DARK DREAMS AND MALIGN CREATIVITY. (2024)

People's dreams are always all-consuming and threaten to devour us.What other people dream is very dangerous. Dreams are a terrifying willto 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 becauseof 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 freshintellectual or aesthetic experience and understanding--creativeprocess--tends to be spoken of in unambiguously positive terms, whetheras a novelty-producing activity, as a means of self-expression, or as away of finding or solving problems. It is true that the products ofcreativity are often of personal or social value and they are made, ifnot for the common good, at least not in order to cause pain ordistress; that is, we tend to consider creativity in general as the formthat Cropley et al distinguish from others (2008) as "benevolentcreativity". To think that creativity is inherently"good" or as actually having to do with morality at all, is anodd belief or attitude to hold for two main reasons. The first isconveyed in Judaeo-Christian mythology with succinct ambiguity (oxymoronintended), where the "creator of light...the maker of peace",is also "the author of calamity" (Isaiah 45:7); he is partisanand violent, insecure and jealously aware of competition afforded by theother gods competing for worshippers at the time. The second reason tosee creativity as morally ambivalent is because creative processconsists of actions whose outcomes are the realisation of what haspreviously only existed in imagination. We know that we are capable ofimagining horrors. Creative process takes us "from the known to theunknown" (Pope, 2010, p. 11) and so the results are necessarilyunpredictable and unforeseeable. When Ernest Rutherford's researchled to the splitting of the atom in a nuclear reaction in 1917, he wasprobably not thinking of how this new knowledge might, with developmentover time, be used to annihilate nations.

We also know that what is seen as socially or culturally beneficialdepends 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 thatcause individuals and organisations to behave in ways that I will referto as "malcreative". Cases in point include the creative"vision" of some of the key figures in the emergence of whathas 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 frombeyond the boundary of perception--which, borrowing from psychologicalusage will be referred to as "the limen"--is seen to shape notonly personal lives, but cultural and political landscapes on a globalscale. So, this article will refer to several different versions ofliminality from dreaming to virtual space, and in all cases is seen as acreative source of either or both sublime and grotesque phenomena, forit is the zone of conception wherein new ideas and new forms areenvisioned.

Creativity Undefined

Possibly a definition would be useful at this point, but a patsentence or two to contain the concept of creativity is categoricallyimpossible, given the number of theories available, whether fromDeleuze, from whose essay, "What is the creative act", I havequoted extensively; Csikszentmihalyi's (1997) systems model;Glaveanu (2017) who has examined creativity as an integral aspect ofculture, and culture as an outcome of creativity; Keith Sawyer (2012),who mistakes it for a "science", and derogates the notion thatthere is any mystery involved in creative process; Jock Abra (1988, p.410) who points out--in disagreement with many other theorists--thatcreativity is actually something extraordinary that is accessible onlyto a minority of people: "[I]n creative endeavor... to hold thateveryone potentially can achieve may appeal to our senses of democracyand fair play but probably reflects 'pseudo-egalitarianpremises"'; or Stephen Diamond (1996) who has writtenextensively on the psychology of creativity, including both daimonic(inspirational) and demonic aspects. As he and others have shown, it ispossible to draw out certain strands from different approaches thatindicate the fierce potency of creativity. Dylan Thomas (1934) speaks ofthe 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 systemsshows 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 theworld we inhabit. World building can be seen as perhaps the ultimateform of creativity, but again, it may not necessarily be concerned withethics or morality. I favour Raymond Williams' definition--orperhaps "description" is better, though I do not know if hewould have endorsed the applications to be suggested in this article."Creative practice is . already, and actively, our practicalconsciousness. When it becomes struggle . it can take many forms. It canbe . a struggle at the roots of the mind .It can be . the articulationand formation of latent, momentary, and newly possibleconsciousness" (Williams, cited in Milligan, 2007, p. 73).

This description conveys an idea of creativity as means towardschange whose starting place is the individual consciousness of one whois probably dissatisfied with the dominant understandings of culture, ofpolitics, of his or her social or political or cultural inheritance.Although Williams was speaking of creativity in the context of changingpolitical consciousness, the ideas could be extended to otherexperiences of profound change, perhaps akin to Thomas' evocationof a potent force of generation and regeneration. Indeed, Williams wasmaking an argument for the ability of people to actively engage in there-making of the world. He was speaking for the possibilities forconscious social action in a Marxist context, and this quote speaks ofcreativity's dynamism. But dynamism is value-neutral and can be asmaleficient as it is beneficient. I would like to consider a Romanticpolitical notion that originates in a kind of dark and dangerousaspirational dream, then progress to the malcreativity that dreams caninspire, concluding with reference to certain mechanisms of controlpropagated in "creative" industries.

Market Fundamentalism: A Romance

Today we inhabit a world dominated by this economic ideology thatis often misrepresented as being democratic, or at leastdemocracy-friendly, concerned to improve the lot of all, and pragmaticin nature, even as the gap between obscene wealth and extreme povertycontinues to grow (OECD iLibrary, 2015). As Block and Somers (2014, p.150) remind us, it was the business magnate George Soros who coined theterm "market fundamentalism" in 1998, and although otherterms--neoliberalism, economic rationalism, laissez-faire capitalism,right-wing libertarianism--are used, Block and Somers (and I) prefer itbecause it crisply conveys "the quasi-religious certainly expressedby contemporary advocates of market self-regulation." Marketfundamentalist pundits continue to promote a worldview that has becomeself-serving to the extent that the survival of the planet itself hasbecome a secondary matter to its central tenet: the pursuit of economicgrowth and wealth creation, ostensibly of nations but actually of a tinyelite. Ghassan Hage (2016) likens the effect of this economic system tothat of boiling lava; McKenzie Wark (2014) has dubbed it"thanaticism" for its embrace of the death-drive and its nodtowards a mix of fanaticism and Thatcherism; Naomi Klein (2007) hascharacterised its most extreme form as "disaster capitalism"for its exploitation of anxiety and fear, and for its engineering ofcalamities in order to reap ever greater profits. I am not pretending tobe a political scientist, but the image forming here is of adeath-driven (thanatic) and death-dealing force of volcanic powercapable of destroying the world.

This reality, I would like to suggest, has come about through amalign 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 wasRomantic. Indeed, Raymond Williams noted that the "ideas we callRomantic have to be understood in terms of the problems of experiencewith which they were advanced to deal". While the Romantic poetswere responding to what they perceived as "the tragedy of theperiod" (Milligan, 2007, pp. 72-73) a few decades later Hitler wasattempting to redress the humiliations of his people after their failurein war through a call to reinvigorate Romantic myths of Teutonicorigins. Market fundamentalism too is an impassioned response to aparticular perception of the realities of the age, based on a mythicRomance of the radical Individualist narrative which has found its formin a sort of grotesque version of the American Dream (whereindividualism shifts from aspiring to do one's best for thecommunity to doing one's best for oneself regardless of thecommunity) and thence to the National Romanticism (or IdentityNationalism) of Donald Trump, another Romantic dreamer "full ofpassionate intensity" (Yeats, 1921-1928).

Malcreative Dreaming

"Beware of the dreams of others, because if you are caught intheir dream, you are done for," warns Deleuze. I would like tosuggest that it is as if many of us have become trapped in a dreamdreamt by Ayn Rand, who lived "with idiosyncratic ideas andconcepts, fantasies and nightmares, who out of [her] own personalexperience in society start[ed] to feel that dominant understandings nolonger work" (Blommaert, 2005, p. 106). Rand was one of theearliest proponents of an idiosyncratic notion of personal freedom thatfound expression in a form of market fundamentalism based on herObjectivist philosophy of absolute self-interest. All dreams are liminalexperiences--they straddle the waking and sleeping realms and maycontain the germs of realities yet to come--but this particular dreamdemonstrates what Nietzsche (in Reginster, 2007, p. 33) and later,Deleuze would have referred to as a terrifying "will topower". Unlike even Hayek, the defender of classical marketliberalism, Rand dismissed any consideration of "the publicgood", opining that "there is no such entity as 'thetribe' or 'the public'; the tribe (or the public orsociety) is only a number of individual men" (cited in Sullivan2017, p. 288). The notion of communal welfare she saw as a means ofjustifying tyrannies. What I'm calling Rand's "romanticdream" was reflected in the stance of her fictive hero "JohnGalt" in Atlas Shrugged--the malcreative novel illustrating herprinciples--who owes a great deal of his nature to Nietzsche'subermensch, that creator of new values who refused any limitations atall, including those of race or class, politics or history. (Regardlessof the likelihood that Nietzsche would have appalled at such anappropriation.)

Although in the 1950s and '60s Rand's then embryonicproject was largely disregarded or ridiculed and reviewers might havedecried Atlas Shrugged as "execrable claptrap" (Berliner,2009), by the 1980s and still enduring today is a zeitgeist that isentirely sympathetic towards the message of Rand and the influentialmembers of her ironically titled "Manhattan Collective"--whichincluded Alan Greenspan presiding over the deregulation of the financialsector in the U.S.--that greed, rather than being the greatest of theseven deadly sins, is a virtue. The reason for this belief is thatavarice, framed as individualistic ambition, promotes economic growth,which must not be allowed to slow for fear of stagnation. Growth isfuelled through ceaseless productivity, or as Ayn Rand (1960) has herfictional hero, John Galt proclaims: "Productiveness is youracceptance of morality... your work is the purpose of your life, and youmust 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 asGreenspan, and this blueprint ofcreativity-to-productivity-to-ever-burgeoning-growth continues to beuncritically accepted by many, no matter the personal, community, orecological sacrifices that are made in its name. It might be said to bethe formula that nurtured Thatcher's daughter of the '80s,TINA (There is No Alternative (to global neoliberalism)) given that thatthe then British Prime Minister was clearly influenced by Rand'sphilosophy, as evidenced by her plagiarism of Rand's claim in TheVirtue of Selfishness (and in Capitalism: The Unknown Ideal) that associety was merely an amalgam of individuals, "society" doesnot exist. Rand's fervent dream seems to have captivated theimaginations of other fantasists in high places and also middle and lowplaces, or as Biressi and Nunn (2014, p. 66) phrase it: "By the1980s this industrious, self-interested individual would emerge tobecome the archetypal political and popular hero of the Reagan andThatcher years and far beyond."

Libertarianism, Millenarianism, and Notes on Liminal Space asMalcreative Seedbed

This section continues the discussion of creativity as an amoralprocess by which changes in reality are made or new realities arebrought into existence by acts of the political imagination. Theresemblance between radical free-market economic thinking and otherforms of totalitarian thinking will be considered, before moving on todiscussion of originary sources of this mindset.

Market fundamentalism is totalitarian in its absolute adherence tothe belief that market imperatives should and must dictate all economic,personal, and civic processes, regardless of human or environmentalcost, and its dream-realising aspirationalism shares certaincharacteristics with utopianism. Indeed, according to Block and Somers(2014, p. 150) "market fundamentalism is the contemporary form ofwhat Polanyi... identified six decades ago as economic liberalism's'stark Utopia'". The religion/utopian overtones wereunmistakable from its earliest days. According to the logic of FrankKnight, founder of the Chicago School of Economics and teacher of MiltonFriedman--whose influence is still very much alive nearly ninety yearslater, '"[o]bjectively' defined, democracy means [notrepresentational 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 plansfor salvation" (1932, p. 453, Italics mine). The free market isseen to be fed by incontrovertible and unassailable natural forcesgoverned by an uncompromising Mammon, and the indwelling unconsciousfears of transgression and awe of the power of this particular deity areenduringly potent. Such numinous thinking aligns with a vision of marketfundamentalism not as a system based on logic or sense, but very much onfaith. As a university teacher of economics, Knight recommended thatrather than encouraging honest speculation in research, or "gropingtowards truth" amongst students, "in the sense of .problem-solving in the field of social phenomena", which hecharacterised as a "costly waste", universities should insteadinstill in students a belief structure with "slogans they inculcateas a sacred feature of the system" (1932, pp. 454-455, italicsaround millenarian usages mine). In the late nineties, David Loy (1997)ventured the opinion that the dominant economic system should beunderstood as a religion, as it is its god The Market, to whom we turnfor "salvation" (p. 275). He adds that "[it is] apparentthat the Market is becoming the first world religion". Much morerecently, Jonathon Bowden (2017 has referred to libertarianism's"mystical elements [...and...] unbridled forms of extremism".

Schumpeter's (1942, p. 82) notion of "creativedestruction" was appropriated by free-market fundamentalists inorder to justify forms of that most creative ofactions--world-building--by energy corporations using militaristicmethods in order to "invad[e] the world one economy at atime". (Juhasz, cited in Wright, 2007) Juhasz' focus is onIraq and "what the press calls 'Bush's MessianicMission' to bring democracy to Iraq, the rest of the world, andMars, and so on" (Chomsky, 2008). Meanwhile--and probably notentirely coincidentally--Iraq had also attracted the attention ofmegacorporations such as Chevron, Bechtel, Halliburton and LockheedMartin. However, much earlier examples of economic motivationpurportedly provoking the hostile takeovers of nations occurred in 1970sand '80s in Central and South America. Regime change in Chile isconsidered one of the first now historical examples lending support tothe (hardly original, but apt) idea that, if terrorism is defined asunlawful use of violence against noncombatants, jihadist terrorism isjust the tip of the iceberg. Indeed, according to Orlando Letelier, theU.S. ambassador to Chile in the '70s, the horrors that occurred inChile at that time were enabled in part by actions of the anti-stateradicals known as the Chicago Boys, utopian dreamers of the ChicagoSchool of economics, founded by Frank Knight. When Richard Nixon,unnerved by the election of Allende in 1970 and the prospect of asocialist government in Chile directed the CIA to "make the economyscream", this action was seen by Letelier as "an equalpartnership between the army and the economists" (cited in Klein,2008, p. 71). And again, when Chile's military--with over 75% ofits funds coming from the CIA--began to work towards overthrowingAllende, 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 thecreative verve shared by globalised market fundamentalists and politicalextremists. Firstly, in both cases desire-laden and radical abstractideas or images prevail over practical considerations of running acountry; ethical considerations affecting thousands of people dissolvein the face of this thanatic disdain for life. Therefore, it is perhapsnot too long a bow to draw to see this as a triumph of aspirationaldreaming--or of nightmares realised. Secondly, operating in the globalfree market the neoliberal marketeer is, effectively, as free ofnational boundaries as the jihadis whom Arthur Saniotis (2005, p. 533)characterised as liminal beings because of the "indeterminate andtransnational nature of jihadism". He refers to the liminal modelposited by Victor Turner because of its emphasis on "ambiguity,fragmentation and 'the blurring of set boundaries"', andto the creative or transformative nature of this condition in which newimages are conceived, as well as their extreme affect in and effectsupon the world. So too, Saniotis' discussion of the "lawlesszone" from which symbols are derived, and the ways they lead to thecreation of further images for a particular utopian vision. He framesjihadists as "liminal beings who seek to reenchant the world viatheir symbolic and performative features". Yet free-marketcapitalists are as prepared as jihadis to take radical steps towards theattainment 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 asthe "fourth world" that Dave Eggers (2007, pp. 140-141)imagines is where we go to "create the things that willhappen", which may deliver weal or woe, but probably both. Or as asynthetic 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 asontologically real as the world of the senses and the world of theintellect". It is an intermediary zone between the"sensible" and the "intelligible" worlds, (cited inAvens, pp. 8-9). That is, a creative space accessed by means of"active imagination". Metaphorically linked to this isFoucault's (1964) heterotopia, or transitional zone, where time andspace are abstracted. As well zones of transit such as airports or shipsat sea, Foucault described as heterotopian places that are at oncefigurative and geographically real--nebulous ill-defined conditions orterritories wherein new formulations of reality are conceived. (Anexample of the latter would be the contested site of Jerusalem, whoseactual materiality has been undermined by its massive load of symbolicvalue and connotative meaning it is a germinal place, where two of theAbrahamic faiths imagine it as two separate sacred sites, yet to theintense discomfort of both they share the same geographical territory).

Paul Virilio (cited in Kraidy 2017, p. 5) has called theterrorists' melding of ideology and technology a"dromosphere", "a 'combination of technoscientificdomination and propaganda' that "reproduces all thecharacteristics of occupation, both physically and mentally"'.Perhaps this concept of the dromosphere, like the Foucauldianheterotopia, needs to be extended to include the 'real' worldthat is in the process of being re-created by the creative industries.

"ELiminal" worlds are conjured into existence throughtechnologically mediated experience and exist partly in the imagination,and partly in three-dimensional physical space, and we modify ourpersonalities or characters (sometimes but not necessarily usingavatars) in order to acquiesce to the particular cultural or emotionalclimate of each online social world we visit in our disembodied state.If desired, we can remain online all the time except for short sleepbreaks, but always with a phone or tablet by our bedside. Our onlinehabitat is a kind of ethereal cosmos of voices and visions without touchor texture or scent, and though some might judge it a strangelysensually denuded Otherworld, others experience it as freedom. Aided bythe persona-creation capabilities of social media we are utterlyunbound; we can become characters other than our physical selves withina liminal narrative structure or mythos that is maintained throughongoing symbolic production, a version of world-creation in anelectronic heterotopia. This is for many--and in many ways--atransporting experience. That is, it may take us to somewhere beyondthat space occupied by our physical bodies--cyberspace echoes the worldof mysticism and magic.

In virtual realities, we may, like Turner's liminar, gathersymbols and images which will later contribute to the creation of newrealities. That is, virtual experience may alter social and culturalperceptions and practices and help to form political stances andaggregate political power bases. A clear case in point would be therelationship between entertainment and propaganda machines. Manyscholars (including Andersen, 2005; Boggs and Pollard, 2016; Ottesen,2017, Nieborg, 2008; Miller, 2010) have concluded that mediatised imagesmanufactured and distributed globally in the 'creative'industries can mobilise corporations or nations, individuals or armies.Before discussing online games, Toby Miller (p. 146) contextualisestheir influence as part of a continuum from American film's"long history of direct participation in production andcontrol" and Hollywood's collusion with the Pentagon. Hediscusses how cinema's associations of hyper-masculinity withheroism, violence with loyalty, spectacular destruction with freedomprovides potent symbolic clout, and then points to "the intimateinterpenetration of nation, state, and capital via the cultureindustries", and charts the marketing triumph of video war-games in"symbolising a malignant amalgam of state violence and commercialentertainment". The game, "America's Army", is theexample he provides as an entertaining propaganda tool designed toincrease recruitments to the military two months after the 2003 invasionof Iraq. Miller (p. 143) claims that the creative industries have, withthe acquiescence of the general public, been "a compliant and evenwilling partner" in the US government's "violent anddestructive nationalism" for decades.

Similarly, Marwan Kraidy's 2017 article on the terrorism of ISrefers to the limen of virtual reality where "fears andfantasies" are sown (p. 4) In other words, the territorial acts ofIslamic State are seen as beginning in the eLimen. This evocation of afecund breeding ground aligns with Turner, and with Gilhus'description of liminal space as "the seedbed of positive structuralassertions" (1984, p. 107). Indeed, Kraidy (2017, p. 4) claims thatit is because Islamic State's "hypermedia events" existsimultaneously in physical and virtual reality that they are able tocreate such psychic disorder. They seem to have the power to overrideboth time and space. Arguably, although the political goals may differit is the same process that is occurring in as the "Hollywoodlimen".

Information and images conveyed to us, telling us "what we aresupposed to be ready to . or be held to believe . and not even believe,but pretend like we believe" (Deleuze, p. 316) whether transmittedvia online collective image sharing, or by ravishing pictorial storiesin online or video games may not be produced with any particular demandsfor 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 providinginformation, but of exerting power: ". information is exactly thesystem of control. It is obvious and it particularly concerns us alltoday".

Conclusion

This article on the deleterious aspects of creativity could quitelogically have continued into a discussion of the everyday--as opposedto political or military--applications of the pervasive influence ofmalcreative and creative industries, but that is beyond its scope. Ihope what I have written here has gone some way towards presenting theambivalence of creativity and creative processes. Creativity is the mostpowerful of natural forces. It can bring great beauty into the world,and also monstrous grotesqueries: to create is to bring into existencesomething new or to substantially reinterpret what already exists; itneed not be good, or kind, or moral. The dark aspect of aspirationaldreaming was discussed, as was the effect those Romantic dreamers havehad on political and economic ideologies which were demonstrated to feedinto state terrorism and today continue to promulgate the kind ofshort-term profit-orientation capable of wreaking destruction on aglobal scale.

Creativity was presented as having its source in liminal space,seen as seedbeds from which might sprout dreams or nightmares thatdemand realisation, creation. I have offered a range of versions orinterpretations of transitional zones that inhere "betweenconception and creation". This spatial and temporal ambiguity ofliminal space applies to the passenger in transit, the tribal liminar,the free-market fundamentalist, or the jihadi. While no absolutedefinitions of creativity or malcreativity were supplied, many examplesof processes and results of each were provided including the Romance ofmarket fundamentalism, millenarianism, and eLiminal machinery ofinfluence and control.

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Louise Katz lectures in academic writing at Sydney University, andshe also writes fiction. Her most recent books are Critical Thinking andPersuasive Writing for Postgraduates (2018, Palgrave Macmillan), and theaward-winning dystopian novel, The Orchid Nursery (2015, LacunaPublishers).

LOUISE KATZ

[emailprotected]

University of Sydney

doi:10.22381/KC6220185

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