How Creative Should Creators be to Optimize the Evolution of Ideas? A Computer Model

There are both benefits and drawbacks to creativity. In a social group it is not necessary for all members to be creative to benefit from creativity; some merely imitate or enjoy the fruits of others' creative efforts. What proportion should be creative? This paper outlines investigations of this question carried out using a computer model of cultural evolution referred to as EVOC (for EVOlution of Culture). EVOC is composed of neural network based agents that evolve fitter ideas for actions by (1) inventing new ideas through modification of existing ones, and (2) imitating neighbors' ideas. The ideal proportion with respect to fitness of ideas is found to depend on the level of creativity of the creative agents. For all levels or creativity, the diversity of ideas in a population is positively correlated with the ratio of creative agents

Harnessing Creativity and Innovation in the Workplace

{Excerpt} Creativity plays acritical role in the innovation process, and innovation that markets value is a creator and sustainer of performance and change. In organizations, stimulants and obstacles to creativity drive or impede enterprise. Creativity has always been at the heart of human endeavor. Allied to innovation, which creates unexpected value, it is now recognized as central to organizational performance. (Some hold that the capacity to harness intellectual and social capital—and to convert that into novel and appropriate things—has become the critical organizational requirement of the age.) The shift to knowledge economies has been abrupt and there is a flurry of interest in creativity and innovation in the workplace. Innovation is considered, quite simply, an imperative for organizational survival. It may even be the key to some of the biggest challenges facing the world, such as global warming and sustainable development. Notwithstanding, we are still far from a theory of organizational creativity: the avenues for promising research that might contribute to its emergence are innumerable because of the increasing use of systems approaches and the growing number of agents involved in knowledge flows

Computational Evidence that Self-regulation of Creativity is Good for Society

Excess individual creativity can be detrimental to society because creators invest in unproven ideas at the expense of propagating proven ones. Moreover, a proportion of individuals can benefit from creativity without being creative themselves by copying creators. We hypothesized that (1) societies increase their rate of cultural evolution by tempering the novelty-generating effects of creativity with the novelty-preserving effects of imitation, and (2) this is carried out by selectively rewarding and punishing creativity according to the value of the individuals' creative outputs. We tested this using an agent-based model of cultural evolution in which each agent self-regulated its invention-to-imitation ratio as a function of the fitness of its cultural outputs. In self-regulating societies, agents segregated into creators and imitators. The mean fitness of cultural outputs was higher than in non-self-regulating societies, and changes in diversity were rapider and more pronounced. We discuss limitations and possible social implications of our findings.Comment: 6 pages. arXiv admin note: substantial text overlap with arXiv:1310.475

Group creativity

Group creativity is vital in overcoming the numerous challenges that the world faces. Yet group creativity is deeply puzzling. It seems plausible that only agents can be creative, so group creativity requires group agency. But how could groups possess the mental states required to be agents, let alone the rich range of them required to be creative? It appears more reasonable to hold that group creativity is not a real phenomenon, but is merely the summed creativity of the individuals forming the group. There is also much empirical evidence that groups are no more creative than their members. In this paper I examine the conceptual and empirical challenges to group creativity, defend its existence, and offer an explanation of how it is possible.PostprintPeer reviewe

YouTube as a repository : the creative practice of students as producers of Open Educational Resources

In this paper we present an alternative view of Open Educational Resources (OERs). Rather than focusing on open media resources produced by expert practitioners for use by peers and learners, we examine the practice of learners as active agents, producing open media resources using the devices in their pockets: their mobile phones. In this study, students are the producers and operate simultaneously as legitimate members of the YouTube community and producers of educational content for future cohorts. Taking an Action Research approach we investigated how student’s engagement with open media resources related to their creativity. Using Kleiman’s framework of fives conceptual themes which emerged from academics experiences of creativity (constraint, process, product, transformation, fulfillment), we found that these themes revealed the opportunities designed into the assessed task and provided a useful lens with which to view students’ authentic creative experiences. Students’ experience of creativity mapped on to Kleiman’s framework, and was affected by assessment. Dimensions of openness changed across platforms, although the impact of authenticity and publication on creativity was evident, and the production of open media resources that have a dual function as OERs has clear benefits in terms of knowledge sharing and community participation.The transformational impacts for students were evident in the short term but would merit a longitudinal study. A series of conclusions are drawn to inform future practice and research

An Agent-based Simulation of the Effectiveness of Creative Leadership\ud

This paper investigates the effectiveness of creative versus\ud uncreative leadership using EVOC, an agent-based model of\ud cultural evolution. Each iteration, each agent in the artificial society invents a new action, or imitates a neighbor’s action. Only the leader’s actions can be imitated by all other agents, referred to as followers. Two measures of creativity were used: (1) invention-to-imitation ratio, iLeader, which measures how often an agent invents, and (2) rate of conceptual change, cLeader, which measures how creative an invention is. High iLeader increased mean fitness of ideas, but only when creativity of followers was low. High iLeader was associated with greater diversity of ideas in the early stage of idea generation only. High Leader increased mean fitness of ideas in the early stage of idea generation; in the later stage it decreased idea fitness. Reasons for these findings and tentative implications for creative leadership in human society are discussed