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Creativity in the Digital Age.

By: Contributor(s): Material type: TextSeries: Publisher: London : Springer London, Limited, 2015Copyright date: ©2015Edition: 1st edDescription: 1 online resource (269 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9781447166818
Subject(s): Genre/Form: DDC classification:
  • 745.40285
Online resources:
Contents:
Intro -- Preface -- Contents -- Contributors -- Part I: Fundamentals of Digital Creativity -- Chapter 1: The Creative Revolution That Is Changing the World -- 1.1 Introduction -- 1.2 The Motivation -- 1.3 Cultural State of the Art -- 1.4 Technological State of the Art -- 1.5 Traits of Creative Technologies -- 1.6 Conclusions -- References -- Chapter 2: The Internet Is Ancient, Small Steps Are Important, and Four Other Theses About Making Things in a Digital World -- 2.1 Introduction -- 2.2 The Statements -- 2.2.1 The Internet Is Ancient (In Other Words: The Internet Has Affordances Which Connect with Ancient, Great Aspects of Humanity) -- 2.2.2 A World with Lots of Interesting, Creative Things Is Always Better than a World Which Offers a Small Number of Popular, Smartly Finished Things -- 2.2.3 People Doing Things Because They Want to Is Always Better than People Watching Things Because They Are There -- 2.2.4 The Distribution and Funding Possibilities of the Internet Are Better than the Traditional Models -- 2.2.5 Small Steps into a Changed World Are Better than No Steps -- 2.2.6 The Digital Internet Is Good, but Hands-on Physical Things Are Good Too -- 2.3 Conclusion -- References -- Chapter 3: Creating Creative Technologists: Playing With(in) Education -- 3.1 Introduction -- 3.2 The Spectrum of Play(fulness) -- 3.3 The Space of Play -- 3.4 Playful Projects -- 3.4.1 Poetry in Motion -- 3.4.2 Synthesis -- 3.4.3 Guerilla Playspaces -- 3.4.4 Virtual Reality Wheelchair Simulator -- 3.4.5 Lost in a Rift -- 3.4.6 Rabble Room Arcade -- 3.5 Summary: The State of Play -- References -- Part II: Expressive Processes -- Chapter 4: Playing with Puzzling Philosophical Problems -- 4.1 Introduction -- 4.2 Problematizing Play -- 4.3 (The Question Concerning) Philosophical Play -- 4.4 Gua-Le-Ni -- or, the Horrendous Parade -- 4.5 Necessary Evil.
4.6 Concluding Remarks -- References -- Chapter 5: The Creative Manipulation of Time Through Digital Personal Narratives -- 5.1 Introduction -- 5.2 Narrating One's Life -- 5.3 Narrative and Consciousness -- 5.4 Narrative Time -- 5.5 The Accepted Notions of Time -- 5.6 Timelessness -- 5.7 Projecting Ourselves Into the Future: Memory and the Future -- 5.8 Narratives in Cultural Evolution -- 5.9 Conclusions -- References -- Chapter 6: Interaction Aesthetics and Ubiquitous Music -- 6.1 Introduction -- 6.1.1 Interaction Aesthetics -- 6.2 Goals of Ubimus Design -- 6.3 Material Relational Properties and Creativity Support Metaphors: Implementation of the Metaphors and Testing the Solutions Through User Studies -- 6.4 Social Relational Properties: Distributed Creativity -- 6.5 Relational Properties in Ubimus Design: Methodological Implications -- 6.6 Conclusions and Future Work -- References -- Part III: Co-creation and Collaboration -- Chapter 7: An Enactive Model of Creativity for Computational Collaboration and Co-creation -- 7.1 Introduction -- 7.2 Computational Creativity -- 7.2.1 Creativity Support Tools -- 7.2.2 Generative Computational Creativity -- 7.2.3 Computer Colleagues -- 7.3 The Enactive Paradigm -- 7.3.1 Enactive Perception -- 7.3.2 Participatory Sensemaking -- 7.3.3 Goals and Directives -- 7.3.4 Enactive Creativity Thesis -- 7.3.5 Enactive Creativity Examples -- 7.3.5.1 Architectural Design -- 7.3.5.2 Musical Performance -- 7.3.5.3 Visual Art -- 7.3.6 Enactive Model of Creativity -- 7.3.6.1 Model Description -- 7.3.6.2 Perceptual Logic -- 7.3.6.3 Clamping Perception -- 7.3.6.4 Unclamping Perception -- 7.3.6.5 Modulating Semantic Constraints -- 7.4 Building Co-creative Agents with the Enactive Model -- 7.4.1 Layers of Perceptual Logic -- 7.4.2 Drawing Apprentice -- 7.4.3 Multiple Sets of Perceptual Logic -- 7.4.4 Solid Sketch.
7.5 Conclusions -- References -- Chapter 8: Creative Collaboration in Young Digital Communities -- 8.1 Introduction -- 8.2 Theoretical Framework -- 8.2.1 Dialogue, Creation, and Intersubjectivity -- 8.2.2 Emotion, Thinking, and Creative Collaboration -- 8.3 Methodology -- 8.3.1 The Project, Contexts, and Participants -- 8.3.2 The Data -- 8.3.3 Data Analysis -- 8.4 The Creative Process in the Classroom -- 8.4.1 Phase 1. Creativity as a Cultural Process -- 8.4.1.1 Approaching the Game -- 8.4.1.2 What Is a Game for You? -- 8.4.1.3 Tools and Creative Processes: Specific Software for Game Design -- 8.4.2 Phase 2. Collective Reflection: Anticipating the Final Product -- 8.4.3 Phase 3. Specific Roles in the Creative Process -- 8.4.3.1 Division of Labor -- 8.4.3.2 Material and Visual Support -- 8.4.4 Phase 4. Creative Collaboration -- 8.4.4.1 The Game Designer's Role -- 8.4.4.2 The Art Director -- 8.4.4.3 The Sound Director -- 8.4.4.4 The Programmer -- 8.4.5 Phase 5. Sharing Final Creation: Awareness of Difficulties -- 8.5 Conclusions -- References -- Chapter 9: When Ideas Generate Value: How LEGO Profitably Democratized Its Relationship with Fans -- 9.1 Introduction -- 9.2 The Infusion of New Interactions -- 9.3 Bringing Ideas and Companies Together -- 9.4 Enthusiastic Labor -- 9.5 Ideas and Companies in an Innovative Democratized Relationship -- 9.6 Conclusion -- References -- Chapter 10: Communication in Crowdfunding Online Platforms -- 10.1 Introduction -- 10.2 Crowdfunding -- 10.3 Motivations of Supporters and Creators to Participate in Crowdfunding -- 10.4 Online Crowdfunding Platforms -- 10.5 Theoretical Framework and Method Employed -- 10.6 Identifying Elements Which Generate Credibility, Trust and Engagement in Indiegogo and Kickstarter -- 10.6.1 Credibility -- 10.6.2 Trust -- 10.6.3 Engagement -- 10.7 Conclusions -- References.
Part IV: Makers and Players -- Chapter 11: Fabricating Futures: Envisioning Scenarios for Home Fabrication Technology -- 11.1 Introduction -- 11.1.1 If You Aren't a Maker Yet, You Will Be Soon -- 11.1.2 The Rise of Maker and DIY Culture: A New Kind of Industrial Revolution -- 11.1.3 Maker Motivations: Pleasure, Utility, and Expressiveness -- 11.2 Envisioning and Design Fiction -- 11.3 Design Fictions of Fabrication in Popular Culture -- 11.3.1 Star Trek: The Replicator -- 11.3.2 Transmetropolitan: The Maker -- 11.3.3 The Diamond Age: The Feed -- 11.3.4 Makers: The Ride and "Disney in a Box" -- 11.4 Analysis -- 11.5 Fabrication Scenarios -- 11.5.1 The Horizon of Home Fabrication: The Next Decade -- 11.5.2 Utopian Scenarios: Fabrication as Communication and Tool -- 11.5.3 Storytelling Objects -- 11.5.4 Fabrication as Syndication -- 11.5.5 Dystopian Scenarios: Fabrication, Spam, Hacking, and Biological Warfare -- 11.5.5.1 3D Printed Spam -- 11.5.5.2 3D Printers as a Vector for Hybrid Physical/Digital Attacks -- 11.5.6 3D Printing and Biological Warfare -- 11.6 Conclusion -- References -- Chapter 12: Play Platforms for Children's Creativity -- 12.1 Introduction -- 12.2 Materials for Exploring the World -- 12.2.1 Digital Manipulatives -- 12.3 Exploring the Design of Digital Manipulatives with Children -- 12.3.1 Context of the Study -- 12.3.2 Initial Explorations -- 12.3.2.1 Reflections on the First Design Iterations -- 12.3.3 Follow-Up -- 12.3.3.1 Reflections on the Follow-Up Iteration -- 12.3.4 Functional Prototype -- 12.3.4.1 Physical Manipulation -- 12.3.4.2 Detection of the Physical Content -- 12.3.4.3 Reflections on the Functional Prototype -- 12.3.5 TOK: Touch, Organize, Create -- 12.3.6 Modelling the Story World -- 12.4 Trying Out Different Ways of Involvement -- 12.4.1 The t-words Interface: Tangible Words.
12.5 Assessing How Children Use the Interfaces -- 12.5.1 The t-words Interface -- 12.5.2 The TOK Interface -- 12.6 Overall Reflections on the Design Process -- 12.7 Conclusions -- References -- Chapter 13: Game Design with Portfolios and Creative Skills -- 13.1 Introduction -- 13.2 Creative Game Development in Education and the 'GamesLab ON/OFF' Approach -- 13.3 Game Design ON/OFF Linking Physical and Digital Spaces -- 13.3.1 Selection of Tools, Media and Adequate Materials -- 13.3.2 Concept Development (Rules, Storytelling, Game Flow) -- 13.3.3 Social Processes in Teams (Communication, Collaboration) -- 13.3.4 Work Process Knowledge and Performative Activities -- 13.3.4.1 The Game 'Fresh Air GMDC' -- 13.3.4.2 The Project 'Shake a Leg' -- 13.3.4.3 The Project 'The Last Big Thing' -- 13.3.5 Portfolio Documentation and Reflection -- 13.3.6 Final Exhibition as a Didactic Concept of Dialogue -- 13.4 Lessons Learned -- References -- Author Biographies.
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Intro -- Preface -- Contents -- Contributors -- Part I: Fundamentals of Digital Creativity -- Chapter 1: The Creative Revolution That Is Changing the World -- 1.1 Introduction -- 1.2 The Motivation -- 1.3 Cultural State of the Art -- 1.4 Technological State of the Art -- 1.5 Traits of Creative Technologies -- 1.6 Conclusions -- References -- Chapter 2: The Internet Is Ancient, Small Steps Are Important, and Four Other Theses About Making Things in a Digital World -- 2.1 Introduction -- 2.2 The Statements -- 2.2.1 The Internet Is Ancient (In Other Words: The Internet Has Affordances Which Connect with Ancient, Great Aspects of Humanity) -- 2.2.2 A World with Lots of Interesting, Creative Things Is Always Better than a World Which Offers a Small Number of Popular, Smartly Finished Things -- 2.2.3 People Doing Things Because They Want to Is Always Better than People Watching Things Because They Are There -- 2.2.4 The Distribution and Funding Possibilities of the Internet Are Better than the Traditional Models -- 2.2.5 Small Steps into a Changed World Are Better than No Steps -- 2.2.6 The Digital Internet Is Good, but Hands-on Physical Things Are Good Too -- 2.3 Conclusion -- References -- Chapter 3: Creating Creative Technologists: Playing With(in) Education -- 3.1 Introduction -- 3.2 The Spectrum of Play(fulness) -- 3.3 The Space of Play -- 3.4 Playful Projects -- 3.4.1 Poetry in Motion -- 3.4.2 Synthesis -- 3.4.3 Guerilla Playspaces -- 3.4.4 Virtual Reality Wheelchair Simulator -- 3.4.5 Lost in a Rift -- 3.4.6 Rabble Room Arcade -- 3.5 Summary: The State of Play -- References -- Part II: Expressive Processes -- Chapter 4: Playing with Puzzling Philosophical Problems -- 4.1 Introduction -- 4.2 Problematizing Play -- 4.3 (The Question Concerning) Philosophical Play -- 4.4 Gua-Le-Ni -- or, the Horrendous Parade -- 4.5 Necessary Evil.

4.6 Concluding Remarks -- References -- Chapter 5: The Creative Manipulation of Time Through Digital Personal Narratives -- 5.1 Introduction -- 5.2 Narrating One's Life -- 5.3 Narrative and Consciousness -- 5.4 Narrative Time -- 5.5 The Accepted Notions of Time -- 5.6 Timelessness -- 5.7 Projecting Ourselves Into the Future: Memory and the Future -- 5.8 Narratives in Cultural Evolution -- 5.9 Conclusions -- References -- Chapter 6: Interaction Aesthetics and Ubiquitous Music -- 6.1 Introduction -- 6.1.1 Interaction Aesthetics -- 6.2 Goals of Ubimus Design -- 6.3 Material Relational Properties and Creativity Support Metaphors: Implementation of the Metaphors and Testing the Solutions Through User Studies -- 6.4 Social Relational Properties: Distributed Creativity -- 6.5 Relational Properties in Ubimus Design: Methodological Implications -- 6.6 Conclusions and Future Work -- References -- Part III: Co-creation and Collaboration -- Chapter 7: An Enactive Model of Creativity for Computational Collaboration and Co-creation -- 7.1 Introduction -- 7.2 Computational Creativity -- 7.2.1 Creativity Support Tools -- 7.2.2 Generative Computational Creativity -- 7.2.3 Computer Colleagues -- 7.3 The Enactive Paradigm -- 7.3.1 Enactive Perception -- 7.3.2 Participatory Sensemaking -- 7.3.3 Goals and Directives -- 7.3.4 Enactive Creativity Thesis -- 7.3.5 Enactive Creativity Examples -- 7.3.5.1 Architectural Design -- 7.3.5.2 Musical Performance -- 7.3.5.3 Visual Art -- 7.3.6 Enactive Model of Creativity -- 7.3.6.1 Model Description -- 7.3.6.2 Perceptual Logic -- 7.3.6.3 Clamping Perception -- 7.3.6.4 Unclamping Perception -- 7.3.6.5 Modulating Semantic Constraints -- 7.4 Building Co-creative Agents with the Enactive Model -- 7.4.1 Layers of Perceptual Logic -- 7.4.2 Drawing Apprentice -- 7.4.3 Multiple Sets of Perceptual Logic -- 7.4.4 Solid Sketch.

7.5 Conclusions -- References -- Chapter 8: Creative Collaboration in Young Digital Communities -- 8.1 Introduction -- 8.2 Theoretical Framework -- 8.2.1 Dialogue, Creation, and Intersubjectivity -- 8.2.2 Emotion, Thinking, and Creative Collaboration -- 8.3 Methodology -- 8.3.1 The Project, Contexts, and Participants -- 8.3.2 The Data -- 8.3.3 Data Analysis -- 8.4 The Creative Process in the Classroom -- 8.4.1 Phase 1. Creativity as a Cultural Process -- 8.4.1.1 Approaching the Game -- 8.4.1.2 What Is a Game for You? -- 8.4.1.3 Tools and Creative Processes: Specific Software for Game Design -- 8.4.2 Phase 2. Collective Reflection: Anticipating the Final Product -- 8.4.3 Phase 3. Specific Roles in the Creative Process -- 8.4.3.1 Division of Labor -- 8.4.3.2 Material and Visual Support -- 8.4.4 Phase 4. Creative Collaboration -- 8.4.4.1 The Game Designer's Role -- 8.4.4.2 The Art Director -- 8.4.4.3 The Sound Director -- 8.4.4.4 The Programmer -- 8.4.5 Phase 5. Sharing Final Creation: Awareness of Difficulties -- 8.5 Conclusions -- References -- Chapter 9: When Ideas Generate Value: How LEGO Profitably Democratized Its Relationship with Fans -- 9.1 Introduction -- 9.2 The Infusion of New Interactions -- 9.3 Bringing Ideas and Companies Together -- 9.4 Enthusiastic Labor -- 9.5 Ideas and Companies in an Innovative Democratized Relationship -- 9.6 Conclusion -- References -- Chapter 10: Communication in Crowdfunding Online Platforms -- 10.1 Introduction -- 10.2 Crowdfunding -- 10.3 Motivations of Supporters and Creators to Participate in Crowdfunding -- 10.4 Online Crowdfunding Platforms -- 10.5 Theoretical Framework and Method Employed -- 10.6 Identifying Elements Which Generate Credibility, Trust and Engagement in Indiegogo and Kickstarter -- 10.6.1 Credibility -- 10.6.2 Trust -- 10.6.3 Engagement -- 10.7 Conclusions -- References.

Part IV: Makers and Players -- Chapter 11: Fabricating Futures: Envisioning Scenarios for Home Fabrication Technology -- 11.1 Introduction -- 11.1.1 If You Aren't a Maker Yet, You Will Be Soon -- 11.1.2 The Rise of Maker and DIY Culture: A New Kind of Industrial Revolution -- 11.1.3 Maker Motivations: Pleasure, Utility, and Expressiveness -- 11.2 Envisioning and Design Fiction -- 11.3 Design Fictions of Fabrication in Popular Culture -- 11.3.1 Star Trek: The Replicator -- 11.3.2 Transmetropolitan: The Maker -- 11.3.3 The Diamond Age: The Feed -- 11.3.4 Makers: The Ride and "Disney in a Box" -- 11.4 Analysis -- 11.5 Fabrication Scenarios -- 11.5.1 The Horizon of Home Fabrication: The Next Decade -- 11.5.2 Utopian Scenarios: Fabrication as Communication and Tool -- 11.5.3 Storytelling Objects -- 11.5.4 Fabrication as Syndication -- 11.5.5 Dystopian Scenarios: Fabrication, Spam, Hacking, and Biological Warfare -- 11.5.5.1 3D Printed Spam -- 11.5.5.2 3D Printers as a Vector for Hybrid Physical/Digital Attacks -- 11.5.6 3D Printing and Biological Warfare -- 11.6 Conclusion -- References -- Chapter 12: Play Platforms for Children's Creativity -- 12.1 Introduction -- 12.2 Materials for Exploring the World -- 12.2.1 Digital Manipulatives -- 12.3 Exploring the Design of Digital Manipulatives with Children -- 12.3.1 Context of the Study -- 12.3.2 Initial Explorations -- 12.3.2.1 Reflections on the First Design Iterations -- 12.3.3 Follow-Up -- 12.3.3.1 Reflections on the Follow-Up Iteration -- 12.3.4 Functional Prototype -- 12.3.4.1 Physical Manipulation -- 12.3.4.2 Detection of the Physical Content -- 12.3.4.3 Reflections on the Functional Prototype -- 12.3.5 TOK: Touch, Organize, Create -- 12.3.6 Modelling the Story World -- 12.4 Trying Out Different Ways of Involvement -- 12.4.1 The t-words Interface: Tangible Words.

12.5 Assessing How Children Use the Interfaces -- 12.5.1 The t-words Interface -- 12.5.2 The TOK Interface -- 12.6 Overall Reflections on the Design Process -- 12.7 Conclusions -- References -- Chapter 13: Game Design with Portfolios and Creative Skills -- 13.1 Introduction -- 13.2 Creative Game Development in Education and the 'GamesLab ON/OFF' Approach -- 13.3 Game Design ON/OFF Linking Physical and Digital Spaces -- 13.3.1 Selection of Tools, Media and Adequate Materials -- 13.3.2 Concept Development (Rules, Storytelling, Game Flow) -- 13.3.3 Social Processes in Teams (Communication, Collaboration) -- 13.3.4 Work Process Knowledge and Performative Activities -- 13.3.4.1 The Game 'Fresh Air GMDC' -- 13.3.4.2 The Project 'Shake a Leg' -- 13.3.4.3 The Project 'The Last Big Thing' -- 13.3.5 Portfolio Documentation and Reflection -- 13.3.6 Final Exhibition as a Didactic Concept of Dialogue -- 13.4 Lessons Learned -- References -- Author Biographies.

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