scholarly journals Where to Share? A Systematic Investigation of Creative Behavior on Online Platforms

2021 ◽  
Vol 8 (1) ◽  
pp. 108-123
Author(s):  
Simon M. Ceh ◽  
Mathias Benedek
Keyword(s):  
Visual Art ◽  
Systematic Investigation ◽  
Creative Expression ◽  
Creative Work ◽  
Creative Behavior ◽  
Domain Specific ◽  
Everyday Activities ◽  
Online Platforms ◽  
Creative Products ◽  
Performing Art

Abstract Digitalization, underpinned by the ongoing pandemic, has transferred many of our everyday activities to online places. In this study, we wanted to find out what online outlets people use to share their creative work and why they do it. We found that most people posted creative work online at least a few times per year. They especially shared creative content related to creative cooking, visual art, and literature but hardly related to performing art. YouTube, Facebook, and Instagram were the three platforms with the highest familiarity and usage rates; among these, YouTube was most strongly used passively (i.e., to view creative content), while Instagram was most strongly used actively (i.e., to post one’s own creative content). We could further differentiate platforms that were domain-specific (e.g., Stackoverflow for scientific/technological creativity) from platforms that offer a broader variety of creative content (e.g., Reddit, Blogger). The reasoning behind posting one’s creative work online resembled a mixture of technological facilitation, alongside heightened accessibility that allows for feedback and bringing pleasure to one’s followers and friends. All in all, this study provides a first overview of where and why people share their creative products online, shedding light on timely forms of creative expression.

scholarly journals Where to share? A systematic investigation of creative behavior at online platforms.

2021 ◽  
Author(s):  
Simon M. Ceh ◽  
Mathias Benedek
Keyword(s):  
Visual Art ◽  
Systematic Investigation ◽  
Creative Expression ◽  
Creative Work ◽  
Creative Behavior ◽  
Domain Specific ◽  
Everyday Activities ◽  
Online Platforms ◽  
Creative Products ◽  
Performing Art

Digitalization, underpinned by the ongoing pandemic, has transferred many of our everyday activities to online places. In this study, we wanted to find out what online outlets people use to share their creative work and why they do it. We found that most people posted creative work online at least a few times per year. They especially shared creative content related to creative cooking, visual art, and literature but hardly related to performing art. YouTube, Facebook, and Instagram were the three platforms with the highest familiarity and usage rates; among these, YouTube was most strongly used passively (i.e., to view creative content), while Instagram was most strongly used actively (i.e., to post one’s own creative content). We could further differentiate platforms that were domain-specific (e.g., Stackoverflow for scientific/technological creativity) from platforms that offer a broader variety of creative content (e.g., Reddit, Blogger). The reasoning behind posting one’s creative work online resembled a mixture of technological facilitation, alongside heightened accessibility that allows for feedback and bringing pleasure to one’s followers and friends. All in all, this study provides a first overview of where and why people share their creative products online, shedding light on timely forms of creative expression.

Nobody Knows

2019 ◽  
pp. 75-100
Author(s):  
Barbara Townley ◽  
Philip Roscoe ◽  
Nicola Searle
Keyword(s):  
Social Relations ◽  
Creative Industries ◽  
Creative Economy ◽  
Creative Work ◽  
Risk And Uncertainty ◽  
Creative Agency ◽  
The Social ◽  
Creative Products ◽  
Symbolic Production ◽  
Management Of Uncertainty

Creative industries are beset by a problem: nobody knows how work will be received. The chapter examines how creative producers manage the pervasive uncertainty of creative work. In classical theories of enterprise, uncertainty is the source of opportunity and therefore profits, with the entrepreneur the market agent willing to organize that uncertainty in pursuit of return. We show that risk and uncertainty in the creative economy are managed through the same processes of symbolic production as give rise to creative goods and creative agency, mediated by the IP/IPR nexus; as creative products solidify into market goods so the uncertainties are transformed—at least in part—into risks, and the management of uncertainty through the social relations of the field develops into the legalistic protection of IP rights and contracts.

scholarly journals The theme of the city in the creative work of Vasily Kandinsky

2020 ◽  
Author(s):  
Ольга Николаевна Филиппова
Keyword(s):  
Visual Art ◽  
Artistic Expression ◽  
Creative Work ◽  
The City

Статья посвящена творчеству Василия Кандинского, русского художника и теоретика изобразительного искусства, стоявшего у истоков абстракционизма. В центре внимания автора живописные картины, посвященные городу. В отличие от наиболее изученных мощных абстрактных произведений В.В. Кандинского городская тема представляет еще много возможностей для изучения средств художественной выразительности и развития его творческого метода. В результате анализа произведений разных лет в контексте биографии и мировоззрения художника автор статьи раскрывает развитие московской темы в искусстве В.В. Кандинского. Особое внимание уделено его московским картинам Москва I , или Москва. Красная площадь , Москва. Зубовская площадь и др. Как будто предчувствуя скорую разлуку с любимым городом навсегда, он хотел запечатлеть его в своих работах и в памяти. The article is devoted to the work of a Russian artist and visual art theorist who was at the origin of abstractionism Vasily Kandinsky. The author focuses on paintings dedicated to the city. In contrast to the most studied powerful abstract works of V.V. Kandinsky, the urban theme still presents many opportunities for studying the means of artistic expression and developing his creative method. As a result of the analysis of works from different years in the context of the artists biography and worldview, the author of the article reveals the development of the Moscow theme in the art of V.V. Kandinsky. Special attention is paid to his Moscow paintings Moscow I, or Moscow. Red square, Moscow. Zubovskaya square and others.

scholarly journals The Erasure of Black Women

2021 ◽  
pp. 8-25
Author(s):  
Tamara D. Anderson ◽  
Maya Anderson
Keyword(s):  
Black Women ◽  
Visual Art ◽  
White Supremacy ◽  
Historical Narrative ◽  
Creative Work ◽  
Call To Action

To what do we owe Black women? Everything. To be Black and female in America means that you are ignored, silenced, and sometimes erased. the very fabric of history would be quite different for all of us without the contributions, tears, blood, and love of Black women. As a result of the intersection of patriarchy and white supremacy, Black women are too often left exhausted, overworked, and left out of the historical narrative. This multi-modal creative work is a call to action to end the erasure of Black women with scholarship, visual art, and poetry.

scholarly journals White Matter Connectivity Reflects Success in Musical Improvisation

2017 ◽  
Author(s):  
Tima Zeng ◽  
Emily Przysinda ◽  
Charles Pfeifer ◽  
Cameron Arkin ◽  
Psyche Loui
Keyword(s):  
White Matter ◽  
Diffusion Tensor ◽  
Sound Perception ◽  
Creative Behavior ◽  
Domain Specific ◽  
Statistical Measures ◽  
Musical Improvisation ◽  
White Matter Connectivity ◽  
Expert Ratings ◽  
Integrate Domain

AbstractCreativity is the ability to produce work that is novel, high in quality, and appropriate to an audience. One domain of creativity comes from musical improvisation, in which individuals spontaneously create novel auditory-motor sequences that are aesthetically rewarding. Here we test the hypothesis that individual differences in creative behavior are subserved by mesial and lateral differences in white matter connectivity. We compare jazz improvising musicians against classical (non-improvising) musicians and non-musician control subjects in musical performance and diffusion tensor imaging. Subjects improvised on short musical motifs and underwent DTI. Statistical measures of fluency and entropy for musical performances predicted expert ratings of creativity for each performance. Tract-Based Spatial Statistics (TBSS) showed higher Fractional Anisotropy (FA) in the cingulate cortex and corpus callosum in jazz musicians. FA in the cingulate also correlated with entropy. Probabilistic tractography from these mesial regions to lateral seed regions of the arcuate fasciculus, a pathway known to be involved in sound perception and production, showed mesial-to-lateral connectivity that correlated with improvisation training. Results suggest that white matter connectivity between lateral and mesial structures may integrate domain-general and domain-specific components of creativity.

‘I Want to Live, I Want to Draw’: The Poetics of Drawing and Graphic Medicine

2018 ◽  
Vol 13 (2) ◽  
pp. 104-116 ◽  
Author(s):  
Sathyaraj Venkatesan ◽  
Anu Mary Peter
Keyword(s):  
New York ◽  
Visual Art ◽  
Creative Expression ◽  
The Other ◽  
Therapeutic Exercise ◽  
Psychological Benefits ◽  
Graphic Medicine ◽  
Creative Art ◽  
Medical Narratives ◽  
Insight Into

Accredited as the provenance of creative art and appreciated for its verisimilar mimetic virtues, drawing is a cathartic form of visual art. Specifically, the curative utility of drawing is anchored on its multifaceted health-enhancing qualities. Drawing is often practised either as a technique of narration, as in visual communication, or as a therapeutic exercise, as in clinical contexts. Interestingly, in the field of graphic medicine, which is a productive intersection of comics and medicine, drawing is practised both as a narrative technique as well as a mode of therapy. Analysing scenes of drawing in selected graphic medicine memoirs such as David Small’s Stitches: A Memoir (2009, New York: W.W. Norton & Co) and Katie Green’s Lighter than My Shadow (2013, London: Random House), this article investigates how these graphic medical narratives offer an insight into the healing potentials of drawing. This article uses the term ‘drawing’ in two distinct yet interrelated senses: one is the process of drawing which denotes the depiction of the artist himself/herself involved in the act of drawing, and the other is the end product of drawing such as the picture/image or painting. By elaborating the psychological benefits of drawing, the article also brings into relief how the act of drawing facilitates self-reclamation by assisting patients or traumatized individuals in resolving their chaos through creative expression.

Uncreative Writing

2018 ◽  
Author(s):  
Rebecca Roach
Keyword(s):  
Creative Writing ◽  
Toni Morrison ◽  
Creative Expression ◽  
First Century ◽  
Creative Work ◽  
Philip Roth ◽  
Literary Representation ◽  
Twenty First Century

This chapter demonstrates that, thanks to the heavy reliance of publishers’ marketing departments on author interviews as a means of promotion, today interviews are increasingly conceived through their opposition to creative writing. Drawing on the examples of Philip Roth, Toni Morrison, and J. M. Coetzee, the chapter demonstrates that interviews have become the quintessential example of uncreative, instrumental, authorial labour. However, in a time in which literature is frequently conceived in opposition to information, interviews also become a productive site for authors to reflect on the nature of literary representation and contemporary creative work. In their opposition to creative writing, interviews can also become an example of ‘uncreative writing’. As information surplus and networked digital computing make traditional, primarily print-based, norms of authorship, creativity, and inscription less tenable, for some of the authors discussed here the interview offers a generative site for exploring new modes of creative expression fit for the twenty-first century.

scholarly journals Biographical Explorations through Creative Work

2016 ◽  
Vol 42 (2) ◽  
pp. 32
Author(s):  
Heather McLeod ◽  
Morgan Gardner ◽  
Elizabeth Yeoman
Keyword(s):  
Visual Art ◽  
Teaching And Learning ◽  
Curriculum And Instruction ◽  
Creative Work ◽  
Cultural Contexts ◽  
Literary Writing ◽  
Imaginative Thinking ◽  
Faculty Of Education

We explore our teaching of Biographical Explorations of Teaching and Learning, a Curriculum and Instruction Masters course in the Faculty of Education at Memorial University in which we develop creative and imaginative thinking and learning amongst educators. We invite students into a multi-modal exploration of their lives as teachers and learners via readings, visual art, drama, music, literary writing, and media pieces that explore themes in teaching and learning. Students think critically about how narratives work within personal/professional and societal cultural contexts. They learn about and engage in creative ways of telling a story. In this paper we critically reflect on the affordances and challenges of this approach to arts-informed critical graduate pedagogy.

scholarly journals Chunk: an outline platform for flow, play and pattern recognition through "Chunking"

2021 ◽  
Author(s):  
Nathan-John Whitbourne
Keyword(s):  
Social Media ◽  
Pattern Recognition ◽  
Meaningful Work ◽  
Focused Attention ◽  
Creative Work ◽  
Online Platform ◽  
Meaning In Work ◽  
Online Platforms ◽  
Social Media Platforms ◽  
Prototype Design

A platform to highlight meaningful work. This paper details the conceptual and initial prototype design of the online platform called Chunk, which aims to highlight personal projects and put passion-driven ideas at the forefront of an individual’s online profile. This paper will define “meaningful work,” and outline how the foundations, characteristics, and triggers of flow, play, and“chunking”connects“meaningful work”. It describes why applying them into an online platform, such as Chunk, can help users use their own projects to find greater intrinsic meaning in work. It addresses the lack of focused attention in current social media platforms, within creative work and productivity, and how chunk is able to provide a solution. This paper presents initial images of Chunk’s interface, and strategies to implement flow, play, and pattern recognition into its architecture. Lastly, this research paper will analyse and compare LinkedIn, Behance, Pinterest, and Climb (online platforms oriented towards work) to Chunk’s platform.

scholarly journals CREATIVITY IN VISUAL ART

2015 ◽  
Vol 3 (1) ◽  
pp. 37-40
Author(s):  
Bijender Singh Chauhan
Keyword(s):  
Visual Art ◽  
Creative Work ◽  
Work Of Art ◽  
Intellectual Abilities

This paper examines the nature of creativity in visual art. Creativity requires originality and effectiveness in the work of art whether it is a design or a painting. Originality is undoubtedly required. It is often labeled novelty, but whatever the label, if something is not unusual, novel or unique, it is commonplace, mundane or conventional. It is undoubtedly cannot be called creative work. According to my opinion, creativity requires confluence of some instinct like intellectual abilities, knowledge, and style of thinking, personality, motivation and environment. It varies across time and place but nature of creativity essentially the same around the globe.

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