Before delving into the intersection of modernisation and creativity, it
is essential to first explore the concept of creativity itself and
examine how attitudes towards it have evolved historically. Creativity,
often regarded as the ability to produce original and valuable ideas or
artifacts, has been a topic of fascination across cultures and epochs.
Historically, creativity was once perceived as a divine gift or mystical
force, something bestowed by the gods or muses in ancient
civilizations. Over time, during the Enlightenment and beyond, this
view shifted to focus on the individual as the source of creative
power, often emphasizing genius and exceptional talent. In
contemporary discourse, creativity is increasingly understood as a
skill or process that can be cultivated and harnessed by individuals
and groups.
In today’s complex, interconnected, and rapidly changing world,
creativity has assumed a central and indispensable role. It is framed
not only as a personal trait or artistic endeavor but also as a
cornerstone of innovation, effective leadership, and strategic
problem-solving. The demands of a globalized society—marked by
technological advancement, cultural diversity, and pressing
challenges—have elevated creativity as a critical competency.
Scholars and practitioners alike underscore its importance in driving
progress and addressing some of humanity’s most significant issues.
Sawyer, in Explaining Creativity, highlights the multifaceted value of
creativity, particularly in the context of economic success and global
challenges. He argues that creative thinking is instrumental in
fostering innovation, which in turn fuels economic growth. Moreover,
creativity offers transformative potential for tackling pressing issues
such as poverty, inequality, and environmental degradation. By
envisioning and implementing novel solutions, creative endeavors
can contribute to building a more equitable and sustainable future.
In ancient times, creativity was viewed as divine inspiration or a gift
from the gods, with artists and thinkers acting as vessels of divine
will. Plato (427–327 BCE) argued that the poet was possessed by
divine inspiration. Plato argued that the works of poets were entirely
the invention of the Muses, who possess the poets and inspire them
(Weiner, 2000 , p. 35).
During the Renaissance, Western conceptions of creativity began to
change more dramatically. In the late 15th century in Florence, the
idea became widespread that one could make a distinction between
divine inspiration and human making. Art was still thought of as
imitation, but as the direct imitation of divine ideas (rather than
Plato’s imitation of an imitation), and thus could surpass nature as we
observe it (Weiner, 2000 , p. 54). However, the artist was not
valorized; even Leonardo da Vinci didn’t sign his works. The
Renaissance marked a shift toward human-centred creativity,
focusing on individual genius and the capacity to "create" rather than
simply imitate.
The first use of the word “create” in English was in 1589, by
George Puttenham — in comparing poetic creation to divine creation
(Weiner, 2000, p. 55).
It was during Enlightenment humanism that the conception of
man as an intentional creator began to flourish. In 1474, the Venetian
city-state created the first regularized administrative system for
granting patents, giving sole property to the originator for ten years
(Merges, 1995 ). From the 16th through the 18th centuries, the
institutions of the art world were first established throughout
Europe: museums, a tradition of art criticism and the study of the
history of art, an art market with dealers and patrons
And finally, in the Industrial Revolution, economic changes led to the
end of the studio system. For centuries, apprentices had to learn how
to make their own paints from scratch materials, and also to make
their own paintbrushes; but after the 19th-century Industrial
Revolution, an artist could purchase paints and brushes that were
mass-produced. The modern concept of the artist — isolated,
independent, inspired — could emerge only after all of these social
and economic developments Modern views, emerging during the
Enlightenment and industrialization, associate creativity with
innovation, intellectual property, and individual contribution.
Over the centuries, conceptions of creativity have veered
between two broad ideas: rationalism and Romanticism. Rationalism
is the belief that creativity is generated by the conscious,
deliberating, intelligent, rational mind; Romanticism is the belief that
creativity bubbles up from an irrational unconscious, and that
rational deliberation interferes with the creative process.
Over 2,300 years ago, Aristotle’s view of art emphasized rationality
and deliberation and stressed the conscious work required to bring
creative inspiration to completion. Aristotle gave credit not only to
the Muses but also to human skill and inspiration (Weiner, 2000, p.
36). The rationalist conception was dominant through the European
Renaissance and Enlightenment, when reason was valued above all.
Enlightenment conceptions of creativity emphasized rationality,
proportion, and harmony. In 1650, Thomas Hobbes (1588-1679)
criticised the invocation of the Muses as a foolish custom, stating that
a wise man who can speak from Nature and meditation prefers to
speak through inspiration, like a bagpipe Good art required reason,
knowledge, training, and education. Originality originally signified
newness and honesty of observation, not a severe break with the
norm. The most original artists imitated nature (Smith, 1961).In the
18th century, genius was initially employed to define creative people
and it was associated with rational, conscious processes. Genius,
linked to scientists and artists, was attributed to creativity,
judgement, and memory. The concept of imagination originated in
England and Germany in the late 18th century during the late
Enlightenment. From 1750 onwards, imagination became a driving
force in art and intellectual life. Imagination was the mental ability
responsible for generating novelty, which later became the primary
concept of “creativity”. The theories of imagination countered the
empiricist idea that "Invention is nothing else but the habit acquired
by practices of assembling ideas or truths"
According to Engell brilliance comes from an inward impulse
that cannot be explained by sense sensations. In the late 1700s and
early 1800s, English Romantic poets believed in nonrational art
creation This idea evolved into the Romantic concept that rational
deliberation stifles creativity. Instead of relying on rational thought,
artists should follow their inner muse and create without conscious
control.
Wordsworth believed that creativity involves a short release
from the conscious ego and a spontaneous overflow of
overwhelming emotions. Shelley defined poetry as “unpremeditated
art” (Shelley, 1901, p. 381, “To a skylark,” line 5) and stated that its
strength comes from inside, like the colour of a flower that varies
with time. The Romantics emphasised the artist's imagination over
traditional techniques, making them innovative. Romanticism shaped
modern ideas of creativity, elevating poets and artists as the
embodiment of the human spirit (Engell, 1981). As Romantic ideas
expanded across Europe, artists were viewed as more than just
craftspeople. The Romantics believed creativity required a return to
feeling and instinct, a synthesis of self and reality, and freedom from
rationality and convention. Prior research has linked creativity to
altered or heightened states of consciousness for millennia. Plato
referred to creativity as enthousiasmos, or “divine madness.”
In ancient Greece, creativity was linked to demonic possession.
Demons, considered semi-deities, were given to select humans as
heavenly gifts. According to Becker (2000-2001), Socrates assigned
most of his knowledge to his demon. Aristotle believed creative folks
were melancholy, but not depressed, as the term had a different
meaning back then. From ancient Greece to the Middle Ages,
Hippocratian humoral theory identified melancholy as one of four
personality types, not linked to mental illness. Some traits related
with melancholy include eccentricity, sensitivity, moodiness, and
introversion. Imitating melancholy was a trend among young men in
16th-century Europe. Plato and Aristotle linked creativity to higher
consciousness, but neither believed mental illness influenced
creativity. The link between mental illness and creativity emerged
during the Romantic era, with the association beginning in the 1830s
(Becker, 2000–2001). The Romantics felt that great creativity may
lead to clinical madness. In the 19th century, Romantic poets
embraced mental illness, similar to how melancholia became
fashionable in 16th-century Europe. Some claimed to undergo
mental anguish and madness for expected reasons. The Western
cultural model links creativity and madness, leading writers and
artists to exhibit eccentric behaviour and exaggerate these traits in
psychological tests (Becker, 2000-2001). Individuals that are creative
may view being normal as being ordinary and seek to stand out from
the crowd.
While Romanticism ruled the 19th century, “anti-Romanticism”
emerged at the end of the century. Modernism revived rationalism in
the 20th century. Modernism is characterised by coolness, solitude,
and detachment. According to Abrams (1984), French modernist
poets Baudelaire and Mallarmé stressed the significance of clear
thought and workmanship. Early 20th-century poets, such as Ezra
Pound, developed a modernist aestheticthat rejected the “mushy
emotivism” of romantic subjectivism. Russian futurists and Czech
formalists in the 1920s emphasised a detached, analytic perspective,
removing emotional and cultural connotations from things to focus
on pure form. Abstract Expressionism in the 1950s gave Romanticism
a final flourish in the rationalist 20th century. Abstract Expressionists
were known for creating spontaneously from pure passion and
inspiration, without design, rational thought, or deliberate filtering.
Even in the 1950s, art professionals recognised this popular fiction.
Jackson Pollock's works, sometimes viewed as random paint
application, were actually well-planned and arranged. Pollack honed
his dripping paint processes, experimented with results, and pre-
composed his works for maximum spontaneity.
After a few years, the avant-garde of art progressed beyond
neo-Romantic ideas. The “postmodern” contemporary arts of the
1960s and later reflected a return to rationalism. Postmodern art
challenges cultural concepts of creativity, including spontaneity,
originality, and individual brilliance. Minimalism and pop art
disregarded Romantic-era art principles, were well-planned and
produced, and appreciated their own artifice, referencing advertising,
product design, and comic strips. Andy Warhol once stated, "I want
to be a machine". Postmodern art and theory often embrace anti-
Romanticism, which challenges sincerity, spontaneity, and personal
engagement. The general population may dislike modern art due of
their adherence to Romanticist ideas of creativity.
Importance of intersectional studies:
Modern critical discursive spaces have increasingly embraced
intersectional studies for their robust theorizing potential, their
ability to employ dialectic interplay between disparate ideas, and
their capacity to inform and enact political interventions.
Intersectionality provides a framework to analyze how overlapping
social categories—such as race, gender, class, sexuality, and ability—
interact to shape experiences of privilege and oppression. For
instance, Kimberlé Crenshaw’s concept of intersectionality highlights
how Black women face unique forms of discrimination that cannot be
understood solely through the lens of racism or sexism but as an
intersection of both. Similarly, Indigenous ecotheology draws on
intersectional insights to critique colonial, environmental, and
spiritual injustices, illustrating how environmental degradation
disproportionately affects Indigenous communities while erasing
their sacred relationships with the land.
The interdisciplinary nature of intersectional studies fosters the
creation of new ecologies of becoming and belonging, particularly by
challenging rigid disciplinary silos. In areas such as environmental
justice, this approach has led to collaborations between sociology,
anthropology, and ecological science to address how environmental
harms are disproportionately borne by marginalized communities.
For example, the concept of “climate justice” intersects
environmental science with social justice, emphasizing equitable
responses to climate change that prioritize the needs of vulnerable
populations. Such interdisciplinary engagements promote equal
access to resources, representation, and decision-making, ultimately
reshaping societal narratives and practices.
Modernization and creativity are two fundamental forces driving
human progress and cultural evolution. Modernization encompasses
technological advancements, societal transformations, and economic
development, as seen in the rapid digitization of industries, the rise
of smart cities, and globalized economies. For example, the
widespread adoption of renewable energy technologies such as solar
and wind power is a marker of modernization that addresses global
energy demands while mitigating environmental harm. On the other
hand, creativity is the wellspring of novel ideas, artistic expression,
and innovative solutions that fuel progress. Creative breakthroughs,
such as the development of artificial intelligence and the proliferation
of digital art forms like NFTs, highlight how imagination and
innovation can redefine industries and cultural practices.
The interplay between modernization and creativity is complex,
presenting both opportunities and challenges. While modernization
often emphasizes efficiency, scalability, and economic growth,
creativity fosters critical questioning, adaptability, and cultural
resonance. For instance, the tension between rapid urbanization and
the preservation of cultural heritage requires creative approaches
that integrate modern infrastructure with respect for historical and
cultural identities. Architectures like the Louvre Abu Dhabi exemplify
this balance by blending contemporary design with cultural
storytelling.
However, this interplay also presents challenges. The pressures of
modernization, such as the relentless pursuit of growth and
consumption, can stifle creativity, commodify culture, or exacerbate
inequalities. Conversely, unchecked creativity without ethical
considerations can lead to unintended consequences, such as the
environmental impact of digital innovations or the potential biases
embedded in AI systems. Therefore, navigating this dynamic
demands a mindful and inclusive approach that harnesses the
strengths of both forces while addressing their limitations. Through
collaboration and critical engagement, modernization and creativity
can converge to foster sustainable, equitable, and culturally enriched
futures.
The Intertwinement of Modernization and Creativity
Modernization often acts as a catalyst for creativity by providing new
tools, platforms, and environments for innovation. Technological
advancements, such as artificial intelligence, digital media, and the
internet, have democratized access to creative tools. For instance,
platforms like YouTube and Instagram empower individuals to
express their creativity globally, reshaping industries like
entertainment, education, and marketing. Similarly, advancements in
AI have enabled artists and designers to explore generative art,
producing works that transcend human limitations.
Modernization has been a catalyst for multiculturalism by
breaking down physical, social, and cultural barriers, fostering global
connectivity, and promoting mutual understanding. However, its
success depends on ensuring inclusivity and preserving cultural
diversity amidst modernization's rapid pace. Multicultural
experiences provide access to new ideas, cognitive scripts, and
perspectives, enabling individuals to think beyond conventional
boundaries. The juxtaposition of contrasting cultural elements fosters
"conceptual expansion," a core component of creativity. Empirical
evidence shows that individuals with significant multicultural
exposure demonstrate higher creativity in tasks like storytelling,
analogies, and problem-solving. ("Multicultural Experience Enhances
Creativity: The When and How" by Angela Ka-yee Leung,)
Additionally, modernization fosters creativity by addressing
barriers to collaboration. Tools like virtual reality (VR) and
collaborative software enable teams across the globe to work on
shared projects. This interconnectedness enhances the exchange of
ideas, leading to groundbreaking innovations in science, technology,
and the arts.
Creativity as a Response to Modernization
Creativity does not only thrive on modernization but also critiques
and responds to its consequences. As modernization transforms
societies, it introduces challenges such as environmental
degradation, cultural homogenization, and social inequalities.
Creative endeavours, from literature to architecture, often highlight
these issues, offering alternative perspectives and solutions. For
instance, the eco-friendly design movement in architecture emerged
as a creative response to the environmental costs of modern
industrial practices.
Moreover, the rapid pace of modernization often disrupts
traditional practices, leading to a revival of creativity rooted in
heritage. Many artists and innovators blend traditional techniques
with modern technologies, creating hybrid forms that honor the past
while embracing the future.
Challenges in the Relationship
Despite its benefits, modernization can sometimes stifle creativity.
The standardization and efficiency-driven nature of modern systems
may discourage experimentation and risk-taking.
For example, the corporate emphasis on metrics and profitability can
overshadow the intrinsic value of creative exploration. Similarly, the
dominance of algorithms in digital platforms often promotes trends
over originality, marginalizing unconventional creative expressions.
Furthermore, the commercialization of creative industries under
modernization risks reducing creativity to a commodity. This trend
often prioritizes marketable outputs over meaningful or boundary-
pushing ideas, potentially narrowing the scope of innovation.
Education’s Role in Fostering Creativity and Innovation
Education fosters creativity by integrating arts into STEM disciplines,
forming STEAM (Science, Technology, Engineering, Arts, and
Mathematics). This interdisciplinary approach combines technical
and artistic skills, encouraging innovative problem-solving and holistic
thinking. For instance, STEAM initiatives often involve projects like
designing sustainable buildings that merge engineering principles
with artistic aesthetics, showcasing how creativity enhances practical
solutions.
Collaboration is equally vital in driving innovation, with virtual tools
like virtual reality and collaborative software enabling global
teamwork. These technologies connect diverse teams, facilitating
cross-border idea exchange and co-creation. Virtual reality allows
users to simulate real-world scenarios, such as urban planning in
virtual city models, while platforms like Google Workspace support
real-time collaboration for brainstorming and project execution. By
combining interdisciplinary education with advanced digital tools,
learners are better equipped to address complex global challenges
through innovative and collective approaches.
Striking a Balance
To maximize the positive interplay between modernization and
creativity, societies must prioritize policies and practices that nurture
creative potential. Investing in arts education, fostering
interdisciplinary collaboration, and ensuring equitable access to
creative tools are essential. Additionally, maintaining a critical
perspective on the effects of modernization can inspire creativity that
challenges and enriches the modern landscape.
Conclusion
The relationship between modernization and creativity is dynamic,
characterized by mutual influence and tension. While modernization
fuels creative possibilities, creativity ensures that modernization
remains human-centred and reflective. By understanding and
balancing this interplay, societies can navigate the complexities of
progress while preserving the transformative power of human
imagination.
