08 :: ? A DIGITAL ART PERSPECTIVE In the age of the 4th Industrial Revolution (4IR) (Xing and Marwala, 2017), many countries (Shah et al., 2015; Ding and Li, 2015), are setting out an overarching goal of building/securing an “innovation-driven” economy. As innovation emphasizes the implementation of ideas, creativity is typically regarded as the first stage of innovation in which generating ideas becomes the dominant focus (Tang and Werner, 2017; Amabile, 1996; Mumford and Gustafson, 1988; Rank et al., 2004; West, 2002). In other words, if creativity is absent, innovation could be just luck. Though creativity can be generally understood as the capability of producing original and novel work or knowledge, the universal definition of creativity remains rather controversial, mainly due to its complex nature (Tang and Werner, 2017; Hernández-Romero, 2017). But putting it informally, by famous innovator Steve Jobs in 1995, we can think creativity like this way (Sanchez-Burks et al., 2015): “Creative people [are] able to connect experiences they’ve had and synthesize new things.” Artists are among the most creative people who take advantage of their senses all the time. By observing the surroundings, they continuously collect various raw material, which can be utilised later in their creative process. On the other hand, one may notice the buzzword of artificial intelligence (AI for short), which, for now, can be broadly classified into three categories, namely, narrow AI, AGI (artificial general intelligence), and conscious AI (Wang and Goertzel, 2012). Currently active AI technologies mainly fall within the first group, i.e., narrow AI. In this article, we attempt to use the digital art (Colson, 2007) – art in which digital technology stays at the centre of its creative process – as an Opposite :: Mask, white, robot Photo :: Siyan Ren CREATIVITY AND ARTIFICIAL INTELLIGENCE