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16 INNOVATION AS CREATIVITY RICK LIEBLING, CREATIVE CULTURALIST, Y&R ADVERTISING NEW YORK If you think about it at all, you probably think of innovation and creativity as two distinct things. Innovation happens in the lab, creativity in the studio. Innovation is the domain of the business, creativity of the artist. Now, perhaps you could argue that creativity has been innovative. Think of Picasso, or Borges. But it’s not so easy to think of innovation as being creative. Innovation makes things better (sliced bread) or more efficient (the assembly line) or better and more efficient (the Snuggie), but rarely has innovation been creative. Or at least it wasn’t. But something has changed. Innovation has become sexy. Maybe we have Steve Jobs to thank for this. Apple makes products that not only deliver industry-leading innovation, but do so with a design aesthetic worthy of a museum. It’s no coincidence that innovation has undergone a redefinition at the same time as the rise of design over the last decade or so. The ascendency of digital culture, the removal of barriers to entry and a networked world mean that the traditional roles of innovators and creators have blended and merged. <strong>Inc</strong>reasingly we live in a world not of innovation and creativity, but rather innovation as creativity. Take a look at Kickstarter. It’s filled with technological wizardry masquerading as art. Or is that art, with a hearty engineering DNA? Either way, it’s clear that we’ve entered a new era. An era where “Creative Technologist” is an aspirational job title in the ad industry. Nowhere is this paradigm shift more evident than in the emergence of the New Aesthetic, as preached by James Bridle: “The New Aesthetic is not a movement, it is not a thing which can be done. It is a series of artifacts of the heterogeneous network, which recognizes differences, the gaps in our overlapping but distant realities.” In short, the New Aesthetic is being created by our manipulation of and reaction to digital technology as a driving force in contemporary culture. From BitTorrent to bots, technological innovation is informing a new creative grammar that is being picked up by everyone from youth subcultures to Madison Avenue. The brilliant, and often beautiful, hacks of the Xbox Kinect system eloquently demonstrate our headlong rush toward this New Aesthetic. Projects like The Listening Machine or Cosmic Quilt soon will be commonplace rather than aberrations. So, who wins in this new world, the creative innovators or the innovative creators? Is it enough to be creative without the capacity to design and deliver a tangible product? Is there still a market for solutions that don’t inspire? How will traditional creative thrive in a world where brand and product purchasing choices are made by artificially intelligent agents rather than humans? That will call for solutions that rely just as heavily on technological innovation as they do on creative breakthroughs. We’re already seeing that the people, agencies and brands that understand the intimate relationship between innovation and creativity are the ones that will thrive in the marketplace. Those that can’t adapt and apply the new rules will be left on the shore, looking on as the vanguard sails off to new lands. ■ 17
18 CUSTOMERS ONLY ENJOY THEIR OPULENCE FOR BRIEF PERIODS, AFTER WHICH THEY REVERT TO RAGS AND PUMPKINS. CALL IT CINDERELLANOMICS. 19
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