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Jacob Cox
Jacob Cox

The Joy Of Creation

The player's perspective changed back to Scott. He was tied on a chair with a monitor in front of him. Through a speaker, Michael revealed that he is Mike Schmidt, the night guard in the first Five Nights at Freddy's. He mentioned that him and the animatronics escaped from Scott's creation, and they will need Scott's body to maintain their shape in this real world.

The Joy of Creation

The house started burning, and Scott failed to escape and was killed by his creation. With Scott's body, the creation escaped the house and found Val and their children. Although he tried to hide his real identity, they noticed something was wrong with Scott.

Green lilac and purple avocado - why not? With these sweet-scented clay soaps, anything is possible! You can make anything you imagine, creating your own world. While enjoying the joy of creation, the soap gently cleanses your skin and fills your bath with fluffy foam.Turn your bath-time into creativity time!

Scott refers to the computer as the mastermind behind the whole incident, asking several questions before asking "What are you?", as suddenly Michael appears from behind and knocks him out after saying "Your creations". Michael is heard apologizing before Scott falls unconscious. After that, the gameplay finally begins.

The joy of creation drives in the expansion of personal boundaries and self-development of the entrepreneurs. An environment of vitality, passion, and doing encourages the children to fulfill their abilities and succeed in any field they choose.

The entrepreneur The entrepreneur is not deterred by hard work. His/Her energy for acting stems from the joy of creation, and the work is done with great satisfaction. An entrepreneur who chooses to engage in a domain that stems from a natural connection and which arouses interest and desire will be motivated by the joy of creation until success. This passion is the willingness to give 100% of yourself. Here are some examples:

The same applies to entrepreneurs in other fields. For example: The Israeli entrepreneur, Asi Vaknin, discovered the joy of creation, which led him to succeed in setting up a club and a surf school. Asi's interest in surfing started at age six when he was surfing the sea, and later that hobby became a business. His ability and willingness to overcome the difficulties of the bureaucratic, financial, and marketing processes of setting up the project stemmed from a passion that came from the satisfaction of doing.

Encouraging children to act out of the joy of creation: Finding the children's interests, and/or turn different topics to be interesting for children, will encourage them to enjoy learning and doing, and to strive for excellence.

204. We can no longer trust in the unseen forces and the invisible hand of the market. Growth in justice requires more than economic growth, while presupposing such growth: it requires decisions, programmes, mechanisms and processes specifically geared to a better distribution of income, the creation of sources of employment and an integral promotion of the poor which goes beyond a simple welfare mentality. I am far from proposing an irresponsible populism, but the economy can no longer turn to remedies that are a new poison, such as attempting to increase profits by reducing the work force and thereby adding to the ranks of the excluded.

At least, this is what theologian Al Wolters believes. He goes on to say that humans have a profoundly meaningful task in this world: they are "called to participate in the ongoing creational work of God, to be God's helper in executing to the end the blueprint for his masterpiece." By this Wolters means that God has given humans their own creativity and imagination to assist in the world's continual unfolding. Our job isn't to create something out of nothing - which only God can do - but creatively to work with the potential of the world to produce art and culture. "In a single word," Wolters writes, "the task ahead is civilisation."

Diotima further instructs Socrates that the lover's love forthings of beauty is fundamentally a desire to possess true Beauty, which isone with the Good (Smp., 206d). The possession of Beauty is the longing toprocreate; through procreation, the self becomes immortal (ibid., 207a).Diotima then explains to Socrates the way to Beauty itself, by steps orstages. Eros moves from the visible beauty of one body to the beauty of otherbodies, hence to grasp that there is one beauty that shines through allbodies (ibid., 210b). From visible beauty, Eros leads to the higher beauty ofsouls, which is "more valuable than the beauty of... bodies"(ibid.). From this beauty, going "aright" (ibid., 211c), Lovereaches the beauty of human "activities and laws" (ibid.), as wellas the beauty of the sciences and, finally, the science of beauty itself:"Gazing upon [it] he [the lover] gives birth to many gloriouslybeautiful ideas and theories" (ibid., 210d). This is a tacit or silentgaze; it is an eye that ceases to see, since it is free of earthly visions.Diotima concludes her lesson by saying to Socrates that "[i]n that lifealone, when he looks at Beauty in the only way that Beauty can be seen--onlythen will it become possible for him to give birth not to images of virtue...but to true virtue" (ibid., 212b). Thus, he becomes immortal.

What Teresa of Avila achieves on the mystical order--to have"been in another world"--and what Socrates attains on thephilosophical plane--to have journeyed "to the place beyondheaven"--the artist experiences on the creative level--"the joy ofcreation." Art can be seen as a pilgrimage to "divine Beautyitself" and a language that speaks to us in the very depths of our soulthough the eyes, as Denis Diderot instructs us: "Painting is the art ofreaching the soul through the eyes"--the eyes that lead to the discoveryof our true self. "The Self is the great veiled mystery of theworld," observes the German expressionist Max Beckmann; "It is thisSelf which I am searching in my life and in my art." (37)

There are, however, certain impulses that keep us from looking at,from listening to, the beautiful. These are, in Weil's view, the desireto possess the object, and one's inability to turn the eyes or attentionto the creative act of love--which she insists is the same for the artist whocreates beautiful artworks. Of these impulses, she writes, "Theauthentic and pure values--truth, beauty and goodness--in the activity of ahuman being are the result of one and the same act, a certain application ofthe full attention to the object." To want to recreate this object,there is a need to love: "Creation is an act of love." This iscertainly true for Redon, who says, "Art is the fermentation of anemotion that the artist proposes... but to love is necessary." This isequally true for Matisse: "But isn't love at the origin of allcreation?" In love, the mind frees itself from the world of theordinary, and the self from its ego. These two states are referred by Weilrespectfully as "detachment" and "decreation." Thebeauties of the world can be illusions, Weil explains, or they can hide trueor real beauty from shining forth from things. Things do not change. She goeson to say that only our perception or consciousness changes:

Consequently, we must give full attention to solitude in teachingand learning as analogous to creation. We must set aside some time forsolitary studies: for where there is no solitude, there is no true vision;and where there is no true vision, there is no learning or creativity; andwhere there is no creativity, there is no joy. Art teaches solitude, inRilke's opinion: "Works of art are of an infinite loneliness andwith nothing so little to be reached as with [words]." Words about artare worthless; art calls for solitary reflections, for meditation orcontemplation, for an eye that listens in solitude. In moments of solitude,the artwork speaks to the eyes and then slowly invades all our otherfaculties, deep down to the memory. Here one is reminded of Plato'srecollection in the Phaedrus (249c). Through the memory and the imagination,the creative artist transforms the stored images of past and present visualexperiences--as well as those primordial images of the collectiveunconscious, as described by Jung--into a work of art that is linked to thearchetypal or transcendent source. Matisse wonders: "Isn't theCreator himself nature?" To Gauguin, "God... is the symbol ofBeauty, Beauty itself"; for Cezanne, the artist should penetrate"the spectacle [that] the Pater Omnipotens Aeterne Deus offers to oureyes"; and Auguste Renoir says that he is "nearer to God by beinghumble before this splendor [nature]." (51)

Therefore, learning or creativity has a transcendent or spiritualaspect; it draws us outside ourselves without at the same time removing usfrom our personal self. The way of knowing, of creativity, explains MichaelPolanyi, contains a "tacit dimension" precisely because it ispersonal, and, therefore, there is a continuous "intimateindwelling" of knowing: a knowing that displays "that we cannottell." This "tacit dimension" renders the creation of a workof art more akin to "comprehensive contemplation" than toanalytical or intellectual knowing, in Polanyi's opinion: "Thoughthe artist cannot make the public re-live his creative hours, he does makethem enter a wide world of sights, sounds and emotions which they had neverseen, heard or felt before." (52) The "creative hours" of theartist--as those of the teacher and of the student--remain hidden and,therefore, beyond knowing: "Any reaction to stimulus may be causallyexplained," Carl Jung tells us; "but the creative act, which is theabsolute antithesis of mere reaction, will for ever elude the humanunderstanding." (53) As does the artwork itself. When de Chirico recallsthe revelation that gave rise to his work, he says, "Now each time Ilook at this painting I again see that moment. Nevertheless the moment is anenigma to me, for it is inexpressible. And I like also to call the work whichsprang from it an enigma." (54) 350c69d7ab


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