Photo credit: www.technologyreview.com
The notion of creativity is one that has captivated minds for centuries, often perceived as an ageless concept explored by philosophers and artists alike. However, as Samuel Franklin elucidates in his book, The Cult of Creativity, our understanding of the term is surprisingly recent. The first recorded use of the word creativity appeared only in 1875, marking it as a relatively new addition to our vocabulary. Prior to around 1950, Franklin notes, there was virtually no literature—be it articles, essays, or educational content—dedicated to the exploration of creativity.
This observation invites significant questions: How did the conversation around creativity evolve from non-existence to a prevalent topic? What distinguishes creativity from older terms such as ingenuity, cleverness, imagination, and artistry? Perhaps most fundamentally, how did creativity come to be viewed as not only a valuable trait but as a solution to various societal issues by a spectrum of individuals, from educators and corporate leaders to activists and artists?
In response to these inquiries, Franklin provides insightful perspectives in his book. As a historian and design researcher at Delft University of Technology in the Netherlands, he argues that the contemporary understanding of creativity took shape in the United States in the aftermath of World War II. He posits that this shift served as a cultural remedy aimed at alleviating the growing tensions stemming from conformity, bureaucracy, and the impacts of suburbanization.
“Creativity has typically been characterized as a trait or process that is loosely linked to artists and geniuses while being thought to be present in everyone and applicable across various domains,” he explains. “It offered a pathway to unleash individualism within structured environments and resurrect the spirit of the solitary innovator amidst the complexities of modern corporations.”
During the 1950s, the corporate landscape witnessed the rise of brainstorming as a technique to foster creative thought. This approach emerged as a reaction against the demands for innovation in products and marketing amidst concerns about conformity, sparking intense discussions about whether creativity should be seen as an individual pursuit or something that can be harnessed within corporate frameworks.
In an interview, I had the opportunity to discuss with Franklin our persistent fascination with creativity, the role of Silicon Valley as a supposed hub of innovation, and the potential impacts of technologies like AI on our understanding of creativity.
I’m curious about your personal relationship with creativity during your formative years. What inspired you to write about it?
“While it felt validating to align myself with this narrative as someone who considered themselves creative, I couldn’t shake the impression that the emphasis on creativity was somewhat overstated. The much-touted rise of the creative class had not necessarily led to a more inclusive or innovative societal structure. Additionally, certain values ingrained in what I refer to as the cult of creativity struck me as increasingly concerning. The notions of self-fulfillment, pursuing passion, and doing what you love, while appealing, seemed to mask deeper economic challenges faced by many.”
Source
www.technologyreview.com