We met Ytje at the Illustration Biennale to discuss her artistic philosophy, her approach to the creative process, and how she integrates new technologies into her art practice, continually pushing the boundaries of traditional and digital media.&nbsp;Q: How do you personally define creativity?Ytje Veenstra (YV): “Creativity is essentially about problem-solving. I firmly believe that if you want to be creative, you must keep an open mind: be open to new ideas and listen to others.”&nbsp;<blockquote><h1>“Creativity isn't about waiting; it's about engaging actively with your medium. It's about showing up and dealing with whatever the day brings—good or bad.”</h1></blockquote>&nbsp;Q: Many believe creativity is an innate gift. What’s your stance? Can it be taught or enhanced?YV: “I think that creativity can be taught and nurtured. The myth of the solitary artist waiting for the Muse to strike is both outdated and damaging. Creativity isn't about waiting; it's about engaging actively with your medium. It's about showing up and dealing with whatever the day brings—good or bad. The more you engage in the process, the more you can enhance your creative abilities. This persistence, the continual effort, is what fosters creativity, not some fleeting moment of inspiration.”&nbsp;Q: Sounds a little bit like that other myth: that one has to suffer for one’s art.YV: “I’m intrigued by the raw struggle that comes with creativity and the making of art. And it can be a struggle. For me, the process is where the magic happens, so I wouldn’t call it suffering for my art. It’s just that I value the act of creation, often more than the finished piece.”

Q: Can you expand your emphasis on the creative process over the outcome?YV: “It’s a philosophy that helps me stay focused and less fearful of making mistakes. Mistakes and happy accidents are inevitable, and instead of errors, I view them as invaluable learning opportunities. Each project teaches me something new about myself and my craft, regardless of how it ends.”&nbsp;Q: But as an artist, you don’t sell your process; you sell an end product. There’s some tension there, or not?YV: “For me, it’s all related to striving for uniqueness. Authenticity is paramount in my creations. I believe true art should stir strong emotions and provoke thought, not just please aesthetically. It should challenge viewers, pull back curtains to reveal hidden layers, and invite diverse interpretations. I aim for my work to be a dialogue, not a monologue.”&nbsp;<blockquote><h1>“Every tool or platform I use must serve the story I’m telling. The message should drive the medium choice, not vice versa.”</h1></blockquote>

Q: Let’s shift gears: you transitioned from illustration to VR at one point, which must have been a significant shift. How did you first get involved with virtual reality?YV: “My journey into VR started when Tamara Shogaolu contacted me from Ado Ato Pictures. She introduced me to a project that involved telling poignant, real-life stories through a new medium. This shift wasn't just about adopting a new technology and a new way of telling stories. VR allows for a more immersive experience, pulling the audience directly into the narrative world in a way traditional media can't.”&nbsp;<div class="raw-html-embed"><iframe width="800" height="315" src="https://www.youtube.com/embed/5p1vy7vQNwU?si=6X8JGfHALUy_fYy3" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen=""></iframe></div>&nbsp;Q: With new technologies constantly emerging, how do digital platforms influence creativity?YV: “Digital platforms are reshaping how we create and consume art. They break down geographical and economic barriers, allowing artists to reach global audiences and find previously inaccessible niches. However, every tool or platform I use must serve the story I’m telling. The message should drive the medium choice, not vice versa.”

Q: The blend of art and technology can be complex. How do you navigate these waters?YV: “The key is to stay informed and adaptable. I experiment with new tools to understand their potential and limitations. It's crucial to remain a student of art and technology, continually learning and evolving. By doing so, I ensure that my use of technology enhances my artistic expression rather than overshadowing it.”&nbsp;<blockquote><h1>"Technology is just one part of the equation—your unique voice and vision make your work resonate.”</h1></blockquote>&nbsp;Q: Finally, what advice would you give to artists navigating the complexities of modern technologies and creative expression?YV: “Stay curious and open-minded. Embrace new technologies but remain critical and discerning. Understand what each tool can offer your practice, and think critically about how it enhances or detracts from your artistic message. And remember, technology is just one part of the equation—your unique voice and vision make your work resonate.”

&nbsp;This interview was conducted at the Illustratie Biënnale Haarlem, the illustration and graphic art festival. We’re proud to call the Biennale one of our partners. For more articles and design challenges check back soon.&nbsp;<a href="www.illustratiebiennale.nl">www.illustratiebiennale.nl</a>&nbsp;<img class="image_resized" style="width:50%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/biennaleposter_3532e453e6.jpeg" alt="biennaleposter" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_biennaleposter_3532e453e6.jpeg 156w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_biennaleposter_3532e453e6.jpeg 500w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_biennaleposter_3532e453e6.jpeg 750w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_biennaleposter_3532e453e6.jpeg 1000w," sizes="100vw">

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Ytje Veenstra is an internationally renowned VR artist, animator, and illustrator with a career that spans a diverse array of mediums and styles. Educated in illustration, Veenstra's work is deeply research-based, drawing on a rich tapestry of pop culture references and a keen observance of everyday life.&nbsp;From her early days sketching with pencil through her explorations in papercuts and pigment-based markers, she has continually evolved. Now, she focuses on creating digital art and immersive environments in Virtual Reality. But Ytje's signature style shines consistently, no matter the medium.

BEYOND THE CANVAS: YTJE VEENSTRA ON THE FUSION OF ART, TECHNOLOGY, AND CREATIVITY

KEEPING IT REAL&nbsp;First up: Harshdeep Arora aka prspctivs, an architect from India, who has worked in Delhi, Shanghai and Beijing for renowned firms like UNStudio, Buro Ole Scheeren, Plasma Studio, DADA Partners and AECOM.&nbsp; He’s currently working as a part-time senior architect consultant at CHAP (Cook Haffner Architecture Platform), while successfully pursuing freelance projects as an AI Artist/Architect. He’s making quite some waves with his awe-inspiring designs.&nbsp;It all started back in 2021-2022: the launch of the initial models DALL-E and Stable Diffusion sparked Arora’s curiosity in AI. The introduction of Midjourney, and the “wave of surreal images” that followed, sealed the deal. “It was at this point that I felt a strong desire to explore these processes myself, especially because I had witnessed countless hours wasted on the manual process of 3D drafting and photorealistic rendering over the years.” The learning curve has been steep at times, mainly due to the lack of professional tutorials. Arora: “To overcome this challenge, I delved into reading numerous notes, referring to YouTube discussions by fellow AI enthusiasts, and, most importantly, engaging in hands-on practice to devise my own processes for learning and improvement.”&nbsp;<blockquote><h1>“Embracing AI in the creative process opens up new possibilities and allows designers to push boundaries and realize their visions in ways that were previously unimaginable.”</h1><h1>&nbsp;</h1><h1>Harshdeep Arora</h1></blockquote>

PAYING IT FORWARD&nbsp;In the meantime, Arora has made it his mission to inform others about the possibilities and limitations of AI-based tools. “I aspire to motivate people to embrace this revolution and adapt themselves to create more than what they were previously capable of or trained for. Embracing AI in the creative process opens up new possibilities and allows designers to push boundaries and realize their visions in ways that were previously unimaginable.” Although that doesn’t mean computers are ‘taking over’: “AI has made great strides, but precise model generation using AI is still in its nascent stage. As a result, architects continue to rely on traditional 3D modeling and rendering for final designs that will be physically implemented on site.”&nbsp;Speaking of physicality. Many of the designs Arora creates will most likely never materialize and he’s okay with that. It comes with the job: “Over the years, working on concepts and designs of various scales, I've noticed that a significant percentage of large-scale projects never materialize. Many architects find themselves involved in design competitions or commissioned projects that may get stalled midway due to various reasons, such as client budget issues or government interventions. While this might seem like a waste of effort, this process is essential in creating the exceptional 10% of high-quality buildings that do get realized. It's through this iterative and exploratory approach that architects push the boundaries of design and create remarkable structures.”

OPEN SKETCHING &amp; CHEAP IMAGES&nbsp;Andrew Kudless, trained architect, professor of architecture and head of Matsys design studio, is one of those pushing the proverbial envelope. “I sketch with AI in a similar way that artists and architects have used hand sketches to dream possible futures. Sometimes I have a specific goal but more often, it is a form of exploration to help me expand my imagination,” Kudless explains. “I often describe the feeling of using generative AI tools as a form of open sketching. Although I’m not using a pen or pencil to imagine the work, it has the same give-and-take that sketching has.”&nbsp;<blockquote><h1>“These images range from the photorealistic to the painterly to the surreal. However, all of the images exhibit impossible elements, and this is what draws me to them."</h1><h1>&nbsp;</h1><h1>Mark Kudless</h1></blockquote>

<blockquote><h1>"The AI model does not understand the rules of light, geometry, or structure, but it does a reasonably good job of simulating them. And in this simulation, there are glitches that help me think about my work in new ways.”</h1><h1>&nbsp;</h1><h1>Mark Kudless</h1></blockquote>&nbsp;Kudless also points out that despite looking almost identical, generative AI images are in some ways the exact opposite of traditional digital renderings: “Renderings are expensive in that they require immense time, labor, and skill. They provide the designer with highly accurate simulations from multiple views. AI images are cheap in that they take nearly no time or skill and will never provide a completely coherent simulation of reality, especially from multiple views. However, there is great value in this cheapness. I can create thousands of variations on a theme in the same time it would take me to create one finished digital rendering of one of my designs. Used correctly and in partnership with traditional design modeling and rendering workflows, AI images can support a designer’s early explorations.”

Veils play a prominent role in the work of Kudless. And when looking at the AI generated works he has put out, it’s tempting to think that the veils are one way of showing what rendering programs can do with transparency and layers. But that is not the case. “I have been fascinated&nbsp;with using fabric in architecture for most of my career. It started in 1998 when I was living in Japan. You can see one of my first projects in 1998 documenting the hundreds of fabric-covered construction scaffolding in the Kansai region,” Kudless explains.&nbsp;<blockquote><h1>"I think it is important to test and use a variety of models as they have been trained with different datasets and provide different approaches and functionality. The AI space is evolving so quickly that you need to be open and curious.”</h1><h1>&nbsp;</h1><h1>Andrew Kudless</h1></blockquote>&nbsp;When asked if he has ever had any concerns about living up to the picture-perfect renders he presents to clients, Kudless replies: “As a designer, I always try to make sure the built reality offers something more than could ever be captured in an image. The image is an invitation to a much deeper experience. I used to say that I always wanted to make things that were more wonderful in reality than they were in renderings. And despite the advances in AI images and rendering technologies, I still think this is true as an image will never be able to capture the full spectrum of visual as well as non-visual sensory stimulations we experience in reality.” At the same time, Kudless still thinks it’s important to create beautiful images for they are symbols of the aspirations for a project: “For the designer, they can serve as a guidepost to keep us on track as there are always so many issues in the design process that can lead us astray. And for the client and community, they can rally support in ways that a plan drawing cannot.”

<img class="image_resized" style="width:50%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/image002_1_scaled_f05334289f.jpg" alt="image002-1-scaled.jpg" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_image002_1_scaled_f05334289f.jpg 120w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_image002_1_scaled_f05334289f.jpg 387w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_image002_1_scaled_f05334289f.jpg 581w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_image002_1_scaled_f05334289f.jpg 774w," sizes="100vw">We're very proud to call NOOK one of our partners.&nbsp;NOOK is the official magazine of the Dutch and Belgian professional associations for interior architecture, BNI and AINB. The magazine offers in-depth content, inspiration, and opinions. NOOK is published quarterly in English.&nbsp;The above article was first published in NOOK, the Drawing issue (2023 / #3).&nbsp;

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The rise of electronic tools and AI in creating photorealistic architectural renders has prompted a question: Is there a place for traditional hand-drawn sketches, or do these high-tech renders risk creating unrealistic client expectations? We delved into this issue by speaking to two innovative architects, Andrew Kudless of Matsys and&nbsp;Harshdeep Arora (prspctivs),&nbsp;who employ state-of-the-art software programs to navigate this new frontier of AI.

ARCHITECTURAL RENDERS IN THE AGE OF AI

It's the number one question we ask all our interviewees, and it's an important one: What is creativity?&nbsp;SS: "That's a question I explore at the outset of my book. Creativity is a multifaceted and ever-evolving concept shaped by cultural, emotional, and intellectual elements. It's a snapshot of our capacity to reimagine the world around us, demonstrating that creativity is not the domain of any individual but a universal trait we all share. In my view, creativity involves finding unexpected connections between previously unlinked concepts, leading to new meanings and experiences. This dynamism fuels innovation across music, art, design, and writing, challenging our assumptions and the context in which we view creativity.&nbsp;&nbsp;<blockquote><h1>“Take people like Einstein, Elon Musk, and even Kim Kardashian— &nbsp;three people who are very different from one another, and their creativity demonstrates the diverse nature of creative expression.”&nbsp;</h1></blockquote>&nbsp;Take people like Einstein, Elon Musk, and even Kim Kardashian—each creative in a distinct area. Einstein revolutionized our understanding of physics. Musk is the kind of nutty professor who redefined automotive and space exploration, and Kardashian has mastered the art of personal branding and business. Sure, she smartly uses her looks to run her business, but she is an entrepreneur who has successfully launched several companies and is constantly coming up with ideas. Whether it's in the metaverse or a skin product, she keeps reinventing herself and the market; creativity is an essential part of that. So here we have three people who are very different from one another, and their creativity demonstrates the diverse nature of creative expression.&nbsp;As I went into dialogue with AI, it reminded me that creativity is the ability to embrace mistakes and see them as opportunities for lateral thinking and innovation. This perspective is crucial, especially in a world increasingly influenced by AI, where the 'human aspect' of creativity becomes more challenging to define."

<blockquote><h1>"AI is not just another tool; it's a revolutionary way to augment our creative abilities, offering new methods to refine our ideas and bring them to life in ways we've yet to explore fully."</h1></blockquote>

How do you view the rise of AI and its potential for or threat to creatives?&nbsp;SS: "As creatives, how we view AI—whether as a potential threat or partner for innovation—largely depends on our familiarity and comfort with it. History shows us that every technological advance, from the radio to Google, initially sparked fear because it was unknown and represented change. Yet, these innovations eventually became part of our daily lives, enhancing our ability to communicate and create.&nbsp;I firmly believe that approaching AI with optimism rather than fear opens up possibilities. AI is not just another tool; it's a revolutionary way to augment our creative abilities, offering new methods to refine our ideas and bring them to life in ways we've yet to explore fully. For those of us in creative professions, staying curious and open-minded about AI allows us to push the boundaries of what's possible in art, design, storytelling, and beyond.&nbsp;One fascinating aspect of integrating AI into our creative processes is the potential enhancement of our emotional intelligence. By leveraging AI, we might gain deeper insights into human emotions, enabling us to craft content that resonates more personally. Imagine movies that feel tailor-made for each viewer, not just through a scene or dialogue but in their entirety. This level of personalization in storytelling could redefine our connection with the media.&nbsp;In essence, we stand at the dawn of a new era in creativity, one where AI can help us better understand our audiences, create more impactful content, and explore new dimensions of emotional engagement. This journey is about discovery, and it's a fascinating time to be a creative professional."

<blockquote><h1>“The rapid advancement of technology, particularly in design, has fundamentally shaken the foundations of traditional creative work.”</h1></blockquote>&nbsp;Why write this book?&nbsp;SS: "This is my third book. My first, 'Read Nothing in Here,' was a playful yet profound look at understanding creativity by tackling 21 misconceptions designed to make creativity less intimidating. My second book was a sort of workbook, providing practical exercises to nurture creative skills.&nbsp;With this latest project, my third book, I delve into the complexities of creativity in the modern world. It's born from a growing curiosity about how creativity intersects with societal issues like bias and the evolving business models in the creative industry. The rapid advancement of technology, particularly in design, has fundamentally shaken the foundations of traditional creative work. My book aims to spark a critical conversation about these shifts, questioning how we define authorship, value creativity, and adapt our business practices in response to these changes.&nbsp;Writing this book was an opportunity to address the pressing questions that have intrigued me throughout my career. It's a culmination of my experiences and reflections intended to engage and challenge the creative community and beyond."

As AI rises, many worry about the future of creative professions like copywriting. What's your take?&nbsp;SS: "There's definitely a future. I see copywriters, for instance, turning into emotional intelligence writers. And designers into emotional design specialists. The titles don't matter, but the shifts in focus really do.The thing is, AI can automate basic writing tasks, but it lacks our depth in understanding and conveying human emotions. Our ability to distinguish and appreciate genuine human creativity will only grow, making our role irreplaceable."&nbsp;&nbsp;<blockquote><h1>“It's funny that AI reminded me that the beauty of human creativity is the ability to make and embrace mistakes.”</h1></blockquote>&nbsp;That's an interesting perspective. How do you see us staying relevant in this AI-influenced landscape?&nbsp;SS: "The key lies in partnering with AI, rather than seeing it as a replacement. AI can handle predictable tasks, freeing us to focus on creativity and emotional depth—areas where AI falls short. It's about using these technologies to push our creative boundaries and stay unpredictable. By challenging ourselves and staying curious, we can ensure our place in the industry. It's about adapting to AI and evolving with it to enhance our work.&nbsp;We also have to redefine what we're good at. It's funny that AI reminded me that the beauty of human creativity is the ability to make and embrace mistakes. AI is essentially built to be right; this is where we can thrive with our ideas.It's crucial for creatives to actively engage with their craft beyond professional briefings. Experimentation, personal projects, and constant learning are essential. As AI becomes more integrated into our tools, distinguishing our human creativity becomes even more vital. We must embrace AI as a partner without letting it dictate our creative expression."&nbsp;<blockquote><h1>“The key lies in partnering with AI, rather than seeing it as a replacement. AI can handle predictable tasks, freeing us to focus on creativity and emotional depth—areas where AI falls short.”</h1></blockquote>

There's a noticeable trend towards authenticity over algorithmically driven content. Companies choose to express their unique voice rather than optimize for social media. How sustainable is this approach?&nbsp;SS: "Choosing authenticity is not just ethically sound; it's a long-term strategy for differentiation and connection with audiences. While not every company can afford to ignore algorithmic trends, those that do often find a more engaged and loyal audience. The challenge is balancing business objectives with creative integrity.Imagine that in a year, more than half of all media is made by or with the help of AI: what's going to stand out? Perhaps these human errors (happy little accidents). It's a weird idea, but there's a truth in there."&nbsp;&nbsp;And what about the ethical aspects? As AI creates, where does that leave the originality and ownership of ideas?SS: "Ethics in the age of AI is a complex issue. While AI can replicate styles and ideas, it lacks human creatives' nuanced understanding and originality. The environmental impact of digital creations also raises concerns. We must work towards sustainable practices, respecting intellectual and environmental resources.But we also need to look closer at our own perspective. I, for example, never really considered AI as an author. In one of these chats, it said: ‘You didn’t make this alone; AI made it with you; who is the real author here?' I thought that was mind-boggling. AI then added: ‘ Authorship isn’t less valued, it's going to be more distributed.' I thought it was an interesting notion to consider when we discuss these topics from a human point of view."

<a href="https://www.bispublishers.com/the-new-creatives.html"><img class="image_resized" style="width:25%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/the_new_creatives_8baf03fd66.webp" alt="the-new-creatives.webp" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_the_new_creatives_8baf03fd66.webp 135w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_the_new_creatives_8baf03fd66.webp 433w," sizes="100vw"></a>Enjoyed this interview and interested in reading more about AI and creativity?&nbsp;Click on the link below to buy Seema's book from our partner BIS Publishers.TIOC members can buy the book with a 30% discount using the code tioc30<a href="https://www.bispublishers.com/the-new-creatives.html">‘The New Creatives: How AI Changes the Face of the Creative Industry’ by Seema Sharma</a>&nbsp;

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The creative industry is buzzing with talk of AI: will it edge out human creativity, or can we work alongside it? Leading creative director Seema Sharma says it's all about teaming up with tech. In ‘The New Creatives,’ a book Sharma co-wrote with AI, she dives into how AI is shaking up creative work, from the skills we need to have, to how we think about our value. Join us as we chat with Seema about the future of creativity, where humans and machines might make the perfect duo.

SEEMA SHARMA: AI & THE CREATIVE INDUSTRY

Let's dive right in: do you think creativity is fixed and innate, or is it something that can be trained and explored?&nbsp;KW: "There are different theories that you could apply to this. There's one theory that is related to this idea of systems. Humans are a kind of system, and all of us are composed of all these other systems like the brain and the digestive system. But, at the same time, we're also part of more extensive systems, like societal and economic systems. Gordon Pask coined the conversation theory. The idea is that it takes two people, two actors, to interact with language and actions. But the key to that system is feedback. And so, the theory is that creativity always relies on some feedback mechanism, which could consist of thoughts we form in our head or feedback between two different entities.&nbsp;There's another theory by philosopher Daniel Dennett, who said that it’s not just people who create things, nature does as well. He looks at this in terms of design, so humans are intelligent designers, but according to Dennett, nature also undertakes this creative process through evolution. And that kind of creativity equals competence without comprehension.&nbsp;So where we, as humans, might be able to reflect on and comprehend the things we make, nature is doing the same thing through trial and error. Without, as far as we know, any intelligence or comprehension. In that definition, nature is also creative, and some people believe that all our creativity is just mimicking what happens in nature."

Does that mean that animals are also creative?&nbsp;KW: "In that definition, yes, because they're adapting to their surroundings and to things that happen to them, either during the lifetime of one animal or over a more extended evolutionary period. Another philosopher, Emanuele Coccia, thinks of this in terms of plants. Each plant is not only adapted to its specific environment but can also change that environment in some ways by creating flowers, releasing pollen into the air, etcetera. And the same applies to humans. We're not just part of our environment; we can also change this environment. We can't, however, be separated from this environment. Think of fish. You can't take fish out of the water; it's their environment. The same goes for humans and our need for air. When we breathe in, we're taking in some part of our environment, of the world around us. When we breathe out, we give back some part of ourselves to the world. So in that sense, we're inseparable from this world.&nbsp;Coccia argues that taken from his perspective, a fish is not so different from the environment it lives in. A fish is merely a different version of the water, a more solid version. It becomes interesting when you think about humans and creativity and this idea that intelligence is not just something inside our heads but distributed in our environment. For example, when I have to remember to take out the trash, I place the trash by the door. That way, I don't have to think about it anymore. The information is now in the environment. It's not in my head anymore. So that raises the question: how can we be creative by responding to and changing our environment?&nbsp;And to return to this idea of systems: look at a company like Google. When companies like that grow to a specific size, they cannot be so creative anymore. And so when they need new ideas, they have to hire people with ideas or buy smaller companies doing interesting creative things. They're bringing in creativity from the outside and introducing it into their own system."

You're a creative person using different means of expression, from theoretical writing to poetry. How does that work?&nbsp;KW: "I don't always intend to write poetry. Sometimes it just comes naturally. The same happens with ideas for an article. The best time for me to write is in the morning when I'm fresh. A Ph.D. student of mine said the best time for him is in the evening: after a couple of glasses of wine, he can be more creative. We're taught to work according to the clock, and in reality, we all have different stages of the day when we're more productive or creative. And those stages can differ per person.”&nbsp;

Left: Leonid Pasternak, The Passion of Creation. Right: Modern version of Pasternak's work made with AI.The technological world of AI and the world of poetry seem so far removed, but in your work, they aren't, are they?&nbsp;KW: "So I'm working on this current project where we use AI to help us structure a narrative. And we tried to train the AI system using poetry. So I copied and pasted these poems into a text file. A lot of poems. And I did this for a whole day, not even reading the poems. And I was looking at these poems all day, and by the end of that day, I felt like I was seeing the world as a kind of poem. Everything I saw, every object and every action: somehow, it came to me as a kind of poem, which was interesting. As if I became programmed by poetry. It’s not unlike what writers say: if you want to be a writer, you have to read a lot.”

It’s about input then. Which, brings us to AI. How do you think AI will effect creativity?&nbsp;KW: "I currently only use it to generate some unexpected connections, some randomness or some noise. Let’s go back to Alan Turing's original paper on Computing Machinery and Intelligence. In it, he talks about a classroom. Students can learn what a teacher wants them to, but true intelligence, and maybe we can say the same for creativity, is when we introduce something new, something different, something random. He says that for a machine to create something new, you must introduce some randomness or noise into the system.&nbsp;Some say that AI can never create anything new because it only knows what has been put into its system. But potentially we could train AI systems, which is what I’m currently looking into. Can it create something new and interesting that we wouldn't come up with ourselves? I urge my students not to just put in a prompt and then use the images generated, but instead use those images as a starting point. ChatGPT, for instance, is not very good at writing, so you can use it, but only as a first draft. You will need to do something else and use your knowledge and intuition to shape that text into something else. So I think it should be a collaboration."

Is human creativity still relevant in the future?&nbsp;KW: “If you define creativity or intelligence in a very narrow way, it's just a mental process that we can model somehow using an AI system. But to me, creativity is not just inside the head. It's not only a mental thing, it's also embodied. And that's where the difference is. So AI is good at doing digital things, things that exist on the computer and the Internet. But we live outside of the digital world as well.&nbsp;When I'm drawing something happens to me that's not just mental. It's the actions that I'm undertaking with my body. So we will always have this difference from machines in that sense. Now if machines were able to execute code and have a kind of memory, then it can start to have some actions in the world. And if it can execute code, if it can iterate and improve on its code, if it can start to be autonomous somehow, it can begin to impact things happening in the world.”&nbsp;<blockquote><h1>“To me, creativity is not just inside the head. It's not only a mental thing, it's also embodied.”&nbsp;</h1></blockquote>

Some people say the main difference between AI and humans is that humans have the urge to create an AI. But now you’re telling us that AI could have some autonomy.&nbsp;KW: "Yeah, well, the question is: can it have its urges? Can it have desires? I don’t see that happening. Then again, I spoke to a robotics engineer some years ago who created this super simple and tiny insect robot. It only has like two or three components. It has a light detector like a photocell and a capacitor. To store up the charge that it collects from the light. And that's it. And then the little motor moves it, so all it does is where it detects more light, it moves towards the light. So so this. Super simple system. It already has some autonomy because it's seeking out the energy, the morning, so it can perpetuate itself to survive. So maybe there's something there?&nbsp;There's one theory of creativity by this guy named Graham Wallas from the 1930s. And he said that you must first collect all of this stuff. All these visual references and things. But then. What you do is go to sleep. And you know if you're working on a problem late at night or something you need to sleep on it. I do this with programming. I'll be trying to figure out what the hell is wrong with my program. And then I wake up in the morning and realize I was missing a semicolon somewhere.&nbsp;Now I asked ChatGPT about this. I said sleep is essential for creativity, ChatGPT agreed. I asked for some research to support this claim. ChatGPT said there was a 2013 paper about this and another paper, but it didn't give the exact references. Then I asked if it could become more creative. Could you sleep? Do you sleep? And it said, of course: ‘I don't sleep. I'm an AI system. I'm just running all the time.’ And I said, well if you could sleep, you could be more creative. But I don’t think he got it, haha."

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With AI being a hot topic, we turned to Kevin Walker to discuss AI and its implications for creatives. Walker, an Associate Professor of Immersive Media at Coventry University, leads a research theme, focused on AI and Algorithmic Cultures at the Centre for Postdigital Cultures. His research encompasses the intersection of natural and computational systems (more about that later). And with a background in anthropology, art, and technology, he explores his findings in theory and practice through software programming, exhibitions, events, and performances, as well as academic and creative writing.

KEVIN WALKER: CREATIVITY IN TIMES OF AI

Where does your interest in creativity come from?&nbsp;BS: “As a teacher, I’m always trying to get students excited about the creative process. I push them to try new things and aim for originality, not just functionality. I want to unlock their creative potential. That isn’t always an easy task because you’re working in this big educational institution. But thankfully we have minors where I can facilitate creative growth in students.”What does that look like?BS: “Your level of creativity is linked to how your brain is wired but you can still influence things by opening yourself up to the creative process and to the uncertainty that comes with that. I for one always try to get out of my comfort zone. I try to be open to new ideas, work with people and move forward. And I urge my students to do the same. I also create the en environment that is conducive to creativity. Location is important: we have a studio at Amsterdam’s NDSM where we’re surrounded by all sorts of creative people: designers, artists, etc.We also make sure that the group of students we work with is diverse in that we have students from various international programs and backgrounds. Research shows that having a diverse group of people benefits creativity and innovation. I’ll give you an example: I set up the minor Immersive Environments and here students are exposed to an abundance of inspiration and opportunities. We use all kinds of new techniques and materials, like projection mapping with sensors.&nbsp;

My role as a teacher is more that of a co-creator and together with the students I get to explore whole new fields. We invite experts in their own specific field, from art to philosophy, to give a lecture and share their knowledge. And we also select interesting project partners to collaborate with. We have students working on projects for museums, but they can also create retail experience for consumer brands. The students really get bombarded with a lot of information and inspiration in a short amount of time. By exposing them to all these different things students can find something that makes their creative hearts beat faster. They become intrinsically motivated to work on something and you end up seeing tremendous personal growth.”&nbsp;&nbsp;<blockquote><h1>“Research shows that having a diverse group of people benefits creativity and innovation.”</h1></blockquote>

&nbsp;Working with other people. Sounds simple enough but it seldom is, isn’t it?BS: “You just need to beware of creativity killers. For instance, brainstorming in a large group never works. You really need to give people more space and time to reflect and come up with ideas. You also need a safe environment, one where there isn’t that much hierarchy or pressure. You want people to feel comfortable so they can express themselves. You can’t think big when you’re stuck in a small cubicle.” &nbsp;Why do you consider creativity a crucial 21st-century skill?BS: “AI can generate a lot of ideas and come up with a lot of different and new combinations. But we people still have our gut feeling. Our primal instincts help us determine whether or not something can have an impact on other human beings.Francis Bacon famously said that wonder is the seed of knowledge. I’d argue that wonder is often the seed of creativity. We need to hold on to this sense of wonder and we also need to believe that anything is possible. We’re facing enormous challenges and creativity can help create some much needed answers and solutions.”

&nbsp;Okay, so when you talk about challenges we’re thinking water shortage, climate change, economic disparity: to what extent can creativity help to ‘solve’ these big issues?BS: “In the Immersive Environments minor we’re mainly concerned with creating experiences, but these relatively ‘small’ creative exercises could very well translate into bigger things. You can take small steps and end up solving big problems. Working together is key. In our minor we have students from different backgrounds working together but they usually graduate by themselves. I’d love to change that and have students from art academies and technical universities work together on a graduation project. By bringing people from different disciplines together you get fresh perspectives and quite possibly the kind of creative solutions that we so desperately need.”&nbsp;&nbsp;Love that idea of a communal graduation project, but how realistic is that? Having a minor to experiment is one thing but what you’re proposing means cutting through a lot of red tape.BS: “I believe that even with a small group you can bring about a lot of change in education and learning experiences. Gradually, colleagues are also looking into this and together we’re trying to find ways to use new educational methods on a larger scale. Project education hasn’t really allowed much room for things like incubation of ideas and rumination time, which are extremely important in the creative process. I believe in design by doing. Learning about methods is one thing but there’s more to creativity than desk research and reading books: you need to test things and try things out. And not just at the end of the project, but throughout the project. You need to make things physical and visual in an early stage and then you can really start making progress.”

So why set up TIOC?BS: “I noticed that everybody is so busy doing their own thing that they don’t really know what’s happening in a different minor, let along a different school or country. I saw a lot of graduation shows and it struck me that many students were reinventing the wheel instead of building on what previous students had done. At Delft University you see the opposite with new students working on a new iterations of the solar car and with great succes! My goal is to make student work and their progress more transparent. The focus should lie less on an end product and more on the process of creative growth and the different ideas that students have. It's really just about showing creative growth. We interview experts about creativity. We offer tips, tools and training. We help to unlock creative potential, link students to companies, and set out creative challenges.”&nbsp;&nbsp;<blockquote><h1>“If you surprise yourself, you're already being creative."</h1></blockquote>&nbsp;Who is the target audience?BS “The platform is primarily aimed at students or young creatives who are still in their creative development. But anyone with a love for creativity and a willingness to learn new skills and link to other creatives is welcome to take part.”

Could you tell a bit more about the design challenges?BS: “We’re going to set out a number of design challenges, which are basically briefings that hopefully will excite students. One challenge will focus on how to design not for capitalism. How can you, in a society where almost everything is about making a profit, design for a better world? Another design challenge could be designing new experiences. Everybody is on their screen these days, which is a very isolated experience, but how can you create an overwhelming experience that people can enjoy, together, in one room?&nbsp; We’re also interested in asking students about coming up with new, immersive retail or restaurant experiences.”How do you feel about everybody jumping on the creativity train? Is there a danger of ‘creative washing’ with companies doing creative exercises but never really implementing change or unlocking their employees’ full creative potential?BS: “Like how design thinking has been embraced by the corporate world? I don’t see any immediate danger there. I would love for corporate giants to focus more on design thinking and really reevaluate the design process because that can lead to improved service design or better products. Creative growth isn’t necessarily easy to obtain, but it’s something that companies should aim for. Embrace creativity and allow for creative opportunities in your team.”Finally, what is your definition of creativity?BS: “There are a lot of different definitions that I agree with. One that resonates with me is this idea that you change your way of thinking and make connections that are new to you. If you surprise yourself, you're already being creative.”

Check out <a href="/profile/bart-jan">Bart-Jan's TIOC profile</a> for a portfolio of his work and his creative process.&nbsp;

Bart_Jan_Steerenberg_Profile.png

Bart-Jan Steerenberg (1975), designer, artist, teacher and founding father of The Institute of Creativity. For the past couple of years he’s been doing research into creativity at The Amsterdam University of Applied Sciences. As a result, he believes creativity is one of the most important 21st century skills, which led him to set up an educational platform on creativity.

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Ai Art

BEYOND THE CANVAS: YTJE VEENSTRA ON THE FUSION OF ART, TECHNOLOGY, AND CREATIVITY

ARCHITECTURAL RENDERS IN THE AGE OF AI

SEEMA SHARMA: AI & THE CREATIVE INDUSTRY

KEVIN WALKER: CREATIVITY IN TIMES OF AI

BART-JAN STEERENBERG: FACILITATING CREATIVE GROWTH IN EDUCATION

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