Factors of Creativity

1990 ◽  
Author(s):  
Steven Kim
Keyword(s):  
Creative Process ◽  
Visual Image ◽  
Essential Elements ◽  
Problem Solver ◽  
Functional Requirements ◽  
The Arts ◽  
Number Of Factors ◽  
Computer Based ◽  
Color Screens ◽  
Human Problem

The dictionary defines a factor as “something that actively contributes to the production of a result.” A number of factors may be attributed to the creative process and its final product. These factors are purpose, diversity, relationships, imagery, and externalization. The ingredients of creativity seem to be the same for diverse domains, from the arts to the sciences and social studies. The factors of creativity are depicted in Figure 4.1. These parameters refer to the purpose of the project, plus four others identified by diversity, relationships, imagery, and externalization. The second and third factors define the structure of the problem and its solution, while the last two relate to representation issues for generating the solution and expressing it in some form. The creative factors are listed in Table 4.1, along with their defining characteristics and prescriptive implications. The operational implications are described for both the human problem solver, as well as for the computer system that might be developed to assist in this task. For example, imagery relates to the development of ideas through sensory mechanisms, whether in actuality or in conception. The prescriptive implication is to generate a series of images in various formats, whether pictorial, auditory, or tactile. Of these, the most powerful vehicle is the visual image which can simultaneously represent numerous objects and their relationships. The operational implication for a computer-based system is a rich store of icons or pictorial images that may be depicted on color screens using versatile graphic techniques. The problem to be resolved defines the purpose of the creative process. The factor of purpose involves the distillation of a problem into its essential elements. This involves the identification of critical attributes and the elimination of extraneous features. For millennia people had yearned to fly. The existence of birds was proof that flight was possible. Man’s straightforward approach to achieving flight was to imitate aviary shapes and motions, especially wings and their flapping. But birds have functional requirements other than airborne motion, such as feeding, fleeing, and reproduction. It was not until the peripheral activities such as wing-flapping were ignored, that man could design a machine allowing him to attain active flight.

IMAJINASI KE IMAJINASI VISUAL FOTOGRAFI

2017 ◽  
Vol 12 (2) ◽  
pp. 91
Author(s):  
Edial Rusli
Keyword(s):  
Creative Process ◽  
Single Unit ◽  
Digital Images ◽  
Visual Image ◽  
Construction Process ◽  
Multiple Images ◽  
Artistic Process ◽  
Visual Imagination ◽  
Human Thought ◽  
The Media

AbstrakImaji visual fotografi merupakan media rekam visual yang objektif dan representatifkebenarannya dalam merekam suatu realitas. Revolusi teknologi menyebabkan perubahandari teknologi fotografi analog sebagai salah satu media yang menyatakan kebenaran ataubukti dan sebagai media yang representatif kebenarannya ke teknologi digital yang dapatmemungkinkan untuk merekayasa gambar digital melalui perangkat lunak. Teknologi digitaltelah menjadikan kebenaran dalam sebuah foto tidak lagi absolut. Akhirnya fotografi sebagaialat perekam imaji yang representatif kebenarannya semakin diragukan. Karena semakin sulituntuk membedakan foto asli atau palsu, bahkan sebuah foto asli bisa saja dikatakan sebagaihasil manipulasi. Penciptaan imajinasi visual fotografi ini dihasilkan dari suatu olah daya pikirmanusia. Dalam proses tersebut dibutuhkan suatu kreativitas dari penggabungan imaji-imajisebelumnya atau sekarang ini untuk diimajinasikan. Pemaknaan akan bergeser dari imaji visualfotografi menjadi imaji visual fotografi yang baru. Proses artistik imajinasi visual ini diciptakandengan didasarkan pada artistik yang berdasarkan imajinasi, artistik berdasarkan imajinasi danartistik didasarkan pada kombinasi antara kenyataan dan imajinasi. Penciptaan Imajinasi visualfotografi merupakan daya untuk mengonstruksi ataau menggabungkan kembali dari berbagaiimaji-imaji atau foto- secara imajinatif dan kreatif dengan persepsi yang menyertainya untukmenjadi imaji baru yang utuh, logis, dan mungkin terjadi dengan menggunakan teknik danefek fotografi. Proses mengonstruksi membutuhkan suatu kemampuan berimajinasi untukmenggabungkan dan menyatukannya untuk menjadi satu kesatuan (unity) yang utuh dalam satupermukaan gambar/imaji secara ekspresif dan imajinatif melalui proses estetis yang kreatifberdasarkan ciri personal penciptanya. Dengan demikian, hasil dari proses konstruksi tersebutsudah tidak tampak lagi imaji sebelumnya dan pemaknaannya sudah bergeser menjadi karyaimaji dengan pemaknaan baru.AbstractImage to Photography Visual Imagination. Visual image of photography is a visual recordingmedia which is objective and representative in revealing the truth when recording a reality. Thetechnology revolution led to the change in photography, from analog photographic technologyas one of the media for promoting truth or evidence and as media representing truth to thedigital technology which allow people to manipulate digital images through software. Digitaltechnology has made the truth in a photograph is no longer absolute. In the end, photographyas an images recording tool representing truth is doubted. It is getting harder and moredifficult to distinguish the original or fake photo, even an original photo can be said as aresult of manipulation.The creation of visual imagination photography is produced by thepower of human thought. The process requires a creativity of merging the previous or recentimages to imagine. The meanings will be shifted from visual image photography into a newvisual image photography. Visual imagination of the artistic process is created on the basisof artistic imagination, artistic imagination and artistic are based on a combination of realityand imagination.The creation of visual photography imagination is a power to construct orrecombine from multiple images or pictures imaginatively and creatively with the perceptionto be a whole new image, logical, and may occur with the use of techniques and photographiceffects. The process of constructing requires an ability of imagining to combine and unitethem into a single unit as a unity which is intact on s single surface of the picture/image,expressively and imaginatively through an aesthetic creative process based on the personalcharacteristics of the creator. By doing so, the construction process will no longer visible onthe former image and the meaning will shift into an image with a new meaning.

Synthetic Environments for Investigating Collaborative Information Seeking: An Application in Emergency Restoration of Critical Infrastructures

2015 ◽  
Vol 12 (3) ◽  
Author(s):  
David Mendonça ◽  
William A. Wallace ◽  
Barbara Cutler ◽  
James Brooks
Keyword(s):  
Information Seeking ◽  
Large Scale ◽  
Critical Infrastructure ◽  
Future Research ◽  
Critical Infrastructures ◽  
Close Collaboration ◽  
Number Of Factors ◽  
Computer Based ◽  
Collaborative Information Seeking ◽  
Post Disaster

AbstractLarge-scale disasters can produce profound disruptions in the fabric of interdependent critical infrastructure systems such as water, telecommunications and electric power. The work of post-disaster infrastructure restoration typically requires information sharing and close collaboration across these sectors; yet – due to a number of factors – the means to investigate decision making phenomena associated with these activities are limited. This paper motivates and describes the design and implementation of a computer-based synthetic environment for investigating collaborative information seeking in the performance of a (simulated) infrastructure restoration task. The main contributions of this work are twofold. First, it develops a set of theoretically grounded measures of collaborative information seeking processes and embeds them within a computer-based system. Second, it suggests how these data may be organized and modeled to yield insights into information seeking processes in the performance of a complex, collaborative task. The paper concludes with a discussion of implications of this work for practice and for future research.

The Origins of Social Media

2016 ◽  
Author(s):  
Judy Malloy
Keyword(s):  
Social Media ◽  
The Internet ◽  
Computing Systems ◽  
Mail Art ◽  
Arts And Humanities ◽  
The Arts ◽  
Mailing Lists ◽  
Computer Scientists ◽  
Social Media Platforms ◽  
Computer Based

In the formative years of the Internet, researchers collaboratively connected computing systems with a goal of sharing research and computing resources. The model process with which they created the Internet and its forefather, the ARPANET, was echoed in early social media platforms, where creative computer scientists, artists, writers, musicians educators explored the promise of computer-based platforms to bring together communities of interest in what would be called “cyberspace.” With a focus on the arts and humanities, this introduction traces the development of social media affordances in applications such as email, mailing lists, BBSs, the Community Memory, PLATO, Usenet, mail art, telematic art, and video communication. The author outlines the early social media platforms documented in each chapter in this book and summarizes how the book's epilogues both explore differences between early and contemporary social media and look to the future of the arts in social media.

Looking and Seeing

2014 ◽  
pp. 1-23
Keyword(s):  
Creative Process ◽  
Artistic Process ◽  
Visual Message ◽  
The Arts ◽  
New Interpretation ◽  
Comparative Inquiry

This chapter examines the artistic process and then encourages the readers to engage in visual and verbal projects. It contains a comparative inquiry about the ways of designing, conveying, and receiving images. The chapter comprises a comparative inquiry and a discussion about creating, conveying, and receiving art as three basic processes in communication in the arts: articulation of a visual message through creation of an electronic picture and its transitions; communication with a viewer; and reception of the artwork by a viewer. They appear to be decisive for both the traditional and digital artwork. Thus, the three levels in a creative process comprise an artist as a sender of a message (an idea), media of art (a process), and the viewer as the receiver (rethinking of an idea, interactive response by reshaping a work, new interpretation or a new idea).

The Computer Medium in Digital Art's Creative Process

2011 ◽  
pp. 1-25 ◽  
Author(s):  
Adérito Fernandes Marcos ◽  
Pedro Branco ◽  
João Álvaro Carvalho
Keyword(s):  
Information Content ◽  
Creative Process ◽  
Design Space ◽  
Digital Art ◽  
Raw Material ◽  
Art Objects ◽  
State Of Mind ◽  
Computer Based ◽  
Artistic Work ◽  
Digital Artists

Art objects might be described as symbolic objects that aim at stimulating emotions. They reach us through our senses (visual, auditory, tactile, or other). They are displayed by means of physical material (stone, paper, wood, etc.) and combine some patterns to produce an aesthetic composition. They convey some message, normally to suggest some state of mind or to induce an emotion and the consequent feeling on the side of the viewer. Digital art differs from conventional art pieces by the use of computers and computer-based artifacts that manipulate digitally coded information, inheriting the almost unlimited possibilities in interaction, virtualization and manipulation of information the computer medium offers. In this chapter the authors propose to analyze and discuss the concepts and definitions behind digital art, emphasizing how the computer medium is itself the tool and the raw material in its creation, especially if we stress the fact that the conception and design of artistic information content is at the heart of any artistic work. Furthermore the authors present a framework for digital art creation that consists of a common design space where digital artists can smoothly progress from the concept until the final artifact while exploring the computer medium to its maximum potential.

Is the Creative Process Similar in the Arts?

1960 ◽  
Vol 19 (2) ◽  
pp. 191 ◽  
Author(s):  
Julius Portnoy
Keyword(s):  
Creative Process ◽  
The Arts

Oral Tradition and Sierra Leone History

1985 ◽  
Vol 12 ◽  
pp. 65-72
Author(s):  
C. Magbaily Fyle
Keyword(s):  
Sierra Leone ◽  
Oral Tradition ◽  
Oral Traditions ◽  
Oral Histories ◽  
Human Beings ◽  
The West ◽  
The Past ◽  
Number Of Factors ◽  
Human Problem ◽  
Written Sources

This paper attempts to examine specific problems encountered with the collection and interpretation of oral traditions in Sierra Leone and ways in which these were approached. I will suggest with examples that problems facing oral traditions are not always peculiar to them, as the researcher with written sources faces some similar problems.Much has been said about methodology in collecting oral tradition for it to warrant much discussion here. One point that has been, brought out, however, is that methods which work well for one situation might prove disastrous or unproductive in another. It is thus necessary to bring out specific examples of situations encountered so as to improve our knowledge of the possible variety of approaches that could be used, while emphasizing that the researcher, as a detective, should have enough room for initiative.For the past eight years, I have been collecting oral histories from among the Yalunka (Dialonke) and Koranko of Upper Guinea, both southern Mande peoples, and the Limba and Temne, grouped under the ‘West Atlantic.’ Extensive exploration into written sources has indicated that similar problems arise in both cases. In both situations, the human problem was evident. For the oral traditionist this problem is more alive as he is dealing first hand with human beings. A number of factors therefore, like his appearance, approach to his informants, his ability to ‘identify’ with the society in question, may affect the information he receives. These could provide reasons for distortion which are not necessarily present with written sources.

scholarly journals Autonomy-based criticisms of the patient preference predictor

2021 ◽  
pp. medethics-2021-107629
Author(s):  
EJ Jardas ◽  
David Wasserman ◽  
David Wendler
Keyword(s):  
Decision Making ◽  
Patient Preference ◽  
Patient Autonomy ◽  
Treatment Decisions ◽  
Treatment Preferences ◽  
Decision Making Process ◽  
Number Of Factors ◽  
Computer Based ◽  
Incapacitated Patients ◽  
Substituted Judgement

The patient preference predictor (PPP) is a proposed computer-based algorithm that would predict the treatment preferences of decisionally incapacitated patients. Incorporation of a PPP into the decision-making process has the potential to improve implementation of the substituted judgement standard by providing more accurate predictions of patients’ treatment preferences than reliance on surrogates alone. Yet, critics argue that methods for making treatment decisions for incapacitated patients should be judged on a number of factors beyond simply providing them with the treatments they would have chosen for themselves. These factors include the extent to which the decision-making process recognises patients’ freedom to choose and relies on evidence the patient themselves would take into account when making treatment decisions. These critics conclude that use of a PPP should be rejected on the grounds that it is inconsistent with these factors, especially as they relate to proper respect for patient autonomy. In this paper, we review and evaluate these criticisms. We argue that they do not provide reason to reject use of a PPP, thus supporting efforts to develop a full-scale PPP and to evaluate it in practice.

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