Creativity by definition produces something new. In the 20th century this newness was characterised by an art practice that turned on cultural institutions and, rather than bolstering their entitlement to power, critiqued and in many cases abandoned them.
The endurance of the form of story telling and the compulsion to tell them suggests that telling stories is not merely an entertainment, an optional extra, which we can chose to engage with or not, but a fundamental aspect of being.
In his cross cultural study of the perception of emotions, David Matsumoto used four dimension of culture that offer clues to the understanding of, and possible explanations for the diversity of responses between cultures.
The interior of the contemporary art gallery provides its users with a sterilised laboratory for the placement and experience of art. Increasingly, its bleached interior presents an a priori condition for the legitimate assignment of artworks within the complex milieu of the contemporary city.