Imitation is more integral than repetition in generating novel creative directions

Imitation engages with the underlying principles or “spirit” of what’s being created, permitting a deeper understanding than mere repetition, through interpretation and transformation.

What we imitate, we translate, and in applying our own experiences, understanding, and abilities we create something necessarily new. This reinterpretation has the potential to reach further toward some underlying truth of the original work.

Imitation is a kind of distributed iteration, and iteration is the way of integral creativity, an integrity that avows its influences and situates itself in the cannon of creative work, of prior art.

By contrast, the association of the creative act and the mythology of genius is a disingenuous disavowal of influence, a sleight of hand that robs the world of the seeds of wonder.

Whereas in Europe the height of originality is genius, in America the height of originality is skill in concealing origins.
— Robert Littell, Raspberries from England, The New Republic, 1927, p. 74

Great musicians imitate their heroes, absorbing that spirit of improvised expression, of play, with which great work can be pursued.

The masters of the Renaissance learned by imitating classical works, but produced something new for their time, something distinctly of their context.

Imitation — in every creative endeavour — above all allows for evolution and mutation of ideas through time and across disciplines/contexts, leading to novel combinations and the making of new meaning.