scholarly journals Personal exploration: Serendipity and intentionality as altering positions in a creative process

2016 ◽  
Vol 9 (1) ◽  
Author(s):  
Maarit Mäkelä
Keyword(s):  
Creative Process ◽  
Active Role ◽  
Research Process ◽  
Creative Work ◽  
Diverse Range ◽  
Creative Mind ◽  
Creative Practice ◽  
Ceramic Art

Artists and designers have recently begun to take an active role in contextualising the creative process in relation to their practice. Thus, understanding how the creative mind proceeds has been supplemented with knowledge obtained inside the creative process. In this way, the spheres of knowledge, material thinking and experience that are fostered through creative work have become entangled and embedded as elemental parts of the research process. This article is based on documentation and reflection of the author’s creative practice in contemporary ceramic art at the beginning of 2015. The article discusses how the creative process proceeds by alternating between two positions: serendipity and intentionality. By describing the different phases of the process, it reveals the interplay between the diverse range of activities and how these gradually construct the creative process

Hidden Creators, Silent Authors

2016 ◽  
Vol 2016 ◽  
pp. 379-385
Author(s):  
Paola Secchin Braga
Keyword(s):  
Creative Process ◽  
Active Role ◽  
Point Of View ◽  
Main Issue ◽  
Contemporary Dance ◽  
Creative Work ◽  
Paris Opera ◽  
The People ◽  
Brazilian Version ◽  
The Creation

To be interpreter and at the same time creator seems to be the rule in contemporary dance. It is expected of the dancer to contribute to the making of the piece in which he will appear. Similarly, the choreographer's assistant (also referred as rehearsal assistant) has an active role in the process of creating a dance piece. This paper proposes an analysis of a creative process in which the question of authorship emerges—in our point of view—as the main issue. The onomastic pieces of French choreographer Jérôme Bel will serve as the basis of our analysis, and especially the piece called Isabel Torres, in which the interpreter and the choreographer's assistant had a much more important role in the creation than the choreographer himself. Premiered in 2005, Isabel Torres was supposed to be a Brazilian version of Véronique Doisneau (created in 2004, for the Paris Opera). The creative work made by the dancer and the rehearsal assistant made of it more than a mere version: Isabel Torres is an autonomous piece—so autonomous that Bel offered it to both dancer and assistant, to present it wherever they wished. Who signs Isabel Torres? In which terms is it presented in programs? Do dancer and assistant consider themselves as authors? How does the choreographer deal with it? The absence of the choreographer, the people involved in it, and the kind of work developed in the creative process makes us question the notion of authorship in contemporary dance pieces.

A new master of the cultural domain? Google’s role in the transactive memory systems of advertising copywriters and art directors

2019 ◽  
Vol 172 (1) ◽  
pp. 61-73
Author(s):  
Richie Barker ◽  
Paul Atkinson
Keyword(s):  
Creative Process ◽  
Memory Systems ◽  
Research Process ◽  
Transactive Memory ◽  
Peer Evaluation ◽  
Creative Practice ◽  
Digital Era ◽  
Creative Research ◽  
Cultural Domain ◽  
Google Search

Creative practice in advertising is often lauded for its novelty, which is recognised in industry awards and other forms of peer evaluation. However, advertising is commonly required to address broad audiences, which means it needs to reflect popular and common cultural ideas. When developing ideas for a new project, advertising creatives usually undertake a research process that allows them to draw upon popular culture texts and previous advertisements. In the pre-digital era, this activity largely depended on the creative’s relationship to their social milieu, but following the arrival of the Internet and the search engine, the creative research process has expanded in scope and become much faster. However, the idea that search, and we refer particularly to Google search, neutrally supports creative practice requires greater scrutiny. In this article, we explore how Google connects advertising creatives to cultural references by considering research on practitioners’ everyday actions through the lens of transactive memory theory and models of creative process.

Complexity as Practice: A Reflection on the Creative Outcomes of a Sustained Engagement with Complexity

Leonardo ◽  
2012 ◽  
Vol 45 (2) ◽  
pp. 106-112 ◽  
Author(s):  
Tom Davis
Keyword(s):  
Complexity Theory ◽  
Scientific Models ◽  
Creative Work ◽  
Research Practice ◽  
Creative Practice ◽  
Conceptual Problems ◽  
The Creation ◽  
The Relationship

This article presents a reflection on a body of creative work carried out during four years of Ph.D. research that explored the relationship between complexity theory and music. The article highlights conceptual problems that arose during the creation of the work, especially those associated with the exploration of scientific models for the creation of art. The author does not attempt to offer any final solutions but rather presents the journey undertaken through the combined artistic and research practice as a way of documenting the strategies he developed during this period of creative practice.

scholarly journals Why developmental niche construction is not selective niche construction: and why it matters

2017 ◽  
Vol 7 (5) ◽  
pp. 20160157 ◽  
Author(s):  
Karola Stotz
Keyword(s):  
Niche Construction ◽  
Active Role ◽  
Evolutionary Significance ◽  
Heritable Variation ◽  
Developmentally Regulated ◽  
Diverse Range ◽  
Developmental Niche ◽  
Constructed Environment ◽  
Selective Environment

In the last decade, niche construction has been heralded as the neglected process in evolution. But niche construction is just one way in which the organism's interaction with and construction of the environment can have potential evolutionary significance. The constructed environment does not just select for , it also produces new variation. Nearly 3 decades ago, and in parallel with Odling-Smee's article ‘Niche-constructing phenotypes', West and King introduced the ‘ontogenetic niche’ to give the phenomena of exo genetic inheritance a formal name. Since then, a range of fields in the life sciences and medicine has amassed evidence that parents influence their offspring by means other than DNA (parental effects), and proposed mechanisms for how heritable variation can be environmentally induced and developmentally regulated. The concept of ‘developmental niche construction’ (DNC) elucidates how a diverse range of mechanisms contributes to the transgenerational transfer of developmental resources. My most central of claims is that whereas the selective niche of niche construction theory is primarily used to explain the active role of the organism in its selective environment, DNC is meant to indicate the active role of the organism in its developmental environment. The paper highlights the differences between the construction of the selective and the developmental niche, and explores the overall significance of DNC for evolutionary theory.

scholarly journals CREATIVITY FORWARD: A FRAMEWORK THAT INTEGRATES DATA ANALYSIS TECHNIQUES TO FOSTER CREATIVITY WITHIN THE CREATIVE PROCESS IN USER EXPERIENCE CONTEXTS

2021 ◽  
Vol 14 (1) ◽  
pp. 51-73
Author(s):  
Juan Carlos Quinones-Gomez
Keyword(s):  
User Experience ◽  
Creative Process ◽  
Data Science ◽  
Research Process ◽  
Design Practice ◽  
Problem Space ◽  
Analysis Techniques ◽  
Conceptual Design Phase ◽  
Proposed Model ◽  
Effective Use

The latest technological advancements allow users to generate a large volume of data related to their experiences and needs. However, the absence of an advanced methodology that links the big data and the creative process prevents the effective use of the data and extracting all its potential and knowledge in this context, which is crucial in offering user-centred solutions. Incorporating data creatively and critically as design material can help us learn and understand user needs better. Therefore, design can bring deeper meaning to data, just as data can enhance design practice. Accordingly, this work raises a reflection on whether designers could appropriate the workflow of data science in order to integrate it into the research process in the creative process within a framework of user experience analysis. The proposed model: data-driven design model, enhances the exploratory design of problem space and assists in the creation of ideas during the conceptual design phase. In this way, this work offers an integrated vision, enhancing creativity in industrial design as an instrument for the achievement of the proper and necessary balance between intuition and reason, design, and science.

scholarly journals SOCIAL ENGINEERING AS A CREATIVE PROCESS

2021 ◽  
pp. 35-42
Author(s):  
Tetiana Koliada ◽  
Nazarii Koliada
Keyword(s):  
Social Work ◽  
Creative Process ◽  
Effective Means ◽  
Social Institutions ◽  
Social Engineering ◽  
Creative Work ◽  
Social Design ◽  
Creative People ◽  
Social Phenomena ◽  
Promising Area

The article considers the essence of the concepts «project», «design», «social project», «social design». Social design is considered a creative process of social reality led by a man. It has been specified that all kinds of social formations cannot be created and realized without a person, his/her initiative creative work, one of the results of which is social design.  The presence of social projects in society testifies to its maturity and deeper perception and understanding of reality, penetration into the society of the idea that everyone is responsible for the fate of their land, people and that it is impossible to build a comfortable life detached from what is happening around. Social projects are created by socially active, creative people for the development and progress of their country. Thus, the subject of social design can be both one person and a group of people (organizations, teams, social institutions, etc.). It is established that any social grouping is impossible to imagine without a person, his/her active public position and creative work, one of the results of which is social design. A creative person as a social being based on social connections and interactions changes the future for the better, creating micro-and macro-groups, associations, and later communities. Social design, despite the huge typology, originates from the awareness and development of innovations in social work. A promising area of further research in this aspect is the features of social design as an effective means of solving social problems in the context of the development of modern social work. It is noted that social design is aimed at all types of human activities, but only with an innovative view and a systematic creative approach is the possible optimal design of social phenomena and processes. The existing approaches to the classification of social projects are considered, the features of social projects are defined and generalized: goal setting, innovative, time, territorial, socially determined, social-institutional, resource, organizational, social-informational.

The Interrelationships between Building Regulations and Architects' Practices

2007 ◽  
Vol 34 (5) ◽  
pp. 925-943 ◽  
Author(s):  
Rob Imrie
Keyword(s):  
Urban Design ◽  
Design Process ◽  
Creative Process ◽  
Main Argument ◽  
Building Regulations ◽  
Creative Practice ◽  
And Control

It is commonly assumed that building regulation and control is a technical activity and part of a bureaucratic machine external to the design process. For many architects building regulations are no more than a set of rules to be adhered to, and are usually seen as ephemeral, even incidental, to the creative process of design. However, the main argument of this paper suggests that the building regulations are entwined with, and are constitutive of, architects' practices. Far from being an insignificant part of the design process, as some commentators suggest, I develop the argument that the building regulations influence aspects of creative practice and process in architecture and, as such, ought to be given greater attention by scholars of urban design.

Creative Dislocation: an Experiment in Collaborative Historical Research

2020 ◽  
Author(s):  
Robert Bickers ◽  
Tim Cole ◽  
Marianna Dudley ◽  
Erika Hanna ◽  
Josie McLellan ◽  
...  
Keyword(s):  
Research Process ◽  
Historical Research ◽  
Creative Work ◽  
Creative Methods ◽  
The Village ◽  
Shed Light ◽  
Historical Practice

Abstract This article introduces an experiment in collaborative historical practice. It describes how six historians visited the East Devon village of Branscombe, with the aim of creatively engaging with the present and past of the village. This was a collaborative and collective act of what we term here ‘creative dislocation’. By dislocating from our usual routines, subjects, places, methods, and styles, and adopting creative methods and constraints, we aimed to shed light on the role of creativity in the historical research process. Our experiment resulted in six pieces of writing – three of which are presented here. However, a key argument of this article is that creativity lies in process as much as in the finished product. Creative work happened at each stage of the research process, in ways that were not always immediately visible in the final written pieces. The creativity in historical research and writing does not necessarily lie in opposition to archival explorations and fact-driven narratives, but can also lie within them. Creativity informs the questions we ask, our ways of working with the archive and our approach to writing.

Whatsappsport: Using Whatsapp While Viewing Sports Events

2020 ◽  
Vol 44 (3) ◽  
pp. 283-296
Author(s):  
Ilan Tamir
Keyword(s):  
Active Role ◽  
Sports Fans ◽  
World Cup ◽  
Diverse Range ◽  
Social Agent ◽  
Sports Events ◽  
The Social ◽  
Integral Element

Viewing sports events was always qualitatively different from the viewing experience of other genres. The social experience and emotional investment of sports viewers created unique viewing habits, in which second screens and social media effectively extend the experience of the millions of concurrent sports viewers wishing to share their feelings with each other. The enormous popularity of Whatsapp groups in recent years, and especially sports-focused groups, has made this app an integral element in event viewing, and created a unique viewing dynamic. This study analyzes the discourse in Whatsapp sports groups in Israel as its members view the 2018 World Cup soccer games, in an effort to identify the new role of second screens during sports broadcasts. An analysis of group messages shared by Whatsapp sports groups whose members cover a diverse range of ages and geographic locations basically shows that, in contrast to other media genres in which second screening is not necessarily related to the content broadcast on the primary screen, sports fans demonstrate an absolute commitment to the primary broadcast when second screening. On a deeper level, this study identified four main functions of Whatsapp groups during sports broadcasts: a social agent that supervises and controls the nature and quality of the primary screen broadcast, the generator of discourse that extols viewers’ expertise and effectively challenges traditional sport hierarchies, an active role in game management as fans attempt to influence game outcomes, and a means for extending fans’ celebrations of victory beyond the boundaries of the game.

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