When we witness the creativity of children we also internally register the level of energy at play in what they are doing. The adult universe, filled with consequences and limitations on energy, sets itself apart from the child’s universe so that it can function predictably and reliably. For many adults the creativity of children is a direct challenge to their very being, and subsequently the strategies with which they go about their day to day lives. The energy inherent within child-like creativity is vibrant, unpredictable and somewhat susceptible to volatility as it can only be steered or influenced, never fully controlled.
Therefore, it is not hard to understand why it is that creativity is so carefully compartmentalised within the adult world. We have ‘creatives’, ‘arty’ types or ‘conceptual’ types that have a distinct role in the adult spheres of politics, business or education. Then there are entire domains of ‘The Arts’ where the cultural signifiers of their adherents are rooted in emotion, play and creativity. Wherever we see a new direction emerge in human interest we can be certain that a burst of creative energy has been the animating factor. The tendency towards conserving existing structures is as strong in adults as it is to reserve the use of energy for only those objectives for which there will be a clear return on investment. Whereas children, to a large degree, have very little idea of what they could possibly lose; or never regain.
Therefore, it is entirely probable that as useful as human memory has clearly been to date, it is a substantial factor in subduing the thrust forward towards the new. Arguably one the predominant factors of the new, right across the span of human culture, is the representation of difference and otherness. Across the globe we have a cacophony of voices that fall upon a spectrum of perspectives that have never existed together previously in history with such potential for connection and inter-relatedness. Therefore, there could also be an argument that as mankind is getting older there are elements within our collective and individual psyche that are, in a sense, becoming younger.
It is precisely within this youth of mankind’s psyche that we find the energy with which to make new sense of the world, and in doing so to apply this new sense-making to the generation of ways to validate a multitude of perspectives. Seeing the bigger picture and the broader purpose of our ability to be conscious and self-reflexive beings has begun to form a new wave of human development. With heightened creative energies in the mid to late 20th Century we saw post-modernity begin the project of deconstructing even our living memory, releasing huge potential for mankind’s future endeavors.
The cradle of the emergence of creativity within the adult spheres in the 20th Century can be connected to the reduced levels of scarcity and heightened levels of security. Both are important factors in aiding a child’s playful self to emerge. So too, it can be argued, has it influenced humanity’s second childhood in the 21st Century. Whether this second childhood is ameliorated and made anemic by potential social engineering projects such as universal credit is a risk we can neither mitigate nor take lightly.
However, there is a tantalising possibility that we may yet give life to an era and a global wave of creative beings, wherein there is no limit to what could be envisaged, engineered or inhabited. We can only be certain of one thing and that is the vital importance of creativity as a vital factor in the ongoing success of the human race.
“It take’s a long time to become young”. Pablo Picasso