Creativity and Advertising is unlikely to be the ﬁnal or authoritative account on creativity, and nor does it seek to be. It is hoped however that the new insights generated on creativity and their relationship to advertising might be applied, amended, expanded, overturned or connected to others’ analytical and/or practice-based endeavours. Indeed, in the spirit of pragmatism, the point of this book has been to facilitate new ways of looking at advertising and creativity, particularly in relation to thinking of these in terms of events and machines, and that which is locally, sensationally and aﬀectively engaged with. Such a renewal of how we think about advertising has been overdue for some time, not least because co-creative developments and deeper interest in media aﬀordances by practitioners foreground limitations of critical textual endeavours. In summing up and oﬀering ﬁnal remarks on what has been covered, this ﬁnal chapter is framed in terms of the two propositions about creativity and advertising made in Chapter 1. These respectively stated that: (1) creativity in advertising is not just representational but sensational; (2) creativity involves acts of will in situations without clear determinates.