{"id":86773,"date":"2026-09-10T15:16:56","date_gmt":"2026-09-10T13:16:56","guid":{"rendered":"https:\/\/visionarymarketing.com\/?p=86773"},"modified":"2026-09-10T15:34:20","modified_gmt":"2026-09-10T13:34:20","slug":"ai-and-creativity-a-2026-update","status":"publish","type":"post","link":"https:\/\/visionarymarketing.com\/en\/2026\/09\/10\/ai-and-creativity-a-2026-update\/","title":{"rendered":"AI and Creativity: a 2026 update"},"content":{"rendered":"\n

It\u2019s back to school and back to the blog too for the 31st time since 1995, and today\u2019s topic will be AI and Creativity. The idea is to deal with the topic of artificial intelligence, not from a technical perspective, but from a more philosophical one, drawing both on my digital and artistic backgrounds. In 2026, the fourth version of my programme entitled \u201cContent Creation in the Age of AI\u201d will be delivered to all the students of the Omnes Education Group. A previous video was recorded in 2024 on that subject, and a serious refresh was needed. I have therefore gathered enough hindsight to learn more about the impact of AI, especially on music and the creative arts. And I decided to focus on just three things, to avoid getting lost in too broad a subject. First, <\/i>the seeming popularity of AI artists on streaming platforms like Spotify<\/i>, taking the example of an act called Breaking Rust.<\/i> Second, the Stanford GSB study on visual arts<\/i> and the impact of AI on creators<\/i>. Third, my own thoughts and conclusions <\/i>based on the above.<\/p>\n\n\n\n

Has AI Stifled Creativity? A 2024-2026 Perspective<\/h2>\n\n\n\n
\"AI
AI and Creativity and manufactured popularity, because such things exist as well. <\/figcaption><\/figure>\n\n\n\n

In 2024, I asked myself the question, \u201cWill AI stifle all creativity?\u201d as part of my Shift24 programme designed especially for Omnes Education Group. This programme cannot be shared online, but my colleagues at Omnes were kind enough to let me publish this wee piece for the benefit of my readers and followers, and I wish to thank them warmly for this as well as their renewed support these past four years. <\/span><\/p>\n\n\n\n\n\n\n\n

In this video dedicated to \u2018creativity\u2019, drawing on Merriam-Webster, I distinguished innovation from invention and chose to focus on invention, specifically in music, a topic not yet covered in earlier courses.<\/p>\n\n\n\n

I then illustrated this with Suno, which could churn out up to 900,000 pieces of music a day as early as 2024 (far outpacing Bach’s 1,128 compositions over a 65-year lifetime). Hence, I shared a song I had generated myself, “The Dying Cyberspace.” I won\u2019t say that I\u2019m proud of this song, but at least I had great fun generating it, and it was instant gratification. All this was raising questions related to the value of musical creation, the risk of creative stagnation, and the thorny issue of intellectual property, since these AIs are trained on centuries of human-created music. So far, nothing new under the sun. Almost every other journalist must have written the same story for the past three years. <\/span><\/p>\n\n\n\n

However, I thought it lacked a bit of perspective. I then tempered the novelty of the phenomenon by pointing to historical precedents: Gershon Kingsley’s “Popcorn” (1969), Zoe Keating’s loop-based compositions (one example amongst many others), and Google’s Project Magenta as far back as 2016. These are mere examples. I decided to keep it short, but there has been no shortage of technology-backed creativity in music these past 50 years or more. Think of the late Klaus Schultze and his pals from Ash Ra Temple, Tangerine Dream, Kraftwerk, and all the so-called Krautrock school of thought to start with, not mentioning the new wave movement from the 1980s. <\/span><\/p>\n\n\n\n

I also cited Wim Mertens, Philip Glass, Laurie Anderson, and German artists like Nils Frahm, who blended electronic and acoustic elements long before GenAI. The real difference today, I argued, is one of scale: such tools are now in everyone’s hands<\/strong>. Be it to create music of the ilk of the Dying Cyberspace or more ambitious AI-produced work like this entire fake Pink Floyd album<\/a>, which didn\u2019t sell as well as The Dark Side of the Moon or Wish You Were Here. <\/p>\n\n\n\n