I think that creativity, practiced effectively in the world, is a multi-level phenomenon. That’s what makes it tricky to conceptualize.
On some levels, it looks like vagueness, openness, high-flexibility.
On other levels, it can look like intense focus, rigor, even highly strict proceduralization and solution-focus.
There’s a science fiction trope with which most people are familiar:
A mysterious craft, pod, or organic vessel floats down quietly and lands (or crashes) somewhere on planet Earth. A being of some sort emerges. It is fluid, amorphous, possibly amoeba-like. Then, depending on who or what it first encounters (within some threshold of acceptability criteria), the being adapts, takes a form, and mimics or copies the appearance, behaviors, language, and mannersism of some particular sub-group/sub-type of human being. At that point, the story changes (depending on the genre), and we have a sci-fi comedy, sci-fi horror, classical sci-fi, or what haver you. In any case, the being expresses high competency in learning and mastering life among the humans.
This to me is a good metaphor of the creativity and focused effective flexibility of the Renaissance Person.
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Frame Sensitivity and Context Flexibilty - like a kaleidoscope or a rubik’s cube, the mind can smoothly shift the same elements into multiple iterative configurations. A kind of Paradigmatic Multi-lingualism
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Ontological/Epistemological Humility - Not overly attaching to one way fo being, or one way of knowing as ‘THE RIGHT WAY’. Recognizing such ‘confidence’ as the prison it potentially is
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High Intelligence, Pattern Recognition, Pattern Improvisation -
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Synthesis and Integration Across (seemingly) Disparate Paradigms
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So-called Inductive and Deductive Reasoning Skills
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Transcendence of simplistic or conventional hierarchies of evaluation - A true genius can learn from the chants of children as easily as from the lectures of academics. The pattern is EVERYWHERE to be observed and studied.
Those are more on the levels of intellect and contextual frame
But equally compelling (and often much less recognized and discussed) are the HEART and MOTIVATION of the Renaissance Person.
- Field fluency: The ability to and enjoyment of diving into the WORLD of an individual, a group, a tradition—for its own sake. Not to “win” or to “defeat” someone, but out of skillful, deft love of the patterns themselves.
Remember the lines from Sting in Shape of My Heart:
He deals the cards as a meditation
And those he plays never suspect
He doesn’t play for the money he wins
He doesn’t play for respect
He deals the cards to find the answer
The sacred geometry of chance
The hidden law of a probable outcome
The numbers lead a dance
Those lines are describing how a Renaissance Man plays poker.
And then, there’s also a deep and abiding love and capacity of love that coexists with the obvious intellectual gifts of the Renaissance Person. Modern mythologies would have us believe that the renaissance man exists in a vacuum of self-made aloofness. Not true. Not true. There is a deep heart and capacity for connection that grounds the Renaissance Person. It may not be the conventionally narrow projection of attachment onto an Idealized Other, but it is vital, grounding, and extremely important nonetheless.
The Renaissance Person loves humanity, loves beings, and loves specific individuals. They just do so without sacrificing their ongoing engagement with exploring Reality itself. That love actually fuels and grounds their process and makes it sustainable. The love gives their genius a meaningful context within which to unfold. By love, I do not mean idealizing and depending others, or emotionally imprisoining and binding oneself or others. I mean maintaining an openhearted, openminded engagement with the reality of who and what is ‘Beyond Me’. Emotionally-integrative ego-transcendence. In short: Getting Over Oneself.
There’s much more to say here, but need to get back to the day job.