The language in which I was born, the language in which I spoke my first words, expressed my first thoughts, doubts, fears and desires, the language in which I dream and talk to my real and imagined characters and phenomena, helped me in interpreting the idea of ​​creation and creativity. I began the interpretation with the relationship between the word “real” (stvarno) and the negation of the real, which passes into the opposite meaning - “unreal” (nestvarno). The word creativity is made up of the word “stvara” (creates, brings) and a suffix. Thus, we have combinations such as Stvara(n) - Stvara(ti) - Stvara(laštvo) in Bosnian language.

Real is everything that is accessible to physical receptors, everything that is created, observable and tactilely tangible. (Un)real is everything that is the opposite, an idea or thought, unreal is everything that is outside the wall of physical appearance. Creativity could thus be characterised as a process by which the unreal (thought, idea, feeling) is translated and brought, realised and born in the form of reality, real, observable and tangible to the senses. The one who deals with this process of translating the unreal into the real becomes a creator - he creates real things by bringing them from the antechamber of imagination into reality.

Creativity has always been the basic activity of all human communities. Going back through history (however hazy and, I dare say, untrue it may be) from the earliest days, wherever they started, in heaven, hell, cave, water or desert, he, the man, needed imagination with which to connect the two invisible dots of a rebus or problem, he had to think, imagine, then make and try to use and test his work, his invention. Described by official history, that man would have to design, make, and then hunt, frighten another individual or animal, warm himself, cover, protect, fence or shelter. For us "people from the future" it all sounds primitive, backward and naive, but it could be the pinnacle of creativity, while the life of these people could be more real and more realistic than all our prefabricated lives combined. Why? Because creativity was used exclusively for life and daily life needs, life was thus the only form or medium of creativity, completely unlimited by time, laws, norms and forms.

The turning point in survival, when objects and things ceased to have exclusively useful value and became stylised and beautiful, the moment when objects began to be decorated and additionally stylised, is also unclear to official history, which interprets such phenomena linearly, through historical periods through which human communities passed. Problems arise when examples appear that jump out of the agreed canon. One of these examples can be Vinča culture. People from the distant past are reduced to the level of mere survival. However, the Vinča culture completely refutes this theory. This community of people that existed in the late Neolithic period went beyond the purely utilitarian value of the objects they used. In a period that official history describes as complete zero in every respect, there was a civilization that had writing, that knew several ways of extracting copper from the earth, a civilization that used copper, urban dwellings with central heating, spoons, forks, hooks, hairpins and other body ornaments made of copper, plates, jugs, cloth. Necropolises in Bosnia and Herzegovina and Dalmatia, so-called pre-civilisation cities like Daorson, folk costumes, carpets and embroideries, patterns as a motif that in all its hidden symbolism was passed down from generation to generation and a complete, perfect play of creators with each created object. These are the moments when the first true designs were created, while the creators - designers as we call them today - were part of a large network of creativity whose sole aim was to maintain the visual, as well as the ethical and aesthetic harmony of the entire society. (Isn't creativity, in whatever form it comes, supposed to be today?)

All the listed things far exceed the useful values ​​for which they were created. On the contrary, I dare to say it, they expressed the sacred rules of the cosmos and harmony. These items were created to make everyday life easier, but also to remind and draw attention to the fact that life is much more than survival. We should not forget the intangible creativity in music, folk proverbs, fairy tales and fables, traditions originating from collective experience and aimed at teaching about morality, ethics, justice and (sacred, natural) law and balance.

Creativity as a pattern of human engagement throughout its entire existence in spiritual and material form represents the most important detail and the only (normal) constant of human life throughout its history. This and that type of creativity was devoid of monetisation, it was there to aesthetically magnify and exalt already existing, functional objects. This type of creativity did not think about the outcome, success or market value of the creation. It simply existed, just as nature, a flower, a river, the sun or a luxurious tree existed. Since it had no framework around it, it was not expected to achieve market success, dominance in the market or respect for predetermined norms and rules. Creativity was open to creative outcomes and ideas and in this way, completely liberated and close to the patterns of the aforementioned natural harmony.

Modern times, as we call everything from the industrial revolution to ours, technological (technocratic?), exclude individualism, harmony and holy error in creativity. This aims to limit and mold human activity and creativity, to make it binary and, contrary to free creativity, to monetize it. Thus, in mass production, an individual is required to improve only in one area. The mass production of the modern era seeks a foothold in new myths and thus begins to fabricate a whole system of new values, from needs, behavior, education, to a new social organization that emphasizes the collective, collective thinking, collective goals and interests. In this collective pen, man is slowly, collectively, deprived of all his natural rights. Healthy air, food, a healthy environment, water, healthy relationships with others, regardless of whether they are people, nature or animals. The social pen has become toxic over time, representing a legal and lawful deprivation of freedom. Like the Marxist idea that an individual (and thus the collective as a whole) should work eight hours, sleep eight and live the remaining eight. (We can look at this detail with sadness, I admit, because these values ​​have changed greatly today: we work much more while sleeping or living less, so I ask the logical question, was all this the goal?). Legal and legitimate, lifelong deprivation of freedom.

More expensive living conditions and costs, uncertainty, absurd wars and mass murders, twisted world leaders, prevent the creative, spiritual development of society and individuals in it. The civil technology we use today expands the idea of ​​a collective pen because we use it during our entire waking state, during those Marxist eight working or non-working hours, technology today "works for us" even when we sleep. Advertised as a technology of progress and innovation, before our eyes it becomes a technology of occupation because it is everywhere, in our pockets, on our hands, in houses, in cars. The emergence of artificial intelligence has openly characterized the plan of the "latest" technological achievement. We are not wanted to think, reflect, research, we are trained and taught that someone else will do it for us. We are discouraged from creating and achieving through mistakes and imperfections. We are discouraged from pushing our personal (and collective) boundaries any further. Modern man in today's modern collective pen is taught that he should not create, achieve or personally progress.

Man today is not only advised to stop being a man, a creator, a saint and a part of the sacred creative nature that still surrounds him, he is trained, taught and prepared to become technologically redundant, but not in the company he works for or in the profession he is engaged in. Man is becoming technologically redundant on planet earth. Creativity, together with the aspiration for freedom and freedom of expression, represents one of the last bastions of defense.