What personality traits do creative people share? Is creativity skill like any other? Is creativity suppressed in our world, is creativity misunderstood by "dinosaur companies" stuck with their legacy systems? Are "creatives" actually that creative in the end? Can fashion design exist in some romantic old school silo where no tech understanding is needed?
Alternative download link:
https://www.dropbox.com/s/ghiyeo3nyrtutzt/RCA_creativity.pdf?dl=0
Creativity as Science: What designers can learn from science and technology
2. Creativity as a Science
Is creativity a science?
What scientific qualities are needed
for future designers?
What inspirations can we get from
science to make ‘creatives’ perform
better as designers/ artists/ makers
or make better/more fascinating work?
4. Creativity
”Romanticnotion”of
magical‘Eureka
spark’vsReality of
many innovations
Wheeler M (2018) Talking
about more than Heads: the
Embodied, Embedded and
Extended Creative Mind.
In: Gaut B & Kieran M
(eds.) Creativity and
Philosophy. London:
Routledge, pp. 230-250.
https://www.routledge.com/
Creativity-and-Philosophy/
Gaut-Kieran/p/book/9781138
827684
Cited by 1 -
Related articles
How music works
David Byrne (2017)
Cited by 215
5. Creativity
”Textbookdefinitions”
’”P-creativity” creative something
that is new for you in a vacuum
”H-creativity” creative something
new for the whole world, that no
one has ever seen before
From Elgammal and Saleh (2015):
We can describe a person (e.g. artist, poet), a
product (painting, poem), or the mental process as
being creative Paul and Kaufman, 2014
. Among the various
definitions of creativity it seems that there is a
convergence to two main conditions for a product to
be called “creative”. That product must be novel,
compared to prior work, and also has to be of value
or influential Paul and Kaufman, 2014
. These criteria resonate
with Kant’s definition of artistic genius, which
emphasizes two conditions “originality” and being
“exemplary”1
.
Boden suggested a distinction between two notions of
creativity: psychological creativity (P-creativity),
which assesses novelty of ideas with respect to its
creator, and historical creativity (H-creativity),
which assesses novelty with respect to the whole
human history Boden, 1990→Cited by 3188
. It follows that P-
creativity is a necessary but not sufficient
condition for H-creativity, while H-creativity
implies P-creativity Boden, 1990
.
7. “BigTwo”/
BigFive
BigFive
https://www.crystalknows
.com/blog/the-big-five-p
ersonality-traits-in-per
sonality-neuroscience/
The Big Five were
previously believed to
be the broadest
dimensions of
personality, but as the
theory has progressed,
Hirsch et al. (2009)
Cited by 109
discovered that
the Big Five traits most
likely exist in
a hierarchy with
two meta-traits above
them and ten sub-
traits below.
ten
sub-traits
“BigTwo”
Gregory J Feist
Department of Psychology, San Jose State University, USA
https://doi.org/10.1016/j.cobeha.2018.07.005
The general conclusion from recent research on the Big
Two dimensions of human personality — Plasticity
(extraversion and openness) and Stability (neuroticism,
agreeableness, and conscientiousness) — show that
Plasticity has a more robust and stronger association
with creativity than Stability. More specifically, people
who are high in plasticity and low in stability may be
most likely to exhibit creative thought and behavior.
Moreover, current research in neuroscience, genetics and
neurochemistry of behavior each suggest biological
mechanisms for how these personality qualities lower
thresholds for creative thought and behavior.
8. “Artist and entrepreneurs are the same people”
https://youtu.be/KxGPe1jD-qY?t=370
“Creatives start companies, and conservative run them as
they become good managers whereas creative personalities
would get bored to death”
“High openness and high intelligence will predict
successful entrepreneurs”
https://youtu.be/KxGPe1jD-qY?t=690
Whatiscreativity?
Canwedevelop it,orisitinnate?
Watch the conversation between Marc
Mayer, Director and CEO of the National
Gallery of Canada, and Dr. Jordan
Peterson, Professor of Psychology at the
University of Toronto, which took place
March 9, 2017 at the
National Gallery of Canada.
Genius or
Madness?
The Psychology of Creativity
Professor
Glenn D. Wilson
https://youtu.be/Nje
--J7fsfw?t=987
Workaholic
Narcisstic
Self-
Promoting
High IQ
Psychotism
Novelty-seeking
Non-conforming
Secrets of the Creative
Brain
Nancy Andreasen isaleadingneuroscientistand
psychiatrist attheUniversityofIowa
Creativity inart and science:
aretheretwocultures?
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3341649/
NancyC. Andreasen, MD; PhD; Kanchna Ramchandran; PhD
https://youtu.be/unAbERa0ot
Y?t=662
Polymath-
type helps
creatives
to see
“big
picture”
10. Perception of
Science as
boring?
The Poetry and Music of Science:
Comparing Creativity in Science
and Art by Tom McLeish
https://youtu.be/M68BrDrgRhk
… ”I asked them (bright UK high school students) why they had not chosen
to continue with any further studies in science. ‘Because I saw no room
for any imagination, or my personal creativity, in science’, was the
common response … my own experience as a practicing scientist had been
completely different.”
11. ‘Kafka Science’ vs
’Idealized Science’
Dr. Jordan Peterson:
“Creativity was negatively
correlated with scientific success
… Hard to get creative results
published, easier to get
incremental results published”
https://youtu.be/KxGPe1jD-qY?t=1977
https://www.facebook.com/academicssay/pos
ts/2528487600706355
https://www.facebook.com/academicssay/posts/24
78239869064462
https://medium.com/the-majapahit-panorama/opaque-policies-fixation-with-
kpis-rankings-why-arts-and-humanities-academics-quit-nus-ntu-b8dd0ee9
8141
It was published by Today Online but taken down by them due to legal action from the
National University ofSingapore(NUS). Academics quoted stand by their comments.
Opaque tenure and promotion policies, resistance to innovation and a
“warped” notion of institutional excellence have surfaced as reasons some
academics in the arts and humanities fields threw in the towel at Singapore’s
two biggest universities in the last couple of years. The National University of
Singapore (NUS) and Nanyang Technological University (NTU) do well in
attracting talented faculty members in the short term but fail to retain them —
no thanksto theirincessant pursuitofrankingsand KPIs.
The Majapahit Panorama
by Shiwen Yap
Nature 562, 611-614(2018)
doi:10.1038/d41586-018-07111-8
13. ‘Creative
thinking’
and
Knowledge
are not
enemies
Cognitive Processes in Individual and Collective Creativity: A Cross-Cultural Perspective
ChongZuetal.(2019):
“Knowledge is the base-stone of individual
creativity. People cannot create new things surpass
their knowledge. Therefore, when the creativity is
discussed and researched, knowledge structure is a
crucial characteristic in the study.
In the simulation, agents need to conduct their problem-
solving processes according to the knowledge pool so
that their knowledge structure may affect their
performance. Beyond that, many other individual
characteristics, like the openness of personality,
intrinsic motivation, social characteristics, can
make an effect to the creativity for a creative production
Feist,1998; Wolfradt andPretz,2001; Sacchetti andTortia,2013.
”
16. ‘The Startup
Model’?
Intersectionof
disciplinesallowing
“easycheating”
Takingideafrom
physicstobiology,
businessmodelideas
fromotherfields.
Darren Dahl: “Watching people,
watching yourself, first key to
creativity. People that travel and see
other cultures, are generally more
creative”
https://youtu.be/7yAlJHpavUI?t=39m9s
http://www.businessinsider.com/8-startup-team-attributes-that-maxi
mize-creativity-2013-11?IR=T
In researching this question, I found a book by Bryan Mattimore,
“IdeaStormers: How to Lead and Inspire Creative
Breakthroughs,” which outlines well eight attributes of
the most creative people, which seem to match the mind-
sets of some of thebest entrepreneursIknow.Investorslook for
these in the people they fund, and you should be looking for
them in yourself. The most creative entrepreneurs create more
valueandwealth, notonly in physicalproductsandservices,but
also in their intangible assets such as their brand, reputation,
network and intellectual property. Of course, they are always
looking to free up time and money for their next big idea. That’s
really thebestindication ofatrueentrepreneur.
http://www.businessnewsdaily.com/5813-creativity-in-entrepreneurship.html
Creativity happens best at the intersection of disciplines. Most breakthrough discoveries occur when
two or more disciplines collide. Most people are afraid of collisions, but creative collisions are to be
encouraged, because they allow you to view a problem from a new perspective.
19. Material
Science
Fashionand
wearabletech
Again, no reason
why you could not
make the designs
more aesthetic and
cool while retaining
thefunctionality?
Self-healing materials are so widespread that
clothes lines and tech companies are already
applying them to different products.
https://youtu.be/jepw1_SoPiM https://www.kickstarter.com/projects/kistlerjacket/k
istler-the-warmest-jacket-that-uses-aerospace-tec
L'Oréal launches wearable sun
exposure monitor through Apple
https://www.mobihealthnews.com/content/lor%C3
%A9al-launches-wearable-sun-exposure-monitor-t
hrough-apple
University of Central Florida researchers have invented a weavable filament that
both captures and stores solar energy simultaneously—two capabilities that
have only been available in separate devices until now. Thin and ribbon-like, the solid-state
Integrated EnergyHarvesting and Storage Device (IEHSD) enables manufacturers to
provide portable, self-sufficient energy systems in a variety of applications. For example,
instead of lugging heavy batteries to power their gear, soldiers on the battlefield could run
devices from IEHSD filaments woven into their uniforms. In another example, a jogger could
keep a smartphone and health monitors charged by a shirt/clothing made of the smart
fabrics
https://www.wearabletechnologyinsights.com/articles/16677/new-filame
nt-combines-solar-energy-harvesting-and-storage-capabilities
Textile-BasedDisplayModuleIsSelf-
Powered,Washable
http://doi.org/10.1039/C8EE03271H.
https://www.photonics.com/Articles/Textile-Base
d_Display_Module_Is_Self-Powered/a64525
20. Material
Science
Fashionand
wearabletech
Follow the advanced
textiles space if this
interests you
https://advancedtextilessource.com/2019/08/26/textiles-
and-energy-technologies-for-the-future/
The team, led by DrFeliceTorrisi, who
recently joined Imperial from the
University of Cambridge, have shown
how graphene – an atom-thick sheet of
carbon – and other related materials
can be directly incorporated into
fabrics.
A multidisciplinary team of researchers from
Imperial College London led by Dr FiratGüder
from the Department of Bioengineering have
developed an innovative technique to print
metals such as silver, gold and platinum onto
natural fabrics.
With the support of
Imperial innovations,
the team have applied
for a patent and are now
looking for industry
partners. The next step
will be to demonstrate
the use of the new
method in a real-life
applications, which will
require prototype
development, testing and
optimising.
https://www.arts.ac.uk/colleges/central-saint-martins/
research-at-csm/textile-futures-research-community
22. ‘Smart
Glasses’
Augmented Reality
glasses in other
words
https://www.wired.com/review/focals-by-north-smart-glasses/
https://youtu.be/3ikFF_6mneE
https://www.theverge.com/2019/9/25/20883
892/amazon-echo-frames-smart-glasses-fea
tures-specs-alexa
Sep25,2019
https://www.cnbc.com/2019/09/17/facebook-enlists-ray-ban-maker-luxotti
ca-to-make-orion-ar-glasses.html
Facebook has been working to develop augmented reality glasses out of its
Facebook Reality Labs, for the past couple of years, but struggles with the
development of the project have led the company to seek help. Now,
Facebook is hoping a partnership with Ray-Ban parent company
Luxottica will get them completed and ready for consumers between
2023 and2025, according to peoplefamiliar.
https://www.androidpit.com/huawei-pre
sents-new-wearables-to-make-you-fit-a
nd-handsome
April, 2019
23. ‘Smart
Glasses’
the ‘techstack’
goeswaybackfor
these devices
Atsome pointsomeone
should have creatively
combined existing
“knowledge base”for
something novel that
becomespatentable with
commercial potential
Systems,devices,andmethodsforeyeboxexpansioninwearableheads-up
displaysUS9989764B2CurrentAssignee: North Inc
https://patents.google.com/patent/US9989764B2/en
Cited by (23) - Patent citations (130) - Non-patent citations (33)
US6008781A1992 Virtual retinal display
US6027216A 1997 Eyefixation monitor and tracker
US20120002256A1 2009Laser Based ImageDisplaySystem
US20140232651A1 2013Cascadingopticsinoptical combinersof head mounted displays
US20150362734A1 2013Transflective holographic film for head worn display
US10303246B2 2016Systems, devices, and methodsfor proximity-based eyetracking
US10365548B2 2016Systems, devices, and methodsfor focusinglaser projectors
Viirre et al. (1998), "TheVirtual Retinal Display:A New Technology
for Virtual Reality and Augmented Vision in Medicine,"Proc. of
MedicineMeetsVirtual Reality.
Silverman et al. (2003), "58.5L:Late NewsPaper: Engineeringa
Retinal ScanningLaser DisplaywithIntegrated Accommodative
Depth Cues,"SID 03Digest.
Liaoet al. (2009), "The Evolution of MEMSDisplays,"IEEE
Transactionson Industrial Electronics56(4):1057-1065.
Kressetal. (2013), "Areview of head-mounted displays(HMD)
technologiesand applicationsfor consumer electronics,"Proc. of
SPIE 8720:87200A-1-87200A-13.
26. Practical take-
home message
Tech companies want to
sell their products to you
and try to makethelifeof an
(electronics) designer
easier as well
Techisnotthathardin
theend
Typically devboards
providedallowingyouto
focuson“high-level”design
AndArduino“electronics
democratization”brought
“breakoutboards”from
Adafruit,Sparkfunetal.
MicroVision’s MEMS Based Consumer LiDAR engine
Mechanical Dimensions (nom.) 64 mm x 26 mm x 23 mm
http://www.microvision.com/consumer-lidar/
Note! That the dev board is bigger than
your actual final product could be.
https://www.adafruit.com/category/521
This is calibration and testing of a ultrasonic
sensor for designing a responsive chair structure
base on the body weight distribution. these sensors can
mesure the weight and send them to a 3D printer in order
to customize the final production base on the real time
data processing. I used ultrasonic sensor connected to
Arduino board plus Firefly and Grasshopper plugin in
Rhino . by Maysam Ghaffari (March2011)
£0.82
28. Fashion
Industry
Massive
polluter Fashion industry'scarbon impact biggerthan airline industry's
https://www.cbsnews.com/news/earth-day-2019-fashion-industrys-carbon-impact-is-bigger-than-airline-industrys
●
The apparel and footwear industries together account for
more than 8 percent of global climate impact, greater than
all international airline flights and maritime shipping
trips combined.
●
The challenge to reduce carbon emissions offers the fashion
industry an opportunity for its players do what they do best
-- be creative.
●
Eco-friendly fashion pioneers from Stella McCartney to Rent
the Runway to the RealReal are creating new reuse and resale
models of doing business.
29. Circular
Fashion
Logistics/
business
model
innovation
Consumer attitudes and communication in circular fashion
Kaisa Vehmas; Anne Raudaskoski; Pirjo Heikkilä: Ali Harlin; Aino Mensonen
VTT Technical Research Centre of Finland; Ethica Ltd; Ramboll
Journal of Fashion Marketing and Management (9 July 2018)
https://doi.org/10.1108/JFMM-08-2017-0079
Sustainable Fashion in a Circular Economy
Kirsi Niinimäki (Aalto University, School of Arts, Design and Architecture 2018)
http://urn.fi/URN:ISBN:978-952-60-0090-9
The new roles of the fashion designer in organisations transitioning to a
circular economy Maria-Cristian Dan, Julian Mühlmeier (Malmö University 2019)
http://muep.mau.se/handle/2043/30002
Tools for Sustainable Fashion Design: An Analysis of Their Fitness for
Purpose Anika Kozlowski, Michal Bardecki, Cory Searcy Ryerson University, Toronto
Sustainability 2019, 11(13), 3581; https://doi.org/10.3390/su11133581
32. Fashion
Blockchain
For sustainable
supplychains
Two significant
applications for
blockchain technology
have emerged when it
comes to ethical fashion.
The first has to do with
supply chain transparency
, and the second has to
do with creating economic
systems that keep money
concentrated in ethical
fashion ecosystems.
https://fashionista.com/2018/04/what-is-blockchain-explained-ethical-fashion-supply-chain
https://www.cognizant.com/whitepapers/a-blockchain-based-framework-for-apparel-and-footwear-supply-chain-traceability-codex4088.pdf
Cognizant: Distributed ledger technology
solutions enable fashion brands and retailers to
improve supply-chain visibility across their
diverse ecosystems, helping them to communicate
product provenance to partners and customers, as
well as mitigate environmental and reputational
risk.
33. Fashion
Blockchain
For sustainable
supplychains
You could partner
withsomeone
more techsavvy
Blockchain Enhanced
Emission Trading Framework
in Fashion Apparel
Manufacturing Industry
By BailuFu,Zhan Shu andXiaogangLiu
FashionandDesignCollege,DonghuaUniversity,
ShanghaiDepartmentof StructuralEngineering,TongjiUniversity,Shanghai
Sustainability2018,10(4), 1105;
https://doi.org/10.3390/su10041105
ManuChain: Combining Permissioned
Blockchain With a Holistic
Optimization Model as Bi-Level
Intelligence for Smart Manufacturing
JiewuLeng CityUniversityofHong Kong & Guangdong UniversityofTechnology
IEEE TransactionsonSystems,Man, and Cybernetics: Systems(06 August2019)
https://doi.org/10.1109/TSMC.2019.2930418
ManuChain is proposed to get rid of unbalance/inconsistency between
holistic planning and local execution in individualized manufacturing systems.
Lower-level blockchain-driven smartcontracts proactively decentralize fine-
grained and individualized task execution among machine tools via Raspberry Pi-
based smart gateways and make the results available on an upper-level digital twin
model for iterative coarse-grained holistic optimization. A prototype ManuChain
based on a permissionedblockchain network is presented to realize both
lower-level crowd self-organizing intelligence and upper-level holistic optimization
intelligence.
Robert Learney
Working at Digital Catapult as Lead
Technologist in Blockchain & Distributed
Ledger Technology, Rob is involved in developing
new programmes that help groups from multiple
sectors explore the potential of this technology to
unlock economic growth for the UK. Prior to
joining, heco-founded the Imperial CollegeCentre
for Cryptocurrency Research and Engineering in
2014, the aim of which was to create a cross-
disciplinary academic focal point for blockchain
research in London. He is an active member of the
UK Government’s Community of Interest in the
subject and has been invited to speak on the
transformative potential of blockchain and
distributed ledger technology at multiple
international events. Rob’s background is in
medicine, having qualified as a doctor in 2003 with
degreesfromOxford Universityand Imperial College.
Website
https://www.digicatapult.org.uk
Twitter @robertlearney
34. ‘Digital
Fashion’?
First-mover
advantage with
goodbranding?
Oristhisjustbuzz
forthe sake of
buzz?
World's First Digital Only
Blockchain Clothing Sells For $9,500
Brooke Roberts-Islam BRIA, Fashion techinnovator
(May 14, 2019)
https://www.forbes.com/sites/brookerobertsislam/2019/05/14/
Last week, London-based start-up Favourup held a panel
discussion between a panel of Instagram-based
sustainability influencers about the perils of ‘fast-
fashion’ and challenges of conscious consumption. A Q&A
session followed, during which the question was raised ‘why
not wear digital clothing? If your platform of
communication is digital, why can’t your clothes be?’. A
heated debate ensued, with the audience and panel
protesting that ‘digital fashion would just encourage more
consumption’ and that digital fashion is disingenuous
because it ‘doesn’t exist’. Digital fashion houses The
Fabricant and Carlings are sources of virtual fashion, but
this event made it clear that the digital fashion concept
needs time to ripen.
‘Iridescence’, their breakthrough collaboration with
artist Johanna Jaskowska, creator of the number one
futuristic filter taking over Instagram, Beauty3000, and
Dapper Labs, the team behind the CryptoKitties blockchain
phenomenon, culminated in an auction last weekend at the
Ethereal Summit in New York. The world’s first piece of
digital couture created by The Fabricant and worn by
Johanna Jaskowska sold for $9,500. But how does one ‘wear’
the couture? There is a 28-day window for the couture’s new
owner to provide a photo of the future wearer to the
creators in order for them to custom fit the digital
garments. As a blockchain digital asset, the unique
existence of the garment makes it both clothing and
(crypto) currency.
35. Blockchain
Ingeneral hardto
navigate through
the hype ifyou just
read the
mainstreamnews
articles
https://www.digicatapult.org.uk/news-and-views/blog/blockchains-and-the-creative-economy-beyond-the-trough-of-disillusionment/
Marcus O'Dair, Digital Catapult
Tuesday 05 March 2019
The book, written as researcher in residence at Digital Catapult, is based on
interviews with startups using blockchain technology in film (FilmChain), music (
Blokur, JAAK), ticketing (Artos, GUTS), art (Maecenas, Verisart), publishing (
Publica), journalism (Civil) and gaming (CryptoKitties).
The researcher in residence position allowed me time away from my teaching duties
at Middlesex University, where I was then Associate Professor of Music and
Innovation (I am now Associate Dean of Knowledge Exchange and Enterprise at the
University of the Arts London).
37. Single ‘CAD
Front-end’
Simplifyingdesign
for production.
e.g. make surethat your
eyewear designwon’t break
after amonth as youdid not
do FEMstrain andstress
modeling
https://doi.org/10.1016/j.cma.2018.10.046
Finite element analysis (FEA) is a
computerised method for predicting
how a product reacts to real-world
forces, vibration, heat, fluid flow and
other physical effects. Finite element
analysis shows whether a product will
break, wear out or work the way it was
designed. It is called analysis, but in the
product development process, it is
used to predict what's going to happen
when theproductisused.
https://www.autodesk.co.uk/solutions/finite-element-analysis
38. Additive
Manufacturing
for Eyewear
Customize thelooks
and comfort from
3D scans
The global eyewear market is a $180billion market dominated by one company
Luxottica. If we look at today’s deal whereby BASFisinvesting$25million in Materialise
we could see this as a deal to industrialize 3D printing for many products. But, given
Materialise’s lead in eyewear, is this perhaps the entire play for BASF? Maybe a chemical
company wants to leapfrog polymer, manufacturing, parts production and eyewear
manufacturerstosellmasscustomizedeyewear?
Materialise and BASF Future Leaders in Customized 3D
Printed Eyewear July19, 2018byHannah RoseMendoza3DDesign3DPrintingBusiness
https://3dprint.com/219767/d-materialise-basf-leaders-in-customized-3d-printed-eyewear/
39. Additive
Manufacturing
for Eyewear
Customize thelooks
and comfort from
3D scans 3DNA - face scanning for bespoke eyewear - 100% Optical tech showcase
Feb 6, 2019 https://youtu.be/kdKgGWhw_r0
Optometry Today The software, which was developed by the Hong
Kong-based optical solutions company Eye-DNA, takes a 3D face
scan of the consumer, who then works with an optical
professional to design a bespoke piece of eyewear.
https://www.aop.org.uk/ot/industry/eyewear-and-lenses/2019/02/0
6/waterside-laboratories-partners-with-3dna
40. Additive
Manufacturing
for Eyewear
3D printers and 3D
scanner quite low-
cost already, at least
for quick
prototyping
But the most notable update the Snap Spectacles 3 feature is
"under the hood" in the form of a second HD camera, which
allows the camera to record in "3D." More specifically, it
means that the glasses can recreate stereoscopic depth the way
that human eyes do.
42. Creative AI
Emergingfield,
“easy” tosee how it
can make designer
lifeeasier eventually.
Buthow with no “AI
teaching”, you see
thejump from this
to“creative
applications”what
you typicallythinkof
being creative?
Creative AI Through Evolutionary Computation
Risto Miikkulainen (Submitted on 12 Jan 2019)
https://arxiv.org/abs/1901.03775
The next step for AI is machine creativity, i.e. tasks where the correct, or even good,
solutions are not known, but need to be discovered. Methods for machine creativity have
existed for decades. I believe we are now in a similar situation as deep learning was a few
years ago: with the million-fold increase in computational power, those methods can now be
used to scale up to creativity in real-world tasks. In particular, Evolutionary Computation
is in a unique position to take advantage of that power, and become the next deep learning.
43. Proof-of-
concepts
Require cross-
disciplinary
imaginationtosee
how these could be
moved forwardfor
“nicer” (end product)
designs for human
consumers
Coevo: a collaborative design platform with artificial
agents Gerard Serra, David Miralles(Submitted on 30 Apr
2019) https://arxiv.org/abs/1904.13333
In particular, we presented a proof-of-concept scenario where both artificial agents and humans create
2D shapes to perform a certain task in multiple physically simulated environment. Building complex
structures with minimal elements (2D pieces) and the usage of simple actions (rotate/add/remove) allows
a wide range of creation possibilities. Moreover, common creation tools allow better knowledge
transfer, compare proposals and explore on new designs. Population-based optimization algorithms also
help on maximizing the exploration of the solution space. This exploration provides not only variants
of similar designs but also sometimes radically novel proposals. This new knowledge can help to augment
human design capabilities and offers a broader view of the problem and the solution space.
44. Human-in-the-
loop Augmented
machine learningdesign
Simple example for
Photoshop users
Inmore general terms, you
wanttoautomate the
boring partsofyour
design process?
How to Use Content Aware Fill in Photoshop
You want to get rid of the
balloon, and the Photoshop
deep learning algorithm
figures out how to best
hallucinate content over the
balloon so that it looks the
most natural (known as
“inpainting”)
As a user you are not
interested in hand-tweaking
every pixel
Again, the fashionitself not veryinteresting but
theunderlyingtechis.Youcan improvetheproof-of-
concepttoproducemoreinterestingfashionhttp://on-demand.gputechconf.com/gtc-eu/2018/pdf/e8289-fashion
-design-with-gans-disentangling-color-texture-and-shape.pdf
45. Who or
what is the
creator in
the end
here?
From slideset cover
Tom White:
“As the human artist, my
main creative contribution
is the design of a
programming design
system that allows the
neural network to express
itself effectively and with a
distinct style.”
https://syncedreview.com/2019/04/04/is-the-fashion-world-ready-for-ai-designed-dresses/
46. Do fashion
designer
workflows
change?
Cutting fabric takes some
time, whereas you would
like to focus on creative
aspects?
Similar for typical ‘CAD
monkey’ tasks that no one
enjoys?
Learning curve of course
exist for digital tool
learning,
https://generated.photos
https://medium.com/syncedre
view/ai-creates-fashion-mod
els-with-custom-outfits-and
-poses-a27d5784651f
September26, 2019 Erika Thomas
Virtual Dressing RoomMarketby
2019-2026 withProfiling Playerslike
Coitor IT Tech, REACTIVE
REALITY GMBH,FitAnalytics,
3D-A-PORTER LTD., triMirror,
Dressformer
Classification of virtual
fitting room technologies in
the fashion industry: from
the perspective of
consumer experience
Hanna Lee &Yingjiao Xu
Department ofTextileandApparel,TechnologyandManagement,
WilsonCollegeofTextiles,NorthCarolinaStateUniversity
(10 Sep 2019)
International Journalof FashionDesign,
Technology andEducation
https://doi.org/10.1080/17543266.2019.1657505
Modelinghowparticular fabricfits
andbehaves,stillquitechallenging.
49. Karl Popper
et al.
friday, april 26,2019... //
Popper,a self-described anti-dogmati
st,became apreferredtool ofdogmat
ists
Asan anti-dogmatist, Popper also liked to say that
everything should be criticized.
Great. You're open-minded, there are no dogmas. One may agree with it in many
contexts. The problem is that many people unavoidably take this wisdom literally and use
it in contexts where it is no longer justified at all. And they're unavoidably applying this
principle in a biased way as well. Because they are the defenders of the view that
"everything should be criticized", they believe that they have an exception. They believe
that they cannotbe criticized,after all!
So Popper's statement that "everything should be criticized" is unreasonably biased
and excessivelystrong. Afairerstatement ofthiskind wouldsay:
It should be allowed to question the propositions and
theories to the extent that is an increasing function
of the probability that they could be wrong.
Decent readers must immediately see that Popper's statement and my statement talk
about the same issue, Popper's statement is the fanatical and one-sided one, while my is
the fair and neutral one. Again, when one dogmatically uses Popper's principle about
"criticizing everything", he unavoidably gets the "power" to pick which things should
be criticized and which things shouldn't. But as far as people think rationally, these
decisions aren't made by individual people arbitrarily. They are made or should be made
accordingto the available evidence.
Sir Karl Raimund Popper CH FBA FRS (28 July 1902
– 17 September 1994) was an Austrian-born British
philosopher andprofessor.
Generally regarded as one of the 20th century's
greatest philosophers of science, Popper is known for his rejection
of the classical inductivist views on the scientific method in favour
of empirical falsification. A theory in the empirical sciences can
never be proven, but it can be falsified, meaning that it can and
should be scrutinised by decisive experiments. Popper is also
known for his opposition to the classical justificationist account of
knowledge, which he replaced with critical rationalism, namely "the
first non-justificational philosophy of criticism in the history of
philosophy".
51. “Artist and entrepreneurs are the same
people” https://youtu.be/KxGPe1jD-qY?t=370
“Creatives start companies, and
conservative run them as they become good
managers whereas creative personalities
would get bored to death”
“High openness and high intelligence will
predict successful entrepreneurs”
https://youtu.be/KxGPe1jD-qY?t=690
“Creativity was negatively
correlated with scientific success
Hard to get creative results
published, easier to get
incremental results published”
https://youtu.be/KxGPe1jD-qY?t=1977
Whatiscreativity?
Canwedevelop it,orisitinnate?
Watch the conversation between Marc
Mayer, Director and CEO of the National
Gallery of Canada, and Dr. Jordan
Peterson, Professor of Psychology at the
University of Toronto, which took place
March 9, 2017 at the
National Gallery of Canada.
52. Genius or
Madness?
The Psychology
of Creativity
Professor
Glenn D. Wilson
https://youtu.be/Nje--J7fsfw?t=987
https://youtu.be/Nje--J7fsfw?t=1032
https://youtu.be/Nje--J7fsfw?t=2146 https://youtu.be/Nje--J7fsfw?t1=2291
53. Secrets of the
Creative Brain
NancyAndreasen isaleading
neuroscientist and psychiatristat
theUniversityofIowa
55. Traits of
Creative
People:
the Big Five
One common
abstractification of
personalityto
quantifiable
dimensions
Goldberg, L. R. (1990). An alternative "description of personality": The Big-
Five factor structure. Journal of Personality and Social Psychology, 59(6),
1216-1229.http://dx.doi.org/10.1037/0022-3514.59.6.1216 - Cited by 7028
The Geographic Distribution of Big
Five Personality Traits: Patterns
and Profiles of Human Self-
Description Across 56 Nations
The stability of big-five
personality traits
WedemonstratethatBig-Fivepersonalitytraitsarestablefor working-
ageadultsovera four-year period.Mean population changesaresmall
and constantacrossagegroups.Intra-individual changesaregenerally
unrelated to adverselifeevents and arenoteconomically
meaningful.https://doi.org/10.1016/j.econlet.2011.11.015 -
Citedby520
Why can't a man be more like a
woman? Sex differences in Big Five
personality traits across 55
cultures
Previous research suggested that sex differences in personality traits
are larger in prosperous, healthy, and egalitarian cultures in
which women have more opportunities equal with those of men. On
responses to the Big Five Inventory, women reported higher levels
of neuroticism, extraversion, agreeableness, and
conscientiousness than did men across most nations. It is proposed
that heightened levels of sexual dimorphism result from personality
traits of men and women being less constrained and more able to
naturally diverge in developed nations. In less fortunate social and
economic conditions, innate personality differences between men and
women may be attenuated. https://doi.org/10.1037/0022-3514.94.1.168 -
Citedby1093
58. Creative
Assessment
How well doeventhese
measurescorrelatewith
some“idealized” notionof
“creativeperson”
Studiestendtotryto
establishlinkwithsome
measure (e.g.openness)to
creativity.And that creativity
canbedefinedinmany
ways.
Taken together, the ACPdiffersfrom existingmeasuresof creativeclimatein two ways:
First, it takesan interpersonal approach to the study of creative climate by directlyassessingindividualsfrom the social surroundingof the
creative individual. This is what differentiates the ACP from organizational measures of creative climate, such as Amabile and colleagues’
KEYSor conceptuallysimilar inventories.
Second, the ACP was designed as a context-independent measure that targets the level of personality traits rather than attitudes in a
specific context. As such, the ACP is different from Kwaśniewska et al. 2018 recently published Climate for Creativity in Parent-Child
Relationship Questionnaire. The scale presented here aims to assess ACP as a personality trait in a behaviorally anchored manner
(“indicate with whom of them you would prefer to have contact with”; see Table A2). This makes the ACP not only a versatile instrument
that can be used in different contexts, but also goes along with a low susceptibility to socially desirable responding (as it is of relevance for
instance in the educational context.
https://doi.org/10.1080/10400419.2019.1606622
60. Traits of
Creative
People #2A
:
Passionvs.
’Obsession’
The present research investigated the role of the personality traits and
facets of the Big Five Model in harmonious (HP) and obsessive (OP)
passion.
Results from correlational and structural equation modeling analyses
revealed that the conscientiousness, openness to experience,
agreeableness, and extraversion traits (and most of their facets) were
positively related to HP, while neuroticism, agreeableness, and
extraversion (and most of their facets) were positively associated with
OP. In turn, HP was positively related to positive affect and negatively
related to negative affect. In contrast, OP was positively associated with
negative affect.
The results suggest that broad personality factors such as the Big Five
and their facets play a role in the development of HP and OP.
https://doi.org/10.1016/j.paid.2018.10.021
61. Traits of
Creative
People #2B
:
Obsession, can
getjusttoo
obsessive
sometimes,
relationshipto
perfectionism
The Myth of Perfection: Perfectionism in the
Obsessive Personality Allan Mallinger, M.D. Published Online:30 Apr 2018
https://doi.org/10.1176/appi.psychotherapy.2009.63.2.103
ShitAcademics
Say
science
explained|
courtesyof
NathanW.Pyle
a.k.a. The Lebanese model of not being
able to be admit that you do not know.
ByRussell Peters https://youtu.be/KCQwe_AMo74?t=73
62. Traits of
Creative
People #3A
:
Narcissism
https://doi.org/10.1016/j.tsc.2013.05.003
Highlights
• This paper examines the
personality disorder correlates
of creativity.
• This study shows that
subclinical narcissism is
correlated with self-rated
creativity.
• OCD is correlated with self-
rated creativity.
https://doi.org/10.1016/j.paid.2017.09.018
The current study tests a model in which adaptability mediates
the relationship between grandiose narcissism and innovation.
Little research has investigated grandiose narcissism as a
predictor of innovation, particularly innovation in the workplace.
The findings from the two studies provide support for our model
suggesting that grandiose narcissism indirectly influences
innovationthrough adaptability.
63. Traits of
Creative
People #3B
:
Narcissism
Narcissismasaside
effectofcreative
output?
https://doi.org/10.1515/ctra-2018-0017
Kaufman (2018) calls for a research agenda on outcomes of
creativity. Despite its many conceivable positive consequences, we
focus on narcissism as a potentially less socially desirable
outcome of creative accomplishment in this commentary. Evidence
from cross-sectional studies suggests a systematic link between
different indicators of creativity and narcissism. We argue that -
irrespective of methodological challenges associated with this
research -
it seems indeed plausible that creativity is associated with
narcissism. The link is presumably strongest in individuals
who engage in creativity for recognition motives.
Narcissistic strivings might ignite creative endeavors, and
positive social feedback for creative accomplishments might
fuel narcissism. While more research needs to be done to
understand the causal nature of the effects, the available
evidence points to narcissism as a socially undesirable
aspect of creativity which is not commonly discussed.
64. Traits of
Creative
People #3C
:
Pop-science example of
recentnarcissism
emergingfrom human
action
Self-enhancement (self-centrality that
encouragesyou to rate yourself highly in
comparison to others) ”Ego-quieting”
effect contradictsan apparent
psychologicaluniversal,theself-centrality
principle.Accordingtothisprinciple,
practicinganyskillrenders thatskill
self-central, andself-centralitybreeds
self-enhancementbias.
https://doi.org/10.1177%2F0956797618764621 - Cited by 10
According to Buddhist teaching, the self is an illusion.
The religion preaches a fundamentally selfless worldview,
encouraging followers to renounce individual desires and
distance themselves from self-concern. To advance this
perspective, millions of people around the world practice
yoga and meditation.
But a recently published psychological study directly
contradicts that approach, finding that contemporary
meditation and yoga practices can actually inflate your
ego.
https://qz.com/
1307380/yoga-an
d-meditation-bo
ost-your-ego-sa
y-psychology-re
searchers/
65. Traits of
Creative
People #3D
:
”botharroganceand
humilityneededin
science”
”until50yrsofage,
feelinglikeanoutsider
inscience”
Leonard Susskind: Quantum Mechanics, String Theory and Black Holes |
Artificial Intelligence Podcast Sep 26, 2019
Podcast by Lex Fridman Leonard Susskind is a professor of theoretical
physics at Stanford University, and founding director of the Stanford
Institute for Theoretical Physics. He is widely regarded as one of the
fathers of string theory and in general as one of the greatest
physicists of our time both as a researcher and an educator. This
conversation is part of the Artificial Intelligence podcast.
https://youtu.be/s78hvV3QLUE?t=409
66. Traits of
Creative
People #4:
Orienting
Sensitivity
https://doi.org/10.1016/j.paid.2018.09.015
This review also aims to identify
cognitive abilities that
characterize sensitivity and their
implications for creativity,
concluding that orienting
sensitivity is the most important
trait in the multiple trait
temperament of sensitivity that
predicts higher creativity.
Sensitive, open people are more
creative due to a complex interplay
of multiple traits and their
associated biological pathways,
which originate from plasticity
genes that interact with
environmental and experiential
contexts to influence development
of neurotransmitter systems,
neurosensitivity mechanisms
(especially lower inhibition), and
brain networks for automatic
attention and orienting.
Homberg, J. R., Schubert, D., Asan, E., & Aron,
E. N. (2016). Sensory processing sensitivity and
serotonin gene variance: Insights into mechanisms
shaping environmental sensitivity. Neuroscience
and Biobehavioral Reviews, 71, 472–483.
https://doi.org/10.1016/j.neubiorev.2016.09.029
67. Traits of
Creative
People #5A
:
Creativity /
Intelligence
http://doi.org/10.1016/j.neuropsychol
ogia.2018.09.006
https://doi.org/10.1007/s10648-015-9299-1 https://doi.org/10.1016/j.intell.2016.04.006
68. Traits of
Creative
People #5B
:
Human
Creativity /
Artificial
Intelligence
THIS ARTICLE IS PART OF THE RESEARCH TOPIC
Novel Approaches for Studying Creativity in Problem-Solving and Artistic Performance
How Artificial Intelligence Can Help Us Understand Human Creativity
Fernand Gobet and Giovanni Sala
Front. Psychol., 19 June 2019 | https://doi.org/10.3389/fpsyg.2019.01401
Artificial Intelligence Research and Creativity Using AI for understanding creativity has a long history and is currently an
active domain of research with annual international conferences (for reviews, see MeheusandNickles,2009;
ColtonandWiggins,2012). As early as 1957, Newell, Simon, and Shaw had programmed Logic Theorist to prove theorems in
symbolic logic. Not only did this research lead to an influential theory of problem-solving (Newelletal.,1958) but it also shed
important light on human creativity, as Logic Theorist was able to prove some theorems in a more elegant way than Russell and
Whitehead, two of the leading mathematicians of the twentieth century (GobetandLane,2015). There are numerous examples
of AI creativity in science today (Sozouetal.,2017). For example, at Aberystwyth University, a “robot scientist” specialized
in functional genomics not only produced hypotheses independently but also designed experiments for testing these
hypotheses,physicallyperformedthemandtheninterpretedtheresults(Kingetal.,2004).
In the arts, British abstract painter Harold Cohen all but abandoned a successful career as an artist to
understand his own creative processes. To do so,he wrote a computer program,AARON, able to make drawingsand later
color paintings autonomously (McCorduck,1990). More recently, several programs have displayed high levels of creativity in the
arts. For example, a deep-learning algorithm produced a Rembrandt-like portrait (FloresandKorsten,2016) and the program
Aiva, also using deep learning, composes classical music (AivaTechnologies,2018). An album of Aiva’s music has already been
released, and its pieces are used in films and by advertising agencies. In chess, the program CHESTHETICA automatically
composeschessproblemsandpuzzlesthatareconsideredbyhumansasestheticallypleasing(Iqbaletal.,2016).
However, AI has had only little impact on creativity research in psychology (for an exception, see
OlteţeanuandFalomir’s,2015, 2016 work on modelling the Remote Associate Test and the Alternative Uses Test). There is only
passing mention if at all in textbooks and handbooks of creativity (e.g., KaufmanandSternberg,2006; Runco,2014), and
mainstreamresearchsimplyignoresit.Inourview,thisomissionisaseriousmistake.
70. Cross-
disciplinary
‘Functional
Teams’
Emergenceof
“ScienceofTeam
Science(SciTS)”
Understanding Cross-Disciplinary Team-Based Research: Concepts and Conceptual Models from
the Science of Team Science Kara Hall, Brooke A. Stipelman, Amanda L. Vogel, and Daniel
Stokols The Oxford Handbook of Interdisciplinarity (2 ed.) (Jan 2017)
http://doi.org/10.1093/oxfordhb/9780198733522.013.28
This chapter begins with an overview of team science, including a discussion of the major dimensions and
processes that shape science teams and unique considerations for cross-disciplinary teams. The
chapter then introduces key concepts and milestones in the SciTS field, and reviews conceptual models that
explicate the processes and contextual factors that influence research collaboration. The chapter
concludes with a discussion of future directions, including additional evidence needed to promote effective
cross-disciplinaryteamwork.
Thomas Kuhn wrote is his classic book, TheStructureofScientificRevolutions that paradigm shifts occur in
science when the old ways of making sense of the world are no longer useful or appropriate. The need for a
transdisciplinary approach to the study of health and disease is critically needed because the traditional silo
approachtotheseissuesclearlyisnotadequate tothechallengesweface
71. ‘Creative
Team’
Opennessand
domainknowledge
seemimportant
https://doi.org/10.1002/sej.40
Specifically, we propose that diverse personal ties
outside of the team shape and strengthen individual
team member's ‘creative muscle,’ and that this
individual creative cognition is infused within the
team through modeling processes, ultimately resulting
in team creative cognition. We further propose that
team member centrality in the team's sociocognitive
network, as well as the evolution of the
entrepreneurial team, are critical to fully
understanding the infusion process and the resulting
emergence of team creative cognition.
https://doi.org/10.1002/jocb.153
Building on an interactional approach, this
article explores the role of individual
differences in the relationship between social
networks and individual creativity and proposes
that weak ties enhance creativity when information
recipients are highly open to experience, have
more domain knowledge, have an innovative style,
and are intrinsically motivated.
https://doi.org/10.1002/jocb.141
The process of team creativity evolution is
divided into four phases, including formation,
growth, maturity and decline/restart. The
importance of domain relevant knowledge‐relevant knowledge ,
creativity relevant skill‐relevant knowledge , interaction frequency,
interaction length, network density and closeness
centrality are emphasized in specific phases of
team creativity evolution in a complex creative
context.
73. Neuroscience
of Creativity #1
The Cambridge
Handbook of the
Neuroscience of
Creativity
edited by Rex E. Jung, Oshin
Vartanian
https://www.amazon.co.uk/Camb
ridge-Neuroscience-Creativity
-Handbooks-Psychology/dp/1316
602109
74. Neuroscience
of Creativity #2
”The two-fold model assumesa
cyclicmotion between the
generation and the evaluation
ofideas, ascommon or deviant
ideasare rejected,and novel and
appropriate ideasreceive further
attention and elaboration. The
model aimstoexplain how different
environmental processes, like
expertiseandenculturation,
affectcreativity.”
https://doi.org/10.1016/j.cobeha.2018.11.004
The suggested neurocognitive model of idea
generation and evaluation. (a) Environmental
influence may attenuate the evaluation phase by
shifting the balance between reliance on valuation
(appropriateness) or monitoring (novelty) processes.
For example, a shift toward lenient evaluation would
characterize more ideas previously perceived as
inappropriate as appropriate, and may further reduce
the inhibition of novel ideas which would result in an
increase of creative output (quantity and
quality). (b) Environmental influence may cause an
increase in lenient evaluation, thus increasing the
coupling of the DMN and ECN, and by doing so,
increase the reliance on bottom-up processes and
reduce the ECN inhibiting influence on novel and
inappropriateideas.
DMN, default mode network; mPFC, medial prefrontal cortex;
PCC, posterior cingulate cortex; rTPJ, right temporalparietal
junction; ECN, executive control network; PFC, prefrontal
cortex; lIFG, left inferior frontal gyrus; Amy, amygdala; VS,
ventral striatum; RH, right hemisphere; LH, left hemisphere.
75. Neuroscience
of Creativity #3
Dopamine pathways:
Reward (Intrinsic motivation)
https://doi.org/10.3389/fncir.2019.00018
Creativity appears in various diverse models, tones, and shades (Feist, 2010; Perlovskyand Levine, 2012). The creative contributions of
extraordinary artists, designers, inventors, and scientists attract our greatest consideration as they express the foundations of their
culture and provide breakthroughs influencing cultural development and progress. Therefore, creativity is a crucial operator of human
progress. Nevertheless, not every person whoisan artist, inventor or scientist issimilarly creative, nor are all creative (innovative) individual artists,
inventorsor scientists. Someare innovative inbusiness, in communicationwith other individuals, or just in living.
A schematic overview of the link between creativity and
different mood states (after Baasetal.,2008, 2013;
DeDreu etal., 2008). It illustrates how activating and
deactivating mood states (i.e., valences, motivational state),
and regulatory focus influence creativity. A “ >” symbolizes a
higher influence in the condition left as compared to the right
of the symbol. Symbols ± symbolize positive and negative
influences, whilean “X”symbolizesno influencerevealed.
A schematic overview of the effects of the two DA pathways (the nigrostriatal and mesocortical DA) on the
creative drives and the creative cognitions [i.e., executive functions (EFs)]. Both pathways influence
creativity via the dual process model, which is composed ofa resistance and cognitive flexibility. The predictionof
creativity through EFs (i.e., shifting, inhibition and WM) requires an optimal balance between deliberate
(controlled) processing and spontaneous processing. On the other hand, there is a link between reward (i.e.,
promises, training, and intrinsic interest) and creativity through the action effect binding. Moderating effects of
mindset (cooperative and competitive) and cognitive resources on creative drives (i.e., mood, motivation, and
emotion)is also illustrated.
76. Computational
Neuroscience
of Creativity
Simplified: Brain regionsas
nodesofanetwork, high-level
phenomena such asconciousness,
creativitity, intelligence isan
emergentpropertyofthisnetwork
To address this question, we apply a computational network control theory (NCT) approach to structural brain imaging data
acquired via diffusion tensor imaging in a large sample of participants, to examine how NCT relates to individual differences in
distinct measures of creative ability and intelligence. Recent application of this theory at the neural level is built on a model of
brain dynamics, which mathematically models patterns of inter-region activity propagated alongthe structure of an underlying
network. The strength of this approach is its ability to characterize the potential role of each brain region in regulating whole-brain
network function based on itsanatomical fingerprint and asimplified model of node dynamics. We find that intelligence isrelated to
the ability to “drive” the brain system into easy to reach neural states by the right inferior parietal lobe and lower integration
abilities in the left retrosplenial cortex. We also find that creativity is related to the ability to “drive” the brain system into
difficult to reach states by the right dorsolateral prefrontal cortex (inferior frontal junction) and higher integration abilities in
sensorimotor areas. Furthermore, we found that different facets of creativity—fluency, flexibility, and originality—relate to
generally similar but not identical network controllability processes. We relate our findings to general theories on
intelligence and creativity.
77. ‘Neurology’
of Creativity
https://www.goodrea
ds.com/book/show/63
697.The_Man_Who_Mis
took_His_Wife_for_a
_Hat_and_Other_Clin
ical_Tales
https://doi.org/10.1212/01.WNL.0000150526.09499.3E
http://www
.strokecent
er.org/pati
ents/about
-stroke/su
barachnoi
d-hemorrh
age/
The emergence of artistic skills in the context of brain damage has
been documented in patients with frontotemporal dementia (FTD). In this
report, we describe an artist whose skills emerged following a sudden-onset
brain injury without any associated dementia or impaired verbal abilities. This
may represent a window into an alternative mechanism of artistic creativity to
thatillustrated bypatientswith FTD.
Our patient worked as a builder and reports that he had a fiery
temper and aggressive personality. At no point was he involved
with or interested in the creative arts. Following the
subarachnoid hemorrhage he presented with severe depression and
complained ofa“split-mind disorder.”
About 2 weeks after surgery, he began to fill several notebooks with
poems and verse, describing his “split brain,” altered perceptions,
and personality. In the following months, he drew hundreds of
sketches, mainly of faces, all of them asymmetric (figure, B). This
was followed by large-scale drawings on the walls of his house
sometimes covering whole rooms (figure, C). He claims the brain
injury has left him obsessed with making art and he now
spendsmost of hisdaypaintingand sculpting.
(B) His early works are
naïve, colorful, and
passionate; all of them
are asymmetric,
describing his split
brain in some way.
(C) The artist painted this
representation of his split
brain (including the frame)
on the inside wall of his
house. He regularly spends 10
hours at a time completing a
painting on the wall of his
kitchen or living room
81. Get an intro for
example from
Computational Creativity
The Philosophy and Engineering
of Autonomously Creative
Systems
Editors: Tony Veale and F. Amílcar Cardoso
Part of the Computational Synthesis and Creative Systemsbook
series (CSACS)
82. Exampleof
Quantifyingcreativity
inPaintings
For example, the following plot shows the creativity measurement for classical
paintings from Artchive dataset. Horizontal line indicates the time and vertical
axes shows the creativity score computed by our algorithm.
https://arxiv.org/abs/1506.00711
Cited by 45 - Related articles
84. Creativity and
Management #1
https://doi.org/10.1037/a0018556
As shown in Table 2, motivation demonstrated stronger relationships with individual
innovation than did personality factors. In general, all motivation predictors exhibited
moderately strong positive relationships as indicated by p’s ranging from .14 to .33.
Intrinsic motivation had a slightly stronger relationship with innovation than did
extrinsic motivation (p .24 and .14, respectively). Thus, it appears that motivation,
especially self-perceptions of efficacy, is positively related to individual innovative
behavior.
85. Creativity and
Management #2
When empowering leadership fosters creative performance: The role of
problem-solving demands and creative personality
Mieke Audenaert and Adelien Decramer
Journal of Management & Organization (January 2018)
https://doi.org/10.1017/jmo.2016.20
Amabile, T. M., Schatzel, E. A., Moneta, G. B., & Kramer, S. J. (2004). Leader
behaviors and the work environment for creativity: Perceived leader support. The
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Shalley, C. E., Zhou, J., & Oldham, G. R. (2004). The effects of personal and
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Woodman, R. W., Sawyer, J. E., & Griffin, R. W. (1993). Toward a theory of
organizational creativity. Academy of Management Review, 18(2), 293–321.Google Scholar
Zhou, J., & George, J. M. (2001). When job dissatisfaction leads to creativity:
Encouraging the expression of voice. Academy of Management Journal, 44(4), 682–696.
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87. Creativity and
setting
objectives?
Can thewhole process
even be goal-orientated?
e.g. the“Singaporean
top-downKPImodel”,
where people are taught
toexecute and notto
think?
Go back to Kenneth
Stanley’s “structured
free-running”
Creativity in art
Vincent Tomas
Philosophical Review 67 (1):1-15 (1958)
http://doi.org/10.2307/2182766 - Cited by 64
Creativity and Philosophy
8 Mar 2018
by Matthew Kieran (Author),
Berys Gaut (Editor)
89. "Art should be a slap in the
face. A masterpiece cannot exist
except by struggle" Rene Magritte (1898-
1967)
"An idea that is not dangerous is
unworthy of being called an idea
at all" Oscar Wilde (1854-1900)
“I have forced myself to
contradict myself in order to
avoid conforming to my own
tastes" Marcel Duchamp (1887-1968)
“I am interested in the
creativity of the criminal
attitude because I recognize in
it the existence of a special
condition of crazy creativity. A
creativity without morals fired
only by the energy of freedom and
the rejection of all codes and
laws. For freedom rejects the
dictated roles of the law and of
the imposed order and for this
reason is isolated.”
Joseph Beuys (1921-1986)
Fernand
Leger, Mechanical
Elements,
1920; oil on canvas,
36 1/8 x 23 1/2 in.
Image courtesy
Metropolitan Museum o
f Art
"Never, even as a child,
would I bend to a rule"
Claude Monet (1840-1926)
91. Machinesstill
doingpoorjobin
learning-to-learn
andhavinga‘proper’
intrinsicmotivation
tolearnnewstuff.
i.e.”Formaltheoryof
fun”needtobe
developedfurther
We conclude by arguing that learning-to-learn
and meta-learning strategies are key capacities
that currently distinguish humans from
machines. For society to be generally adaptable
to change, we propose that social structures
and education systems will need to nurture
skills that foster general and transferable
learning capacities (rather than, or in
addition to, specific skills).
For humans to flourish in the future,
governments are also encouraged to incentivize
citizens who possess skills to become teachers
and mentors. Society can be made robust when
experts are inclined to teach those who are
willing and able to learn.
Preparing humanity for change and artificial intelligence
Ruben Laukkonen, Hannah Biddell, Regan Gallagher (2019)
https://doi.org/10.31234/osf.io/g5qwc
92. Human as a
neural net
Transhumanismor
justtotalcognitive
atrophy?
Artificial intelligence is closing the gap on humans.
But surely some human skills will remain beyond the
reach of bots? “Godfather of Deep Learning” Dr.
Geoffrey Hinton thinks not. “We humans are neural nets.
What we can do, machines can do,” he told a Google I/O
audience yesterday.
Nicholas Thompson, Dr. Hinton’s partner in the
chat, challenged the idea that machines could learn
to perform any and all human brain activities:
“There is no emotion that couldn’t be recreated?
There is nothing of humans that couldn’t be
recreated by fully functional neural networks? And
you are 100 percent confident on this?”
Dr. Hinton replied that he was “99.9 percent sure.”
“What about that 0.1 percent?”
“We might be in a big simulation,” quipped Dr.
Hinton, evoking a hearty round of laughter and
applause from the audience.
93. Human as a
neural net
Transhumanismor
justtotalcognitive
atrophy?
Jürgen Schmidhuber “Point Omega”
https://youtu.be/KQ35zNlyG-o
94. Human as a
neural net
Transhumanismor
justtotalcognitive
atrophy?
Artificial intelligence is closing the gap on humans.
But surely some human skills will remain beyond the
reach of bots? “Godfather of Deep Learning” Dr.
Geoffrey Hinton thinks not. “We humans are neural nets.
What we can do, machines can do,” he told a Google I/O
audience yesterday.
Nicholas Thompson, Dr. Hinton’s partner in the
chat, challenged the idea that machines could learn
to perform any and all human brain activities:
“There is no emotion that couldn’t be recreated?
There is nothing of humans that couldn’t be
recreated by fully functional neural networks? And
you are 100 percent confident on this?”
Dr. Hinton replied that he was “99.9 percent sure.”
“What about that 0.1 percent?”
“We might be in a big simulation,” quipped Dr.
Hinton, evoking a hearty round of laughter and
applause from the audience.
97. “Creativity
Training”
Still somewhat circular?
“whatyoumeasureiswhat
youget”, identifyingneural
correlates (“creativity
biomarkers”)and
psychologicmeasuresfor
anymeaningful
quantification of
interventions
http://dx.doi.org/10.1002/hbm.23246
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The most popular of the drugs used by respondents to Nature 's poll
seem to have fairly mild neuroenhancing effects, says Chatterjee,
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99. The effect of
psychedelics
Increasein
creativity
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microdosers Thomas Anderson, Rotem Petranker, Daniel Rosenbaum, Cory R. Weissman, Le-Anh Dinh-Williams, Katrina Hui,
Emma Hapke, Norman A. S. Farb (02 January 2019) Psychopharmacology February 2019, Volume 236, Issue 2, pp 731–740
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Current and former microdosers scored lower on measures of dysfunctional attitudes
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compared to non-microdosing controls.
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The present study aimed to assess the sub-acute effects of psilocybin on creative
thinking, empathy, and well-being. Results indicated that psilocybin enhanced
divergent thinking and emotional empathy the morning after use. Enhancements in
convergent thinking, valence-specific emotional empathy, and well-being persisted
seven days after use. Sub-acute changes in empathy correlated with changes in well-
being. The study demonstrates that a single administration of psilocybin in a
social setting may be associated with sub-acute enhancement of creative thinking,
empathy, and subjective well-being. Future research should test whether these
effects contribute to the therapeutic effects in clinical populations.