DARK DREAMS AND MALIGN CREATIVITY.
People's dreams are always all-consuming and threaten to devour us. What other people dream is very dangerous. Dreams are a terrifying will to power. Each of us is more or less a victim of other people's dreams. Even the most graceful young woman is a horrific ravager, not because of her soul, but because of her dreams. Beware of the dreams of others, because if you are caught in their dream, you are done for. (Deleuze, 1975-1995, p. 315) Between conception and creation/lies the shadow. (T.S. Eliot, in Parini, 2005, p. 213) Creativity is the core of our everyday lives. (J. Valsiner, in Glaveanu, 2017)
Introduction: Malcreativity
Allowing imagination and intuition to lead one into fresh intellectual or aesthetic experience and understanding--creative process--tends to be spoken of in unambiguously positive terms, whether as a novelty-producing activity, as a means of self-expression, or as a way of finding or solving problems. It is true that the products of creativity are often of personal or social value and they are made, if not for the common good, at least not in order to cause pain or distress; that is, we tend to consider creativity in general as the form that Cropley et al distinguish from others (2008) as "benevolent creativity". To think that creativity is inherently "good" or as actually having to do with morality at all, is an odd belief or attitude to hold for two main reasons. The first is conveyed in Judaeo-Christian mythology with succinct ambiguity (oxymoron intended), where the "creator of light...the maker of peace", is also "the author of calamity" (Isaiah 45:7); he is partisan and violent, insecure and jealously aware of competition afforded by the other gods competing for worshippers at the time. The second reason to see creativity as morally ambivalent is because creative process consists of actions whose outcomes are the realisation of what has previously only existed in imagination. We know that we are capable of imagining horrors. Creative process takes us "from the known to the unknown" (Pope, 2010, p. 11) and so the results are necessarily unpredictable and unforeseeable. When Ernest Rutherford's research led to the splitting of the atom in a nuclear reaction in 1917, he was probably not thinking of how this new knowledge might, with development over time, be used to annihilate nations.
We also know that what is seen as socially or culturally beneficial depends on what is considered valuable by that society, that culture, and what is desired by one may be precisely because it can harm another. Thus, this article will look at some of the subjective concerns that cause individuals and organisations to behave in ways that I will refer to as "malcreative". Cases in point include the creative "vision" of some of the key figures in the emergence of what has become the neoliberal political hegemony, and the notion of "creative destruction" in business and in war.
Discussion of the darker aspects of creative actions to emerge from beyond the boundary of perception--which, borrowing from psychological usage will be referred to as "the limen"--is seen to shape not only personal lives, but cultural and political landscapes on a global scale. So, this article will refer to several different versions of liminality from dreaming to virtual space, and in all cases is seen as a creative source of either or both sublime and grotesque phenomena, for it is the zone of conception wherein new ideas and new forms are envisioned.
Creativity Undefined
Possibly a definition would be useful at this point, but a pat sentence or two to contain the concept of creativity is categorically impossible, given the number of theories available, whether from Deleuze, from whose essay, "What is the creative act", I have quoted extensively; Csikszentmihalyi's (1997) systems model; Glaveanu (2017) who has examined creativity as an integral aspect of culture, and culture as an outcome of creativity; Keith Sawyer (2012), who mistakes it for a "science", and derogates the notion that there is any mystery involved in creative process; Jock Abra (1988, p. 410) who points out--in disagreement with many other theorists--that creativity is actually something extraordinary that is accessible only to a minority of people: "[I]n creative endeavor... to hold that everyone potentially can achieve may appeal to our senses of democracy and fair play but probably reflects 'pseudo-egalitarian premises"'; or Stephen Diamond (1996) who has written extensively on the psychology of creativity, including both daimonic (inspirational) and demonic aspects. As he and others have shown, it is possible to draw out certain strands from different approaches that indicate the fierce potency of creativity. Dylan Thomas (1934) speaks of the elemental "force that drives the green fuse", that is, eros, or generative energy--which does not consider right or wrong. Bourdieu's (1979, pp. 77-80) massive corpus on symbolic systems shows how religious and linguistic systems and art can be "instruments for constructing reality". That is, language, religion and art supply the creative force behind the formation of the world we inhabit. World building can be seen as perhaps the ultimate form of creativity, but again, it may not necessarily be concerned with ethics or morality. I favour Raymond Williams' definition--or perhaps "description" is better, though I do not know if he would have endorsed the applications to be suggested in this article. "Creative practice is . already, and actively, our practical consciousness. When it becomes struggle . it can take many forms. It can be . a struggle at the roots of the mind .It can be . the articulation and formation of latent, momentary, and newly possible consciousness" (Williams, cited in Milligan, 2007, p. 73).
This description conveys an idea of creativity as means towards change whose starting place is the individual consciousness of one who is probably dissatisfied with the dominant understandings of culture, of politics, of his or her social or political or cultural inheritance. Although Williams was speaking of creativity in the context of changing political consciousness, the ideas could be extended to other experiences of profound change, perhaps akin to Thomas' evocation of a potent force of generation and regeneration. Indeed, Williams was making an argument for the ability of people to actively engage in the re-making of the world. He was speaking for the possibilities for conscious social action in a Marxist context, and this quote speaks of creativity's dynamism. But dynamism is value-neutral and can be as maleficient as it is beneficient. I would like to consider a Romantic political notion that originates in a kind of dark and dangerous aspirational dream, then progress to the malcreativity that dreams can inspire, concluding with reference to certain mechanisms of control propagated in "creative" industries.
Market Fundamentalism: A Romance
Today we inhabit a world dominated by this economic ideology that is often misrepresented as being democratic, or at least democracy-friendly, concerned to improve the lot of all, and pragmatic in nature, even as the gap between obscene wealth and extreme poverty continues to grow (OECD iLibrary, 2015). As Block and Somers (2014, p. 150) remind us, it was the business magnate George Soros who coined the term "market fundamentalism" in 1998, and although other terms--neoliberalism, economic rationalism, laissez-faire capitalism, right-wing libertarianism--are used, Block and Somers (and I) prefer it because it crisply conveys "the quasi-religious certainly expressed by contemporary advocates of market self-regulation." Market fundamentalist pundits continue to promote a worldview that has become self-serving to the extent that the survival of the planet itself has become a secondary matter to its central tenet: the pursuit of economic growth and wealth creation, ostensibly of nations but actually of a tiny elite. Ghassan Hage (2016) likens the effect of this economic system to that of boiling lava; McKenzie Wark (2014) has dubbed it "thanaticism" for its embrace of the death-drive and its nod towards a mix of fanaticism and Thatcherism; Naomi Klein (2007) has characterised its most extreme form as "disaster capitalism" for its exploitation of anxiety and fear, and for its engineering of calamities in order to reap ever greater profits. I am not pretending to be a political scientist, but the image forming here is of a death-driven (thanatic) and death-dealing force of volcanic power capable of destroying the world.
This reality, I would like to suggest, has come about through a malign form of creativity that might be characterised not as "pragmatic" but as "Romantic" with a capital "R"--in the sense that Hitler's national socialism was Romantic. Indeed, Raymond Williams noted that the "ideas we call Romantic have to be understood in terms of the problems of experience with which they were advanced to deal". While the Romantic poets were responding to what they perceived as "the tragedy of the period" (Milligan, 2007, pp. 72-73) a few decades later Hitler was attempting to redress the humiliations of his people after their failure in war through a call to reinvigorate Romantic myths of Teutonic origins. Market fundamentalism too is an impassioned response to a particular perception of the realities of the age, based on a mythic Romance of the radical Individualist narrative which has found its form in a sort of grotesque version of the American Dream (where individualism shifts from aspiring to do one's best for the community to doing one's best for oneself regardless of the community) and thence to the National Romanticism (or Identity Nationalism) of Donald Trump, another Romantic dreamer "full of passionate intensity" (Yeats, 1921-1928).
Malcreative Dreaming
"Beware of the dreams of others, because if you are caught in their dream, you are done for," warns Deleuze. I would like to suggest that it is as if many of us have become trapped in a dream dreamt by Ayn Rand, who lived "with idiosyncratic ideas and concepts, fantasies and nightmares, who out of [her] own personal experience in society start[ed] to feel that dominant understandings no longer work" (Blommaert, 2005, p. 106). Rand was one of the earliest proponents of an idiosyncratic notion of personal freedom that found expression in a form of market fundamentalism based on her Objectivist philosophy of absolute self-interest. All dreams are liminal experiences--they straddle the waking and sleeping realms and may contain the germs of realities yet to come--but this particular dream demonstrates what Nietzsche (in Reginster, 2007, p. 33) and later, Deleuze would have referred to as a terrifying "will to power". Unlike even Hayek, the defender of classical market liberalism, Rand dismissed any consideration of "the public good", opining that "there is no such entity as 'the tribe' or 'the public'; the tribe (or the public or society) is only a number of individual men" (cited in Sullivan 2017, p. 288). The notion of communal welfare she saw as a means of justifying tyrannies. What I'm calling Rand's "romantic dream" was reflected in the stance of her fictive hero "John Galt" in Atlas Shrugged--the malcreative novel illustrating her principles--who owes a great deal of his nature to Nietzsche's ubermensch, that creator of new values who refused any limitations at all, including those of race or class, politics or history. (Regardless of the likelihood that Nietzsche would have appalled at such an appropriation.)
Although in the 1950s and '60s Rand's then embryonic project was largely disregarded or ridiculed and reviewers might have decried Atlas Shrugged as "execrable claptrap" (Berliner, 2009), by the 1980s and still enduring today is a zeitgeist that is entirely sympathetic towards the message of Rand and the influential members of her ironically titled "Manhattan Collective"--which included Alan Greenspan presiding over the deregulation of the financial sector in the U.S.--that greed, rather than being the greatest of the seven deadly sins, is a virtue. The reason for this belief is that avarice, framed as individualistic ambition, promotes economic growth, which must not be allowed to slow for fear of stagnation. Growth is fuelled through ceaseless productivity, or as Ayn Rand (1960) has her fictional hero, John Galt proclaims: "Productiveness is your acceptance of morality... your work is the purpose of your life, and you must speed past any killer who assumes the right to stop you." While Rand can hardly be taken as the sole creator of neoliberal values, her literary and political work supplied inspiration to such men as Greenspan, and this blueprint of creativity-to-productivity-to-ever-burgeoning-growth continues to be uncritically accepted by many, no matter the personal, community, or ecological sacrifices that are made in its name. It might be said to be the formula that nurtured Thatcher's daughter of the '80s, TINA (There is No Alternative (to global neoliberalism)) given that that the then British Prime Minister was clearly influenced by Rand's philosophy, as evidenced by her plagiarism of Rand's claim in The Virtue of Selfishness (and in Capitalism: The Unknown Ideal) that as society was merely an amalgam of individuals, "society" does not exist. Rand's fervent dream seems to have captivated the imaginations of other fantasists in high places and also middle and low places, or as Biressi and Nunn (2014, p. 66) phrase it: "By the 1980s this industrious, self-interested individual would emerge to become the archetypal political and popular hero of the Reagan and Thatcher years and far beyond."
Libertarianism, Millenarianism, and Notes on Liminal Space as Malcreative Seedbed
This section continues the discussion of creativity as an amoral process by which changes in reality are made or new realities are brought into existence by acts of the political imagination. The resemblance between radical free-market economic thinking and other forms of totalitarian thinking will be considered, before moving on to discussion of originary sources of this mindset.
Market fundamentalism is totalitarian in its absolute adherence to the belief that market imperatives should and must dictate all economic, personal, and civic processes, regardless of human or environmental cost, and its dream-realising aspirationalism shares certain characteristics with utopianism. Indeed, according to Block and Somers (2014, p. 150) "market fundamentalism is the contemporary form of what Polanyi... identified six decades ago as economic liberalism's 'stark Utopia'". The religion/utopian overtones were unmistakable from its earliest days. According to the logic of Frank Knight, founder of the Chicago School of Economics and teacher of Milton Friedman--whose influence is still very much alive nearly ninety years later, '"[o]bjectively' defined, democracy means [not representational government through free and fair elections, but] competitive salesmanship in every field of activity, goods and services, political programs and candidates, social attitudes or creeds, and plans for salvation" (1932, p. 453, Italics mine). The free market is seen to be fed by incontrovertible and unassailable natural forces governed by an uncompromising Mammon, and the indwelling unconscious fears of transgression and awe of the power of this particular deity are enduringly potent. Such numinous thinking aligns with a vision of market fundamentalism not as a system based on logic or sense, but very much on faith. As a university teacher of economics, Knight recommended that rather than encouraging honest speculation in research, or "groping towards truth" amongst students, "in the sense of . problem-solving in the field of social phenomena", which he characterised as a "costly waste", universities should instead instill in students a belief structure with "slogans they inculcate as a sacred feature of the system" (1932, pp. 454-455, italics around millenarian usages mine). In the late nineties, David Loy (1997) ventured the opinion that the dominant economic system should be understood as a religion, as it is its god The Market, to whom we turn for "salvation" (p. 275). He adds that "[it is] apparent that the Market is becoming the first world religion". Much more recently, Jonathon Bowden (2017 has referred to libertarianism's "mystical elements [...and...] unbridled forms of extremism".
Schumpeter's (1942, p. 82) notion of "creative destruction" was appropriated by free-market fundamentalists in order to justify forms of that most creative of actions--world-building--by energy corporations using militaristic methods in order to "invad[e] the world one economy at a time". (Juhasz, cited in Wright, 2007) Juhasz' focus is on Iraq and "what the press calls 'Bush's Messianic Mission' to bring democracy to Iraq, the rest of the world, and Mars, and so on" (Chomsky, 2008). Meanwhile--and probably not entirely coincidentally--Iraq had also attracted the attention of megacorporations such as Chevron, Bechtel, Halliburton and Lockheed Martin. However, much earlier examples of economic motivation purportedly provoking the hostile takeovers of nations occurred in 1970s and '80s in Central and South America. Regime change in Chile is considered one of the first now historical examples lending support to the (hardly original, but apt) idea that, if terrorism is defined as unlawful use of violence against noncombatants, jihadist terrorism is just the tip of the iceberg. Indeed, according to Orlando Letelier, the U.S. ambassador to Chile in the '70s, the horrors that occurred in Chile at that time were enabled in part by actions of the anti-state radicals known as the Chicago Boys, utopian dreamers of the Chicago School of economics, founded by Frank Knight. When Richard Nixon, unnerved by the election of Allende in 1970 and the prospect of a socialist government in Chile directed the CIA to "make the economy scream", this action was seen by Letelier as "an equal partnership between the army and the economists" (cited in Klein, 2008, p. 71). And again, when Chile's military--with over 75% of its funds coming from the CIA--began to work towards overthrowing Allende, the economists worked towards annihilating his ideas (Klein, 2008, p. 70), replacing them with their own dogma.
Two main characteristics emerge which seem to illustrate the creative verve shared by globalised market fundamentalists and political extremists. Firstly, in both cases desire-laden and radical abstract ideas or images prevail over practical considerations of running a country; ethical considerations affecting thousands of people dissolve in the face of this thanatic disdain for life. Therefore, it is perhaps not too long a bow to draw to see this as a triumph of aspirational dreaming--or of nightmares realised. Secondly, operating in the global free market the neoliberal marketeer is, effectively, as free of national boundaries as the jihadis whom Arthur Saniotis (2005, p. 533) characterised as liminal beings because of the "indeterminate and transnational nature of jihadism". He refers to the liminal model posited by Victor Turner because of its emphasis on "ambiguity, fragmentation and 'the blurring of set boundaries"', and to the creative or transformative nature of this condition in which new images are conceived, as well as their extreme affect in and effects upon the world. So too, Saniotis' discussion of the "lawless zone" from which symbols are derived, and the ways they lead to the creation of further images for a particular utopian vision. He frames jihadists as "liminal beings who seek to reenchant the world via their symbolic and performative features". Yet free-market capitalists are as prepared as jihadis to take radical steps towards the attainment of their vision of a new paradigm by enacting a program of "creative destruction".
The eLimen: Creative and Malcreative Information Habitats
Perhaps what I shall refer to as the eLimen might be understood as the "fourth world" that Dave Eggers (2007, pp. 140-141) imagines is where we go to "create the things that will happen", which may deliver weal or woe, but probably both. Or as a synthetic relative of what Henri Corbin termed the "imaginal", or "the world of the image, mundus imaginalis. Corbin's (1964) 'imaginal' world, though not physically real, is as ontologically real as the world of the senses and the world of the intellect". It is an intermediary zone between the "sensible" and the "intelligible" worlds, (cited in Avens, pp. 8-9). That is, a creative space accessed by means of "active imagination". Metaphorically linked to this is Foucault's (1964) heterotopia, or transitional zone, where time and space are abstracted. As well zones of transit such as airports or ships at sea, Foucault described as heterotopian places that are at once figurative and geographically real--nebulous ill-defined conditions or territories wherein new formulations of reality are conceived. (An example of the latter would be the contested site of Jerusalem, whose actual materiality has been undermined by its massive load of symbolic value and connotative meaning it is a germinal place, where two of the Abrahamic faiths imagine it as two separate sacred sites, yet to the intense discomfort of both they share the same geographical territory).
Paul Virilio (cited in Kraidy 2017, p. 5) has called the terrorists' melding of ideology and technology a "dromosphere", "a 'combination of technoscientific domination and propaganda' that "reproduces all the characteristics of occupation, both physically and mentally"'. Perhaps this concept of the dromosphere, like the Foucauldian heterotopia, needs to be extended to include the 'real' world that is in the process of being re-created by the creative industries.
"ELiminal" worlds are conjured into existence through technologically mediated experience and exist partly in the imagination, and partly in three-dimensional physical space, and we modify our personalities or characters (sometimes but not necessarily using avatars) in order to acquiesce to the particular cultural or emotional climate of each online social world we visit in our disembodied state. If desired, we can remain online all the time except for short sleep breaks, but always with a phone or tablet by our bedside. Our online habitat is a kind of ethereal cosmos of voices and visions without touch or texture or scent, and though some might judge it a strangely sensually denuded Otherworld, others experience it as freedom. Aided by the persona-creation capabilities of social media we are utterly unbound; we can become characters other than our physical selves within a liminal narrative structure or mythos that is maintained through ongoing symbolic production, a version of world-creation in an electronic heterotopia. This is for many--and in many ways--a transporting experience. That is, it may take us to somewhere beyond that space occupied by our physical bodies--cyberspace echoes the world of mysticism and magic.
In virtual realities, we may, like Turner's liminar, gather symbols and images which will later contribute to the creation of new realities. That is, virtual experience may alter social and cultural perceptions and practices and help to form political stances and aggregate political power bases. A clear case in point would be the relationship between entertainment and propaganda machines. Many scholars (including Andersen, 2005; Boggs and Pollard, 2016; Ottesen, 2017, Nieborg, 2008; Miller, 2010) have concluded that mediatised images manufactured and distributed globally in the 'creative' industries can mobilise corporations or nations, individuals or armies. Before discussing online games, Toby Miller (p. 146) contextualises their influence as part of a continuum from American film's "long history of direct participation in production and control" and Hollywood's collusion with the Pentagon. He discusses how cinema's associations of hyper-masculinity with heroism, violence with loyalty, spectacular destruction with freedom provides potent symbolic clout, and then points to "the intimate interpenetration of nation, state, and capital via the culture industries", and charts the marketing triumph of video war-games in "symbolising a malignant amalgam of state violence and commercial entertainment". The game, "America's Army", is the example he provides as an entertaining propaganda tool designed to increase recruitments to the military two months after the 2003 invasion of Iraq. Miller (p. 143) claims that the creative industries have, with the acquiescence of the general public, been "a compliant and even willing partner" in the US government's "violent and destructive nationalism" for decades.
Similarly, Marwan Kraidy's 2017 article on the terrorism of IS refers to the limen of virtual reality where "fears and fantasies" are sown (p. 4) In other words, the territorial acts of Islamic State are seen as beginning in the eLimen. This evocation of a fecund breeding ground aligns with Turner, and with Gilhus' description of liminal space as "the seedbed of positive structural assertions" (1984, p. 107). Indeed, Kraidy (2017, p. 4) claims that it is because Islamic State's "hypermedia events" exist simultaneously in physical and virtual reality that they are able to create such psychic disorder. They seem to have the power to override both time and space. Arguably, although the political goals may differ it is the same process that is occurring in as the "Hollywood limen".
Information and images conveyed to us, telling us "what we are supposed to be ready to . or be held to believe . and not even believe, but pretend like we believe" (Deleuze, p. 316) whether transmitted via online collective image sharing, or by ravishing pictorial stories in online or video games may not be produced with any particular demands for plausibility or credibility, yet this does not diminish their power. Media might exist to transmit and propagate information, but as Deleuze (p. 316) has pointed out, informing is not simply a matter of providing information, but of exerting power: ". information is exactly the system of control. It is obvious and it particularly concerns us all today".
Conclusion
This article on the deleterious aspects of creativity could quite logically have continued into a discussion of the everyday--as opposed to political or military--applications of the pervasive influence of malcreative and creative industries, but that is beyond its scope. I hope what I have written here has gone some way towards presenting the ambivalence of creativity and creative processes. Creativity is the most powerful of natural forces. It can bring great beauty into the world, and also monstrous grotesqueries: to create is to bring into existence something new or to substantially reinterpret what already exists; it need not be good, or kind, or moral. The dark aspect of aspirational dreaming was discussed, as was the effect those Romantic dreamers have had on political and economic ideologies which were demonstrated to feed into state terrorism and today continue to promulgate the kind of short-term profit-orientation capable of wreaking destruction on a global scale.
Creativity was presented as having its source in liminal space, seen as seedbeds from which might sprout dreams or nightmares that demand realisation, creation. I have offered a range of versions or interpretations of transitional zones that inhere "between conception and creation". This spatial and temporal ambiguity of liminal space applies to the passenger in transit, the tribal liminar, the free-market fundamentalist, or the jihadi. While no absolute definitions of creativity or malcreativity were supplied, many examples of processes and results of each were provided including the Romance of market fundamentalism, millenarianism, and eLiminal machinery of influence and control.
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Louise Katz lectures in academic writing at Sydney University, and she also writes fiction. Her most recent books are Critical Thinking and Persuasive Writing for Postgraduates (2018, Palgrave Macmillan), and the award-winning dystopian novel, The Orchid Nursery (2015, Lacuna Publishers).
LOUISE KATZ
louise.katz@sydney.edu.au
University of Sydney
doi:10.22381/KC6220185
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| Author: | Katz, Louise |
|---|---|
| Publication: | Knowledge Cultures |
| Article Type: | Report |
| Geographic Code: | 1USA |
| Date: | Jul 1, 2018 |
| Words: | 5531 |
| Previous Article: | STOLEN GENERATIONS: TEACHING ABOUT THE EXPERIENCES OF TRAUMA. |
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