之上的。
The process of creation is not empty-handed, it requires an environment. Including occasional or objectivity categories - external to all creators, such as cultural influence and a variety of stimuli and can be used for the material, but also include personal psychological life - imagination and amorphous understanding of each Psychological activities. In aesthetic innovation, ubiquitous expression of this process is a combination of paradoxes. On the surface, the exploration of science often ruled out the differences of self-interference such as feeling, preconceived, etc. The creative thinking mode of art instinctively maintained a high degree of subjectivity. However, this subjective impression of human beings is precisely based on the most generalized internal environment and deep reverse thinking mode.