Digital
The stance of creativity in the age of AI
Mumbai: Artificial intelligence (AI) is transforming the world in unprecedented ways. It is enabling new possibilities and opportunities for humans in various domains, such as health, education, business, entertainment, and more. According to a recent report by PwC, AI could contribute up to $15.7 trillion to the global economy by 2030, with $6.6 trillion coming from increased productivity and $9.1 trillion coming from increased consumption. But what does AI mean for human creativity? Can machines and AI be creative? And how can humans collaborate with AI to enhance their own creativity?
What is AI creativity?
AI creativity refers to the ability of AI systems to generate novel and valuable outputs, such as text, images, music, or code, that can be considered creative by human standards. AI creativity can be seen as a form of computational creativity, which is the study and modelling of human creativity using computers.
AI creativity can be classified into two types: imitative and generative.
● Imitative AI creativity is when AI systems learn from existing data and reproduce or modify it in some way. For example, AI can imitate human writing styles, artistic styles, or musical genres by analysing large datasets of text, images, or audio.
● Generative AI creativity is when AI systems produce new and original outputs that are not based on existing data. For example, AI can generate realistic faces of people who do not exist, create new artworks that do not resemble any known style, or compose new melodies that are not influenced by any musical tradition.
Can machines and AI be creative?
The answer to whether machines and AI can be creative depends on how we define and measure creativity, which is a subjective and context-dependent concept. Some researchers have proposed criteria or tests for evaluating AI creativity, such as novelty, surprise, value, intentionality, or aesthetics. However, these criteria are not universally agreed upon or applicable to all domains and situations.
One way to approach the question is to compare AI creativity with human creativity. Humans are often considered the ultimate creative beings, capable of producing original and valuable ideas that can change the world. However, human creativity is not unlimited or flawless. It is influenced by cognitive biases, social norms, cultural backgrounds, personal preferences, and environmental factors. Humans also rely on existing knowledge, information, and inspiration to fuel their creative process.
Therefore, it may be more appropriate to say that machines and AI can exhibit some aspects of creativity rather than being fully creative. AI systems can perform certain creative tasks better than humans in some domains and situations, but not in others. AI systems can also complement human creativity by providing new tools, data sources, feedback mechanisms, or collaboration partners for humans.
How can humans collaborate with AI to enhance their own creativity?
The most promising scenario for AI creativity is not one where machines replace humans, but one where machines augment humans. Instead of thinking about AI as a competitor or a threat to human creativity, it is beneficial to examine ways that AI can be used as a tool to augment human creativity.
Here are some examples of how AI can boost the creativity of humans in various domains:
● In art, AI can help artists create new forms of expression, such as interactive installations, generative art, or robot art.
● In music, AI can help musicians compose new songs, generate lyrics, remix tracks, or improvise live performances.
● In writing, AI can help writers generate new stories, characters, dialogues, or headlines.
● In design, AI can help designers create new logos, icons, fonts, or layouts. AI can also help designers optimise their designs for different criteria.
● In education, AI can help learners develop their creativity skills by providing personalised feedback, adaptive challenges, or gamified environments.
“AI isn’t a rival in the realm of digital advertising but an essential partner to human creativity. In my perspective, this collaboration transcends competition and blends human inventiveness with AI’s data-driven insights, creating advertising strategies that resonate deeply with audiences. Human creativity and AI together can shape a more effective, efficient, and considerate advertising landscape, pushing the boundaries of creativity and technology, enriching both the industry and society.”
Conclusion
AI is changing the landscape of creativity in the age of AI. AI systems can exhibit some aspects of creativity, such as novelty, surprise, or value, but they are not fully creative by human standards. AI systems can also augment human creativity by providing new tools, data sources, feedback mechanisms, or collaboration partners for humans. The future of creativity depends on how humans and AI can work together to co-create new and valuable outcomes that can benefit society.
(The article is authored by Wing Communications CEO Shiva Bhavani
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
