Creativity as a complex form of creation and thinking

2002

Is it possible to design for creativity? This is one of the most important research questions in AI and Design. This paper raises the question whether automated software agent design can be creative. Not only is the artefact dynamic in the sense that it adapts to its environment, it is also autonomous: an agent decides on its own when to be modified and by whom. An agent’s functionality may evolve beyond the expectations of its designers and/or users resulting in very new, unique artefacts. Is this type of design creative? Is the process creative? The result?

Human Factors and Ergonomics Society Annual Meeting Proceedings, 2009

Creativity is often defined in ways that are neither useful nor operationalizable. We proposed a new definition for creativity that incorporates the Skills-Rules-Knowledge model of . We then examine the tests of creativity and real world design problems alongside each other with this new definition in mind. Participants completed six different creativity tests, including the design problems. The tests were scored on the basis of five domains of creativity. Answers to questions an individual had seen previously were not included in data analysis. We expect to find that all measures of creativity correlate weakly with each other, and spatial, nonentrenchment, and original types of creativity correlate more highly with design than other types, providing further evidence for the importance of creativity for designers and engineers.

Since creativity and technology are considered as the cores of development and innovation in our age. Therefor it is important to have a better understands of the role and impacts of digital technologies on human’s creativity and its end product. In order to do so, I tried to answer the following questions; A) Do technology really expands, aids, and creates creativity? B) Do they both have contradicting conceptions? In short, I am trying to examine the impact of the usage of digital technologies on the creativity of humans in design. In trying to do so, I have implemented a qualitative method based mainly on logical interpretation and review of literature. As a conclusion, I found that creativity in the first place relays on the creative person, not on the technology. And that technology may help only in expressing creativity, but not creating it. Also there are conceptual contradictions between them. Finally, I can say that: considering technological thought as the primer thought mode of our age as peters argued (Peters, 2000) is crucial enough to threat peoples’ creativity.

2014

Creative Technology is a new bachelor programme at the University of Twente. Goal of Creative Technology is to design products and applications that improve the quality of daily life in its manifold aspects, building on Information and Communication Technology (ICT). The application domains range from recreation to work, from entertainment to learning and from health to art. A paradigm of Creative Technology is to make use of existing technology in novel combinations –in contrast to developing new technology. In this paper we identify and elaborate the Design Methods of Creative Technology in a consistent overview. On one side, the focus on human daily life suggests that user centred design approaches from Industrial Design and Interaction Design are relevant for Creative Technology. On the other side, the development of prototypes will make use of “classical” engineering design principles. Between these areas of design is a field that is not covered by other disciplines: the exploration of the potential of existing ICT technology, focussing on applicability for the user. To foster this process, our design method is a balanced combination of Divergence-Convergence and Spiral models of design practice. The purpose of this model is mainly for education. However, for Creative Technology as a multi-disciplinary field, it is also relevant to position itself in contrast to the neighbouring disciplines, which in our context are Industrial Design Engineering and ICT.

International Journal of Design Creativity and Innovation

Design is recognized as one of the creative professions but that does not mean that design equals creativity. Much of design is not creative, rather it is routine in the sense that the designs produced are those that are similar to existing designs and are only unique in terms of the situation they are in. However, there is value in producing designs that are considered creative in that they add significant value and change people's perceptions and, in doing so, have the potential to change society by changing its value system. A search for the terms 'design' and 'creativity' in books over the last 200 years (using Google's Ngram) shows that the term "design' was well established by 1800 and its use dropped between 1800 and 1900, after which its use increased to 2000. The term 'creativity' only came into noticeable use from 1940 on (Figure 1). It is, therefore, not surprising that creativity research is a young field. Much of early design creativity research has focused on distinguishing design creativity from designing; typically, by attempting to determine when and how a designer was being creative while they were designing. This still remains an important area of design creativity research that deserves considerable attention. Much of the design creativity research over the last 30-40 years has focused on either cognitive studies of designers or on building computational models of creative processes, generally using artificial intelligence or cognitive models. As in other areas of design research, there has been interest in developing cognitive creativity support tools. These two paradigmatic approaches have yielded interesting and important results. Tools can be categorized along a spectrum from passive through responsive to active. Passive tools need to be directly invoked by the designer and remain unchanged by their use. A spreadsheet is an exemplary example of a general passive tool. Passive tools that support design creativity include, for example, morphological analysis and TRIZ. Responsive tools need to be directly invoked by the designer but are changed by their use and do so by learning (Gero, 1996). They aim to tailor their response to the user over time. They tend to be developed for a specific purpose and are often proprietary. Active tools interact with the designer, i.e., they respond to what the designer is doing and make proposals. More recently, there has been interest in studying creativity when the designer is using responsive and active creativity aids. These aids cover a wide spectrum. Here two new categories will be considered: artificial intelligence that supports co-creation and neuro-based creativity enhancement. These two approaches form the basis of two nascent directions that are fundamentally different to the current directions of cognitive studies and passive cognitive support tools. In addition, there have been studies with drugs that affect the brain and that anecdotally enhance creativity. Alcohol has been shown to have a mild positive effect on the remote association creativity test but impairs divergent thinking, which is involved in design creativity (Norlander, 1999). However, controlled studies with Ritalin (methylphenidate) (Baas et al., 2020), cannabis (tetrahydrocannabinol) (Kowal et al., 2015) and LSD (lysergic acid diethylamide) Figure 1. Google's Ngram on the appearance of the terms "design" (blue line) and "creativity" (red line) in books since 1800.

Springer Series in Design and Innovation, 2022

Springer Series in Design and Innovation (SSDI) publishes books on innovation and the latest developments in the fields of Product Design, Interior Design and Communication Design, with particular emphasis on technological and formal innovation, and on the application of digital technologies and new materials. The series explores all aspects of design, e.g. Human-Centered Design/User Experience, Service Design, and Design Thinking, which provide transversal and innovative approaches oriented on the involvement of people throughout the design development process. In addition, it covers emerging areas of research that may represent essential opportunities for economic and social development. In fields ranging from the humanities to engineering and architecture, design is increasingly being recognized as a key means of bringing ideas to the market by transforming them into user-friendly and appealing products or services. Moreover, it provides a variety of methodologies, tools and techniques that can be used at different stages of the innovation process to enhance the value of new products and services. The series' scope includes monographs, professional books, advanced textbooks, selected contributions from specialized conferences and workshops, and outstanding Ph.D. theses.

2001

This paper introduces notions of creativity and creative design as a form of computational exploration. Exploration is used as a means of defining spaces which are then searched. It is shown that schemas provide an opportunity to describe exploration. Emergence as a process which modifies schemas is described, as a 'creative process'. Visual emergence is elaborated and other forms of emergence are described. The role of emergence in creative design is presented.

Arts and Design Studies, 2015

Design as an act related to producing an answer/solution is seen as a creative process in which the solution is constructed by developing and refining both problems and ideas together, and accordingly, transferring the design from being a routine design to a non-routine one. In this sense, design is not limited to the final outcome but also concerns how the outcome was reached. We can say, therefore, that design is not just the act of designing or the design product—it represents both conditions, and how they were conceived. However, one of the major problems with creativity is its definition, which has been developed and evolved over several decades. The aim of this research is to gain a better understanding of creativity, in addition to demonstrating its role as a natural component of the design process in order to improve design ability. Keywords: Architecture, Design, Creative design, Routine design.

Citeseer, 2007

Abstract. This paper introduces notions of creativity and creative design as a form of computational exploration. Exploration is used as a means of defining spaces which are then searched. It is shown that schemas provide an opportunity to describe exploration. Emergence as a process which modifies schemas is described, as a'creative process'. Visual emergence is elaborated and other forms of emergence are described. The role of emergence in creative design is presented. Keywords. creative design, design theory, ...

International Journal of Design Creativity and Innovation