It approaches creativity through design using conscious conditioning of subliminal processes.

1. The Role of Design in Creativity
Ali Rıza SARAL

2. Conscious – subconscious
• Consciousness is not critical for performing
simple, automatic behaviors, such as our
tendency to automatically orient to an
unexpected sound or movement.
However,these behaviors are inflexible,
stereotyped reactions elicited by just the right
stimulus. They do not generalize well to novel
situations, and they take extensive time and
experience to develop[1].

3. • The preconscious/subconscious consists of
anything that could potentially be brought
into the conscious mind. Subconscious defines
all reactions and automatic actions we can
become aware of if we think about them(car
driving).
•

4. • Freud likened the three levels of mind to an
iceberg. The top of the iceberg that you can
see above the water represents the conscious
mind. The part of the iceberg that is
submerged below the water but is still visible
is the preconscious. The bulk of the iceberg
that lies unseen beneath the waterline
represents the unconscious.

5. subconscious
• The subconscious is the transition between
unconscious and conscious. It is an interface
with which conscious communicates with the
unconscious. It also helps to hide the plethora
of information/feelings etc. that reside in the
unconscious.

6. subconscious
• Subconscious is an interface for the conscious
to access the unconscious. When we cannot
remember something immediately, it pops up
in our mind after a while if we make a small
brake. It is the subconscious which has
requested and retrieved it from the
unconscious and it returns the answer to the
conscious with a pop up.

7. Volition
• Volition is a form of feeling. Consciousness is
a higher function which determines the form
of cognition.
• There are various types of consciousness:
• Reflected
• Pre-reflected
• Others

8. reflective consciousness
• In the reflective or observing consciousness
one is aware of his/her self. One uses the
subject ‘I’ in his/her inner talk. One observes
what he/she id doing and is aware of it being
done by one’s self[4].

9. • In the pre-reflective, non-observing
consciousness one is not aware of what
he/she is doing. For example one is not aware
of how he has driven from home to job. Tasks
are done without the observational
awareness

10. Sketch for a theory of emotions J.
Paul SARTRE
• Sartre engages with the world pre-reflectively
while writing: “For example, at this moment I am
writing, but I am not conscious of writing. … In
reality, the act of writing is not at all unconscious,
it is an actual structure of my consciousness. Only
it is not conscious of itself. To write is to maintain
an active awareness of the words as they come to
birth under my pen.”
•

11. Hemingway
• Hemingway advices a novice writer: “The most important
thing I’ve learned about writing is never write too much at
a time,” Hemingway said, tapping my arm with his finger.
“Never pump yourself dry. Leave a little for the next day.
The main thing is to know when to stop. Don’t wait till
you’ve written yourself out. When you’re still going good
and you come to an interesting place and you know what’s
going to happen next, that’s the time to stop. Then leave it
alone and don’t think about it; let your subconscious mind
do the work. …” [ Ernest Hemingway Creates a Reading List
for a Young Writer, 1934
• http://www.openculture.com/2013/05/ernest_hemingways
_reading_list_for_a_young_writer_1934.html ]

12. Intention
• Intention is a form of volition. Intention
depends on the condition based on time,
place, event or other. Intention mechanism
can be vitally important to exit or in being
unable to exit pre-reflective consciousness in
the cases of emrgency or contemplation

13. Prereflective consciousness
• Awareness is the automatic repetition of
sensing a well-defined environment with a
pre-assigned procedure. Conscious awareness
occurs when awareness is not automatic.

14. awareness
• Awareness is a subconscious phenomenon.
Subconscious has to be setup by the conscious
• which decides the intentions and task lists so that the
limits and the content of the awareness are
determined. Subconscious can be conditioned by
conscious[1]. Once the limits of the subject area is set
and the details of actions to be taken are determined
the procedure is activated repeatedly in the given
subject area. This causes us to ‘feel’ a sense of
awareness for a while. This process continues either
for a decay period of time or like every feeling ends as
soon as this awareness is explicitly adressed.

15. Prospective Memory
• We need this prospective memory (also called
memory for intentions) so we can remember
to do things in the future in a timely manner.
In this sense it differs from other phenomena
that have been the subject of classical
memory research for decades, which may be
characterized as retrospective memory. The
latter makes it possible for us to recall
knowledge or earlier experiences; prospective
memory, on the other hand, enables us to
bring to mind future intentions

16. . Foresee and Forget: How to Re member the Future BY MATTHIAS KLIEGEL & NICOLA
BALLHAUSEN MARCH 7, 2018 https://www.scientificamerican.com/article/foresee-
and-forget-how-t...
• Prospective memory is crucial for two reasons:
First, it is the type of memory that poses the
most problems for us in everyday life. Studies
have shown that as many as two-thirds of
memory glitches may be attributed to failures of
prospective memory. At the same time, we need
it to come to terms with our everyday
circumstances. It is important to remember to
take a medication, congratulate a friend on her
birthday or get to a business meeting on time.
That is what prospective memory enables us to
do.

17. • Consciousness is important when “top-down”
processing is needed; that is, when behavior
must be guided by internal states or
intentions[1].

18. Task setting
• A task set is a configuration of cognitive processes
that is actively maintained for subsequent task
performance[1] . A task is the representation of a
set of instructions required to perform an activity
accurately; a task set is the set of representations
and processes that enable execution of the task
[2] .
•
• Subconscious interacts with consciousness
through tasksets. We set goals to our
subconscious by deciding what to do when.

19. Interaction with subconscious
• Notes on the Interaction of Subconscious and
Consciousness by Ali Riza SARAL
• https://largesystems-atc.blogspot.com/2017/05/
• Judith ULUĞ who played the piano in the first performance
of my Viola Sonata adviced me: “Let it go where the music
leads.” during the rehearsals. This is pretty similar to an
Anatolian Hittite King’s thousands of years old advise:
“Mein Sohn! Tue das, was in (deinem) Herzen (ist) (My son!
Do what in your heart is.)” [Daisuke YOSHIDA, “Die Syntax
des althethitischen substantivischen Genitivs”, page 5 ]
Both of these advices suggest the use of subconscious and
there is a slight difference between them. ULUĞ’s advice is
based on good continuation where as the ancient advice is
related with conscience.

20. subliminal processes
• https://www.frontiersin.org/articles/10.3389/
fnhum.2012.00082/full
• Processes that are below consciousness and
cannot surpass conscious control may indicate
the possibility of "top-down" processes
influencing subliminal processes. Attention,
intention ("task set" or current goals), and
expectations can influence automatic and
subliminal processes [1].

21. Pre – post control mechanisms
• Control mechanisms that can override
inappropriate response plans automatically
triggered by the environment not only act to
inhibit responses after stimulus presentation
but also seem to operate before the stimulus.
Task set and previous experiences can
modulate conflicting response tendencies in a
preparatory manner [3].

22. DISCREPANCIES BETWEEN AUTOMATIC AND
VOLUNTARY CONTROL
• Recent research by Boy et al. (2010b) suggests
that the crucial distinction lies not between
automatic and voluntary control but rather
between pre- and post-stimulus control [2].

23. Design serves as a task set
• Sketches
• Durations
• Instrument and ensemble configurations
• Schenkerian approaches
• Motives
• Figures
• gestures
• Gut feeling – I have to do this!

24. Design as an abstraction
– Levels, depth
– Simplifies
– İnteraction btw levels

25. 7 Principles of Object-Oriented Design
• Encapsulation
• Abstraction
• Inheritance
• Polymorphism
• Modularity
• Association, Aggregation, and Composition
• Coupling and Cohesion
• Patrick Karsh
https://patrickkarsh.medium.com/7-principles-
of-object-oriented-design-1ab0231d610a

26. frames
• We know that people think in contexts which are
well defined and which have clear semantic roles,
and these thinking contexts are known as frames.
• For example, a school frame, when invoked,
contains, textbooks, desks, whiteboard,teachers
and students – these are all objects with a
semantic role of their own which dictates their
expected behavior or function.
• Frames are a well known concept in social
sciences which is related to social constructivism.

27. When our minds use frames
• Our minds tend to evaluate objects, actions
and facts as real/true when they correspond
to the frame, and as not real/false when they
do not.And frames are automatically invoked
each time a communication process or a
perceptive process refer to the frame, any of
its components, or their behaviour.

28. Neurology of frames
• Interestingly, our minds use “neuron
highways”and they tend to prefer to travel over
larger routes than over small and narrow streets.
• This is because in its pursuit of efficiency, the
mind chooses the path of lesser resistance for the
chemical reaction triggered along the
neurological path.
• And neuron connections strengthen each time
we confirm a fact which already fits an
established frame.

29. Framing effect of design
• Design limits
• Design sets the tone, the mood
• Design eases the burden of creating
something new

30. Design patterns
• Formal patterns – lied, sonata, concerto etc
• Motivic, figurative elements
• Articulation and dynamics elements

31. Design vs intuation/inspiration
• If you design too much, you may limit your
imagination and inspiration

32. RELAXED ATTENTION
• Experience in Visual Thinking
• Robert H. McKim
• Relaxation and attention are two sides of the
same paradoxical coin. The first tenet of skill
in any field is relaxation: the skilled always
“make it seem easy.” The second tenet is
complete attention: expert practitioners
invariably “give their all.” Indeed, relaxation
and attention are mutually supportive.

33. RELAXED ATTENTION
• The importance of relaxed attention to creative
thinking is well known. After intensive
conscious preparation, the creative thinker
commonly lets the problem “incubate”
subconsciously: “I will regularly work on a
problem late into the evening and until I am
tired. The moment my head touches the pillow
I fall asleep with the problem unsolved.“’ After
a period of relaxed incubation. which can take
place in the shower or on a peaceful walk as
well as sleep, attention is not uncommonly
riveted by the “aha!” of sudden discovery.

34. transcendence– of a child
• transcendent
• adjective
• tran·​scen·​dent tran(t)-ˈsen-dənt
• Synonyms of transcendent
• 1
• a: exceeding usual limits : SURPASSING
• b: extending or lying beyond the limits of ordinary
experience
• cin Kantian philosophy : being beyond the limits of all
possible experience and knowledge
• 2
• : being beyond comprehension

35. development of self-identity and language
development
• The development of self-identity and language
development are interconnected processes that
influence and shape each other throughout an
individual's life.
• Language as a Tool for Self-Expression: During
the early years of life, language serves as a crucial
tool for expressing thoughts, feelings, and needs.
As children learn to communicate through
language, they begin to develop a sense of self by
expressing who they are and what they want.

36. Writing Large Music Works
• How to transcend the difficulties of
complexity?

37. Creating elements with personality
and identity
• Developing identity, a self helps to overcome the
transcendence of the other.
• This can be seen also in the music composition
process.
• The more you identify individual items and
consider them belonging to the new piece, it
becomes easier to compose. The more the piece
gets personality, the possibilities gets less and the
piece dictates itself written. The composition
process becomes automatical-inspirational or
intuitional.

38. Flexibility in the design
• The design elements should be modifiable.

39. Leave spaces
• Leave spaces in the design for intuition.

40. Detailed vs easiness to execute
• The more the design is detailed the harder it is
to apply it

41. Development processes

42. Waterfall, RAD, spiral
• Waterfall: the whole process of software
development is divided into various phases.
• Rapid Application Development process :
targets developing software in a short period
• the concept that a better system can be
developed in lesser time
• Spiral: a combination of rapid prototyping and
concurrency in design and development
activities

43. V-model, incremental, iterative
• V-model: verification and validation at the
same time
• Incremental: process is repeated, with each
release adding more functionality until all
requirements are met
• Iterative: development life cycle that focuses
on an initial, simplified implementation, which
then progressively gains more complexity and
a broader feature

44. Big bang, prototype
• Big bang: with no or very little planning. The
requirements are understood and
implemented when they come.
• Prototype: A 'quick design' is then created.
This design focuses on those aspects of the
software that will be visible to the user.
• SDLC Models - javatpoint

45. Convergence issue
• The importance of beginning point both at the
beginning of the piece or in the other ideas
• sketching
• Michelangelo Pieta

49. Task setting refs
• [2] SARAL Ali Riza; How to Interact with an Autonomous System,
https://www.linkedin.com/posts/ali-riza-saral-22344a262_activity-
7024007813475508224-
I0yB?utm_source=share&utm_medium=member_desktop
• How to Interact with an Autonomous System
• http://largesystems-atc.blogspot.com/2023/01/how-to-interact-with-
autonomous-system.html
•
• [3] Katsuyuki Sakai; Task set and prefrontal cortex, Annu Rev Neurosci,
2008;31:219-45.
• Department of Cognitive Neuroscience, Graduate School of Medicine, The
University of Tokyo, 7-3-1 Hongo,
• Bunkyo-ku, Tokyo 113-0033, Japan; email: ksakai@m.u-tokyo.ac.jp
•
• [4] D. W. Schneider, G. Logan; 2 Tasks, Task Sets, and the Mapping
Between Them ;Pages 27–44, June 2014

50. Concious - Subconscious refs
• [1] Earl K. Miller, Jonathan D. Cohen; AN INTEGRATIVE THEORY OF
PREFRONTAL CORTEX FUNCTION, Center for Learning and Memory,
RIKEN-MIT Neuroscience Research Center and Department of Brain
and Cognitive Sciences, Massachusetts Institute of Technology;
Center for the Study of Brain, Mind, and Behavior and Department
of Psychology, Princeton University.
•
• [2] Gregory Mitchell; The Cognitive Unconscious
• https://mind-development.eu/cognitive-subconscious.html
•
• [3] Dr. Robert Williams; Processing Information with Nonconscious
Mind, JOURNAL PSYCHE,
• University of Texas at Austin, American Psychoanalytic
Association (APsaA).