Human Creativity: The Fluidity of Ideas in Contrast With Machines
What makes human thought so remarkably flexible, inventive, capable of crossing invisible boundaries to transform one idea into another? At a time when artificial intelligence is advancing at high speed, this question feels almost urgent. Because while machines excel at reproducing, combining, or analyzing information, there remains within us something—an intimate, delicate, singular movement—that seems to escape them, to resist them.
Writer and scientist Douglas Hofstadter has attempted to grasp this elusive quality. In Metamagical Themas, he introduces the concept of “slippability,” the uniquely human way ideas subtly deform themselves, shifting from one meaning to another—sometimes humorously, sometimes unexpectedly.
Our thoughts, he explains, “slide” naturally along certain conceptual dimensions and resist others. A single concept will metamorphose differently depending on who receives it. Slippability is therefore not merely a mental mechanism: it is a living movement, nourished by each person’s history, emotions, and experiences.
Talent: Less a Gift Than a Momentum
Talent has long been imagined as a mysterious gift bestowed upon a chosen few. Artistic talent, for example, can manifest in countless forms: painting, music, writing, theater, dance. It is a spark that ignites creativity and drives each person to express themselves in a unique and personal way.
In its simplest sense, having talent means accomplishing with ease what most people find difficult.
But contemporary research offers a more human view: talent exists, yes, but it flourishes only when nurtured by a deeply human gesture—intentional practice.
This practice, far from mechanical repetition, requires focus, perseverance, and above all the willingness to push beyond one’s own limits. It shapes the technical skills that form the raw material of creative expression.
Yet technique alone is not enough. Inner attitude matters just as much: openness, curiosity, the courage to explore. And above all, intrinsic motivation—the intimate pleasure one feels while creating, even when no one is watching, even without any expectation of reward.
As Teresa Amabile (Harvard Business School) has shown, we are more creative when the activity itself feels stimulating and fulfilling. Passion creates a virtuous cycle: generating ideas boosts mental energy, which strengthens motivation and, in turn, facilitates the emergence of new ideas.
Divergent Thinking: Opening the Space of Possibility
One of the most visible aspects of creativity is divergent thinking: the ability to imagine multiple solutions, to move away from the obvious answer and explore unexpected pathways. The work of J.P. Guilford and E. Paul Torrance has shown that this form of thinking relies on fluency, flexibility, originality, and the capacity to elaborate on an idea.
What is fascinating is how closely divergent thinking resembles the movement described by Hofstadter. The human mind does not simply jump from one concept to another—it lets ideas transform, echo, contradict one another, and ultimately open a new space. An idea is not merely thought; it evolves, gains nuance and color, and gently glides toward another.
Why Machines Do Not Glide as We Do
Artificial intelligence systems can imitate, combine, and produce. They can even, at times, surprise us. And yet, they do not “glide.” Their creativity is the outcome of massive statistical computation; nothing is born from a bodily sensation, a childhood memory, a fleeting doubt, or a vivid emotion.
Where a human transforms an idea because a word evokes a scent, a silence, a meeting, the machine remains confined within a network of probabilities. Its fluidity is mathematical. Ours is alive.
Perhaps this is where the deepest difference lies. Human thought does not simply manipulate concepts—it inhabits them, connecting them to a personal experience of the world. Slippability reflects this embodiment. It makes creativity not a mechanism but an inner movement, a sensitive glide between logic and intuition.
About the author: Adelina von Fürstenberg, recipient of the Golden Lion at the 56th Biennale of Venice, is a Swiss curator specializing in contemporary art and the founder of Art for the World, based in Geneva and Milan. Established in 1996, the NGO serves as a platform dedicated to art, culture, and the ecosystem. It is inspired by Article 27 of the Universal Declaration of Human Rights: “Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits.”
Sources and Essential References:
Amabile, T. M. (2012). Componential Theory of Creativity. Harvard Business School.
Hofstadter, D. (1985). Metamagical Themas: Questing for the Essence of Mind and Pattern. Basic Books.
Guilford, J. P. (1950). “Creativity.” American Psychologist, 5(9), 444–454.
Torrance, E. P. (1974). Tests of Creative Thinking. Personnel Press.