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  • HMC 120: The Complex Nature of Inspiration

    3.00 Credits
    Pacifica Graduate Institute

    Creatvie people have all experienced those moments when our work seems like it's coming from somewhere wholly "Other". Characters become autonomous, surprising their writers. The hands chip away at the stone until a figure emerges. The fingers hover over the keyboard, then move seemingly with their own will. Later, we wonder to ourselves, "Who created that?" What is it that inspires, even possesses the creative artist? Do we draw from mythology and consider it the arrival of a Muse? Do we envision it as our daimon, an ancient idea revived by James Hillman? Or dare we wonder whether it's the presence of a psychological complex, which Jung called the via regia, or royal road, to the personal and collective unconscious. This course explores multiple theories of the source of inspriation. Students will read case studies of well-known creatives, their sources of inspriation and the complexes which are reflected in their work, and consider their own personal complexes and their connection to their creative life.
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  • HMC 130: Creative Influence Across the Humanities

    3.00 Credits
    Pacifica Graduate Institute

    This course explores the rich terrain of creative influence by examining several notable case studies of artists who have influenced one another, other forms of art, and history and culture at large. We define "artist" broadly as anyone working creatively in their field; in this sense, environmentalist John Muir is an artist who was influenced by poets such as William Wordsworth, John Milton, and Ralph Waldo Emerson; civil rights activist and preacher Martin Luther King, Jr. is an artist who was influenced by Mahatma Gandhi and Henry David Thoreau; psychoanalyst and dancer Marion Woodman is an artist who was influenced by Emily Dickenson, William Shakespeare, and many other poets. Students will present their own personal case studey of the artists, pieces of art, art forms, and movements which have most influenced them.
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  • HMC 140: The Expressive Power of Archetypes

    3.00 Credits
    Pacifica Graduate Institute

    Archetypes can be defined as universal patterns which reside in the collective psyche. We all know the characters when we see them: the Lover, the Innocent, the Sage, the Villian, etc. We all recognize the themes when we see them: the Fall from Innocence, the Battle Between Good and Evil, the Heor's Journey, etc. These archetypes are found in classic pieces of art as well as the artifacts of pop culture; the stronger the archetypal presence, the more powerful, evocative, and resonant the product is likely to be. This course begins with an overview of archetypal theory, and then turns toward an examination of art and cultural artifacts which express archetypal themes. Particular emphasis is placed on the archetypes of the Artists and the Creator as they are manifested in film, literature, and other mediums. Throughout the course, students will become more aware of the archetypes which manifest in their creative projects, and discuss ways to amplify their presence to make them more emotionally satisfying to the audience.
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  • HMC 150: Jung, Individuation, & the Symbolic Life

    3.00 Credits
    Pacifica Graduate Institute

    Classical Jungian concepts such as ego, Self, persona, shadow, anima/animus, collective unconscious, transcendent function, and individuation are studied in light of the creative process. Jung's own relationship with his creativity will be explored, especially his struggle between what he called Personality Number One and Personality Number Two, between the Scientist and the Artist within. This course also takes a tour through some of Jung's seminal essays in Volume 18 of the Collected Works, The Symbolic LIfe, including the title essay which states that people "are far more civilized and creative on account of the symbolic life." Jung's example and theoretical works provide a process for whereby students can utilize creativity in the individuation process, including finding their voice, following their calling, and discovering the myth they are living in order to create a more authentic life.
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  • HMC 160: The Purpose & Power of Image

    3.00 Credits
    Pacifica Graduate Institute

    Depth psychology has always maintained a close relationship with Image--the literal images which visit in our sleep, the fantasy images we flirt with while awake, the autonomous images that appear "out of nowhere," the metaphorical images we have of ourselves and others--the psyche is always creating images. In turn, those images give shape to our psyche, an idea which archetypal psychologist James Hillman explores in his work. Hillman proposes that "at the soul's core we are images," and that life can be defined as "the actualization over time" of the images in our hearts and souls. Hillman goes even further by suggesting that our unique images are the essence of our life, and "calls [us] to a destiny." Students will study the writings of James Hillman and others on the purpose and power of the Image in psychological and creative life, and meditate upon the core images meaningful to their lives work.
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  • HMC 170: Project Workshop 1: Dialogue & Design

    3.00 Credits
    Pacifica Graduate Institute

    This course takes place at the end of the first year, and asks students to work together in dyads or small groups to envision, design, and then create a shared artistic product that arises from a creative collaborative dialogue between them. For example, an animator may pair with a dancer, a chef may pair with a painter, a poet may pair with a photographer, a writer may pair with a filmaker, etc. Student share their process through online journals, and share their final outcomes during the residential session. Readings for the course focus on the collaborative process and on examples of artists who have worked togheter. Pass/No Pass.
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  • HMC 200: Active Imagination, Dreams, & Creativity

    3.00 Credits
    Pacifica Graduate Institute

    Active imagination is the name given to the technique C.G. Jung pioneered for accessing unconscious material in the psyche, often by working with an image or by dialoging with an inner figure, "The Red Book" contains 16 years of Jung's active imagination within its covers. Students will study "The Red Book" in addition to Katherine Sanford's "The Serpent and the Cross: Healing the Split through Active Imagination" which contains 62 archetypal paintings along with dreams and active imaginations representing 30 years of Sanford's personal inner journey. In addition to active imagination, the role of dreams in the creative life will be explored. Across the humanities, people have received inspiration and guidance from their dreams while asleep and their visions while awake, and from the rituals they have undertaken to explore the creative unconscious. As one of the final products in this course, students will create and share an artistic product inspired by one of their own dreams or active imaginations.
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  • HMC 210: Mythic Naratives: Sources & Inflections

    3.00 Credits
    Pacifica Graduate Institute

    In the book series "The Myths," contemporary world renowed authors re-tell ancient myths, writing them in their unique style with their own particular spin. Though a relatively new series, there is nothing new about the concept: artists across mediums have always drawn on myths for inspiration and source material. Sometimes, they recreate them using modern technology, such as the animated version of "Hercules," or the 3-D version of "Clash of the Titans." Other times, they borrow ancient mythic themes to create an entirely new story; for example, C. S. Lewis' novel "Till We Have Faces" retells the Cupid and Psyche myth; the South Africal novel "Cry the Beloved Country" by Alan Paton retells the myth of the prodigal son. In truth, the most impactful films, novels, plays, and other artistic expressions not only reflect eternal mythic narratives, but do so in a way that feels fresh and timely. Students will compare several original myths with both historical and contemporary retellings of them, and will produce their own creative retelling of a myth.
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  • HMC 220: Time & Place of Creative Expression

    3.00 Credits
    Pacifica Graduate Institute

    Artists and creators have long been influenced and inspired by place. Ansel Adams had Yosemite, Woody Allen had Manhattan, and Georgia O'Keefe had the American Southwest. The Lost Generation had Paris in the 20's, while in America at that time, what was known then as the New Ngro Movement had Harlem, bringing about the Harlem Renaissance. In fact, it is difficult to imagine what these artists or groups of artists would have been without being in that place during that time in their lives, so intricately is the sense of time and place woven into the fabric of their creative being: would anyone know that name "Julia Child" had she not found herself with time on her hands in post-war France? Could reggae have emerged anywhere else but Jamaica in the late 60's? Students will explore the importance of time and place to the creative artist, including the literal space in which one creates, and consider ways to enhance their own creative ecology.
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  • HMC 230: The Healing Power of Creativity

    3.00 Credits
    Pacifica Graduate Institute

    Sand-tray therapy, dance therapy, psychotherapy, art therapy, music therapy, and narrative therapy are recently established therapeutic modalities in psychology today. An Internet search add other therapeutic forms such as bibliotherapy, landscape therapy, film therapy, horticulture therapy, and architectural therapy, to name a few. Though these forms of therapy are relatively new to Western psychology, they have ancient roots and cross-cultural shoots. This course will study those roots and shoots, along with their contemporary manifestations. It will discuss the ethical implications of working with the creative psyches of others with the intent to heal or transform, meditating on relationship of the artist and therapist. Thoughout the course, students will reflect upon the pieces of art, artfoms, and creative practices that have been a source of personal healing and transformation.
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