Creativity between nihilism and the search for meaning: Zeitgeist and creative innovation in body art

DOI: https://doi.org/10.3846/cs.2025.17458

Abstract

A recent tattoo style, the sticker sleeve, brings with it some peculiarities: for example, unlike other styles, the focus seems to be less on originality or artistry. Further, the motifs integrated often imply almost incompatible messages, from spirituality and the search for meaning to the denial of meaning. Based on content analysis and interviews, the article explores what this style reveals about creativity and the Zeitgeist. One can interpret this in the tradition of nihilism as a denial of meaning or as a general instead of concrete concept of meaningfulness. Furthermore, it can be seen as a symbol for a creative way of dealing with cognitive dissonance. A complicated relationship to individuality is articulated, on the one hand the overcoming of the desire for unconditional individuality in favor of the recognition of shared human features, on the other hand the call to look behind the surface and recognize individual meanings behind shared looks.

Keywords:

dissonance, meaningfulness, nihilism, tattoos, Zeitgeist

How to Cite

Jerrentrup, M. (2025). Creativity between nihilism and the search for meaning: Zeitgeist and creative innovation in body art. Creativity Studies, 18(1), 301–318. https://doi.org/10.3846/cs.2025.17458

Share

Published in Issue
June 12, 2025
Abstract Views
32

References

Abels, H. (2010.) Identität. Lehrbuch [Identity. Study book]. VS Verlag für Sozialwissenschaften. https://doi.org/10.1007/978-3-531-92007-8

Abels, H. (2017). Identität. Über die Entstehung des Gedankens, dass der Mensch ein Individuum ist, den nicht leicht zu verwirklichenden Anspruch auf Individualität und Kompetenzen, Identität in einer riskanten Modernen zu finden und zu wahren [On the emergence of the idea that humans are individuals, the difficult-to-achieve claim to individuality and competence, and finding and maintaining identity in a risky modern world]. VS Verlag für Sozialwissenschaften. https://doi.org/10.1007/978-3-658-14155-4

Ableman, D. (2018). This tattoo artist reveals exactly why your tattoo doesn’t need to have meaning. Glamour. https://www.glamourmagazine.co.uk/gallery/why-tattoos-dont-need-to-have-meaning

Agha, A. (2007). Studies in the social and cultural foundations of language. Language and social relations (Vol. 24). Cambridge University Press.

Altheide, D. L. (1987). Reflections: Ethnographic content analysis. Qualitative Sociology, 10, 65–77. https://doi.org/10.1007/BF00988269

Amaro, A. (2015). The view from the centre. Amaravati. https://amaravati.org/the-view-from-the-centre/

AXA ART. (2014). Collecting in the digital age: International collectors survey by AXA ART. AXA ART Versicherung AG.

Baudrillard, J. (1994). Simulacra and simulation. The University of Michigan Press. https://doi.org/10.3998/mpub.9904

Baudrillard, J. (1993). Symbolic exchange and death. SAGE Publications.

Brandes, K. (2010). Fotografie und “Identität”. Visuelle Repräsentationspolitiken in künstlerischen Arbeiten der 1980er und 1990er Jahre [Photography and „Identity“. Visual representaton in artistic works of the 1980s and 1990s]. Transcript. https://doi.org/10.1515/transcript.9783839415863

Bryan, B. (2017). Meet the Italian artists inking museum-worthy tattoos. Vice. https://www.vice.com/en/article/marco-manzo-italian-artist-museum-tattoos/

Camus, A. (2000). Der Mythos des Sisyphos [The myth of Sisyphus]. Rowohlt Taschenbuch.

Carroll, N. (2001). Formalism. In B. Gaut & D. McIver Lopes (Eds.), The Routledge companion to aesthetics (pp. 87–96). Routledge. https://doi.org/10.4324/9780203390795_chapter_9

Dey, A., & Das, K. (2017). Why we tattoo? Exploring the motivation and meaning. Anthropology, 5(1). https://doi.org/10.4172/2332-0915.1000174

Dissanayake, E. (1988). What is art for? University of Washington Press.

Dollinger, S. J., & Clancy Dollinger, S. (2017). Creativity and identity. In M. Karwowski & J. C. Kaufman (Eds.), Explorations in creativity research. The creative self: Effect of beliefs, self-efficacy, mindset, and identity (pp. 49–64). Elsevier. https://doi.org/10.1016/B978-0-12-809790-8.00003-0

Dyer, H. T. (2020). Cultural studies and transdisciplinarity in education. Designing the social: Unpacking social media design and identity (Vol. 11). A. Koh & V. Carrington (Eds.). Springer Natured. https://doi.org/10.1007/978-981-15-5716-3

Elliott, A. (2015). Identity troubles: An introduction. Routledge. https://doi.org/10.4324/9780203402221-5

Feelfarbig. (2019). Wannado, Flash oder Custom Tattoo? Wir erklären den Unterschied! [Wannado, flash, or custom tattoo. We explain the difference!]. Feelfarbig. https://feelfarbig.com/beginners/wannado-flash-custom-tattoo/

Festinger, L. (2012). Theorie der kognitiven Dissonanz [Theory of cognitive dissonance]. Psychologie. Klassiker. Huber.

Foucault, M. (1980). Power/knowledge: Selected interviews and other writings, 1972–1977. C. Gordon (Ed.). Pantheon Books.

Gbenga Adelowo, E., & Adekunle Babalola, S. (2021). Tattoo artwork of body decoration among the football players: Glamour, effects, excitements and performance. Trailblazer International Journal of Educational Research, 2(1), 139–145.

Geertz, C. (1987). Dichte Beschreibung. Beiträge zum Verstehen kultureller Systeme [Thick description. Contributions to the understanding of cultural systems]. Suhrkamp.

Gladwell, H. (2019). Can people please stop insisting tattoos have to have meaning? Metro. https://metro.co.uk/2017/09/23/can-people-please-stop-insisting-tattoos-have-to-have-meaning-6947845/

Grierson, E. (2011). Art and creativity in the global economies of education. Educational Philosophy and Theory, 43(4), 336–350. https://doi.org/10.1111/j.1469-5812.2009.00550.x

Grumet, G. W. (1983). Psychodynamic implications of tattoos. American Journal of Orthopsychiatry, 53(3), 482–492. https://doi.org/10.1111/j.1939-0025.1983.tb03392.x

Gündüz, U. (2017). The effect of social media on identity construction. Mediterranean Journal of Social Sciences, 8(5), 85–92. https://doi.org/10.1515/mjss-2017-0026

Heidegger, M. (1967). Der Europäische Nihilismus [The European nihilism]. Neske.

Heidegger, M. (2002). Was heißt Denken? [What does thinking mean?]. Gesamtausgabe. I: Abteilung. Veröffentlichte Schriften, 1910–1976. (Band 8). P.-L. Coriando (Hrsg.). Vittorio Klostermann.

Henry, T. (1984). Punk and avant-garde art. The Journal of Popular Culture, 17(4), 30–36. https://doi.org/10.1111/j.0022-3840.1984.1704_30.x

Hirsch, M. (2012). The generation of postmemory: Writing and visual culture after the Holocaust. Colombia University Press. https://doi.org/10.7312/hirs15652

Husserl, E. (1999). Philosophische Bibliothek. Erfahrung und Urteil. Untersuchungen zur Genealogie der Logik [Philosophical library. Experience and judgment. Investigations into the genealogy of logic]. Meiner.

Jakaza, E. (2022). Identity construction or obfuscation on social media: A case of Facebook and WhatsApp. African Identities, 20(1), 3–25. https://doi.org/10.1080/14725843.2020.1804829

Jerrentrup, M. T. (2022). Gaining and losing control: Tattoos and interpretive sovereignty. Signs and Society, 10(1), 1–16. https://doi.org/10.1086/717559

Kang, M., & Jones, K. (2007). Why do people get tattoos? Contexts, 6(1), 42–47. https://doi.org/10.1525/ctx.2007.6.1.42

Kierstein, L., & Kjelskau, K. C. (2015). Tattoo as art, the drivers behind the fascination and the decision to become tattooed. In J. Serup, N. Kluger, & W. Bäumler (Eds.), Current problems in dermatology. Tattooed skin and health (Vol. 48, pp. 37–40). P. Itin & G. B. E. Jemec (Eds.). Karger. https://doi.org/10.1159/000369180

Kosut, M. (2000). Tattoo narratives: The intersection of the body, self-identity and society. Visual Sociology, 15(1), 79–100. https://doi.org/10.1080/14725860008583817

Kosut, M. (2014). The artification of tattoo: Transformations within a cultural field. Cultural Sociology, 8(2), 142–158. https://doi.org/10.1177/1749975513494877

Krause, R. (1972). Das wissenschaftliche Taschenbuch. Kreativität. Untersuchungen zu einem problematischen Konzept [The scientific pocketbook. Creativity. Investigations into a problematic concept]. (Band 6). Wilhelm Goldmann Verlag.

Krause, M. (2019). What Is Zeitgeist? Examining period-specific cultural patterns. Poetics, 76. https://doi.org/10.1016/j.poetic.2019.02.003

Leader, K. J. (2017). Occupy your body: Activating 21st-century tattoo culture. The Journal of Somaesthetics, 3(1–2), 44–57.

Lyotard, J.-F. (1989). Das Inhumane. Plaudereien über die Zeit [Theinhumane. Chats about time]. (Band 28). P. Engelmann (Hrsg.). Edition Passagen. Passagen Verlag.

Magnus, B. (1970). Heidegger’s metahistory of philosophy: Amor Fati, being and truth. Martinus Nijhoff. https://doi.org/10.1007/978-94-017-4879-7

Merleau-Ponty, M. (2004). Das Sichtbare und das Unsichtbare. Gefolgt von Arbeitsnotizen [The visible and the invisible. Followed by working notes]. Wilhelm Fink Verlag.

Merleau-Ponty, M. (1966). Phänomenologie der Wahrnehmung. Phänomenologisch-psychologische Forschungen [Phenomenology of perception. Phenomenological-psychological research]. (Band 7). De Gruyter. https://doi.org/10.1515/9783110871470

Mickūnas, A. (2004). The feminine. Lituanus: Lithuanian Quarterly Journal of Arts and Sciences, 50(2). https://www.lituanus.org/wp-content/uploads/2025/01/3-The-Femenine-Algis-Mickunas.pdf

Milligan, A. K. (2019). American Bodylore and folk dress. In S. J. Bronner (Ed.), The Oxford handbook of American folklore and folklife studies (pp. 452–469). Oxford University Press. https://doi.org/10.1093/oxfordhb/9780190840617.013.20

Muelder Eaton, M. (2004). Art and the aesthetic. In P. Kivy (Ed.), Blackwell philosophy guides. The Blackwell guide to aesthetics (pp. 63–77). Blackwell Publishing. https://doi.org/10.1002/9780470756645.ch3

Oergel, M. (2019). Culture and conflict. Zeitgeist – How ideas travel: Politics, culture and the public in the age of revolution (Vol. 13). De Gruyter. https://doi.org/10.1515/9783110631531

Oksanen, A., & Turtiainen, J. (2005). A life told in ink: Tattoo narratives and the problem of the self in late modern society. Auto/Biography, 13, 111–130. https://doi.org/10.1191/0967550705ab021oa

Patterson, M. (2018). Tattoo: Marketplace icon. Consumption Markets and Culture, 21(6), 582–589. https://doi.org/10.1080/10253866.2017.1334280

Petrova, A., Bakardzhiev, I., Dobreva, Ch., Gesheva, D., Stancheva, M., Dimitrova, D., & Laskova, S. (2019). Tatuirovkata – izkustvo ili moda [Tattooing – an art or fashion]. Varnenski medicinski forum, 8, 111–113.

Prinz, J. (2014). The aesthetics of punk rock. Philosophy Compass, 9(9), 583–593. https://doi.org/10.1111/phc3.12145

Read, B. (2024). Countries whose residents have the most tattoos: Percentage of population that has at least one tattoo. WorldAtlas. https://www.worldatlas.com/society/which-country-s-residents-have-the-most-tattoos.html

Reilly, R. C. (2008). Is expertise a necessary precondition for creativity? A case of four novice learning group facilitators. Thinking Skills and Creativity, 3(1), 59–76. https://doi.org/10.1016/j.tsc.2008.02.002

Rocamora, A., & Smelik, A. (2015). Thinking through fashion: An introduction. In A. Rocamora & A. Smelik (Eds.), Thinking through fashion: A guide to key theorists (pp. 1–27). I.B. Tauris. https://doi.org/10.5040/9780755694785.ch-001

Santos, X. (2009). The Chicana canvas: Doing class, gender, race, and sexuality through tattooing in East Los Angeles. NWSA Journal, 21(3), 91–120.

Sastre Cifuentes, A. (2011). Cuerpos que narran: la práctica del tatuaje y el proceso de subjetivación [Bodies that narrate: the practice of tattooing and the process of subjectivation]. Diversitas: Perspectivas en Psicología, 7(1), 179–191. https://doi.org/10.15332/s1794-9998.2011.0001.12

Schönhuth, M. (2005). Glossar Kultur und Entwicklung: ein Vademecum durch den Kulturdschungel. Trierer Materialien zur Ethnologie [Glossary culture and development: A vademecum through the cultural jungle. Trier materials on ethnology]. (Band 5). GTZ/DEZA.

Schuster, M. (2015). Alltagskreativität: Verstehen und entwickeln [Everyday creativity: Understanding and developing]. Springer Spektrum. https://doi.org/10.1007/978-3-662-47026-8

Sheets-Johnstone, M. (2009). The corporeal turn: An interdisciplinary reader. Imprint Academic.

Sizer, L. (2020). The art of tattoos, British Journal of Aesthetics, 60(4), 419–433. https://doi.org/10.1093/aesthj/ayaa012

Synnott, A. (1992). Tomb, temple, machine and self: the social construction of the body. The British Journal of Sociology, 43(1), 79–110. https://doi.org/10.2307/591202

The Nietzsche Channel. (2025). Nachlass. Sommer 1886 – Herbst 1887 5 [1–110] [Estate. Summer 1886 – autumn 1887 5 [1–110]]. http://www.thenietzschechannel.com/notebooks/german/nache/nache5.htm

Tseëlon, E. (2015). Jean Baudrillard: Post-modern fashion as the end of meaning. In A. Rocamora & A. Smelik (Eds.), Thinking through fashion: A guide to key theorists (pp. 215–232). I.B. Tauris. https://doi.org/10.5040/9780755694785.ch-013

Vachhani, Sh. J. (2013). (Re)Creating objects from the past – affect, tactility and everyday creativity. Management and Organizational History, 8(1), 91–104. https://doi.org/10.1080/17449359.2013.750052

Vattimo, G. (2009). Nihilism as emancipation. Cosmos and History: The Journal of Natural and Social Philosophy, 5(1), 20–23.

Vincent, Y., & Lannegrand, L. (2022). The role of social media emotional experiences in identity construction: Exploring links between micro-identity processes. Identity: An International Journal of Theory and Research, 22(1), 65–81. https://doi.org/10.1080/15283488.2021.2012181

Walia, Ch. (2019). A dynamic definition of creativity. Creativity Research Journal, 31(3), 237–247. https://doi.org/10.1080/10400419.2019.1641787

Watzlawick, P., Beavin, J. H., & Jackson, D. D. (2007). Menschliche Kommunikation. Formen, Störungen, Paradoxien [Human communication. Forms, disturbances, paradoxes]. Huber.

Wehrle, M. (2020). Being a body and having a body. The Twofold temporality of embodied intentionality. Phenomenology and the Cognitive Sciences, 19, 499–521. https://doi.org/10.1007/s11097-019-09610-z

Weller, Sh. (2010). Modernism and nihilism [(Black) Dada nihilism]. Palgrave-Macmillan. https://doi.org/10.1057/9780230294622

Winiger Østrup, P. (2020). (Black) Dada nihilismus. Cabaret Voltaire. https://www.cabaretvoltaire.ch/blog/black-dada-nihilismus

Wohlrab, S., Stahl, J., & Kappeler, P. M. (2007). Modifying the body: Motivations for getting tattooed and pierced. Body Image, 4(1), 87–95. https://doi.org/10.1016/j.bodyim.2006.12.001

Wolfgang, A., & Kwon, O. (2019). The semicolon tattoo. The American Journal of Psychiatry: Residents’ Journal, 14(4), Article 3. https://doi.org/10.1176/appi.ajp-rj.2019.140402

Wulf, Ch. (2006). Global Studies. Anthropologie kultureller Vielfalt. Interkulturelle Bildung in Zeiten der Globalisierung [Global studies. Anthropology of cultural diversity. Intercultural education in times of

globalization]. Transcript Verlag. https://doi.org/10.1515/9783839405741

Young, K. (1994). Whose body? An introduction to Bodylore. The Journal of American Folklore, 107(423), 3–8. https://doi.org/10.2307/541069

View article in other formats

CrossMark check

CrossMark logo

Published

2025-06-12

Issue

Section

Articles

How to Cite

Jerrentrup, M. (2025). Creativity between nihilism and the search for meaning: Zeitgeist and creative innovation in body art. Creativity Studies, 18(1), 301–318. https://doi.org/10.3846/cs.2025.17458

Share