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Requirements Engineering as Creative Problem Solving: A Research Agenda for Idea Finding
This vision paper frames requirements engineering as a creative problem solving process. Its purpose is to enable requirements researchers and practitioners to recruit relevant theories, models, techniques and tools from creative problem solving to understand and support requirements processes more effectively. It uses 4 drivers to motivate the case for requirements engineering as a creative problem solving process. It then maps established requirements activities onto one of the longest-established creative problem solving processes, and uses these mappings to locate opportunities for the application of creative problem solving in requirements engineering. The second half of the paper describes selected creativity theories, techniques, software tools and training that can be adopted to improve requirements engineering research and practice. The focus is on support for problem and idea finding - two creative problem solving processes that our investigation revealed are poorly supported in requirements engineering. The paper ends with a research agenda to incorporate creative processes, techniques, training and tools in requirements projects
Complex Beauty
Complex systems and their underlying convoluted networks are ubiquitous, all
we need is an eye for them. They pose problems of organized complexity which
cannot be approached with a reductionist method. Complexity science and its
emergent sister network science both come to grips with the inherent complexity
of complex systems with an holistic strategy. The relevance of complexity,
however, transcends the sciences. Complex systems and networks are the focal
point of a philosophical, cultural and artistic turn of our tightly
interrelated and interdependent postmodern society. Here I take a different,
aesthetic perspective on complexity. I argue that complex systems can be
beautiful and can the object of artification - the neologism refers to
processes in which something that is not regarded as art in the traditional
sense of the word is changed into art. Complex systems and networks are
powerful sources of inspiration for the generative designer, for the artful
data visualizer, as well as for the traditional artist. I finally discuss the
benefits of a cross-fertilization between science and art
Searching for surprise
Inspired by the notion of surprise for unconventional discovery
in computational creativity, we introduce a general
search algorithm we name surprise search. Surprise search is
grounded in the divergent search paradigm and is fabricated
within the principles of metaheuristic (evolutionary) search.
The algorithm mimics the self-surprise cognitive process of
creativity and equips computational creators with the ability
to search for outcomes that deviate from the algorithmâs expected
behavior. The predictive model of expected outcomes
is based on historical trails of where the search has been and
some local information about the search space. We showcase
the basic steps of the algorithm via a problem solving (maze
navigation) and a generative art task. What distinguishes surprise
search from other forms of divergent search, such as the
search for novelty, is its ability to diverge not from earlier and
seen outcomes but rather from predicted and unseen points in
the creative domain considered.This work has been supported in part by the FP7 Marie Curie
CIG project AutoGameDesign (project no: 630665).peer-reviewe
Soft thought (in architecture and choreography)
This article is an introduction to and exploration of the concept of âsoft thoughtâ. What we want to propose through the definition of this concept is an aesthetic of digital code that does not necessarily presuppose a relation with the generative aspects of coding, nor with its sensorial perception and evaluation. Numbers do not have to produce something, and do not need to be transduced into colours and sounds, in order to be considered as aesthetic objects. Starting from this assumption, our main aim will be to reconnect the numerical aesthetic of code with a more âabstractâ kind of feeling, the feeling of numbers indirectly felt as conceptual contagionsâ, that are âconceptually felt but not directly sensed. The following pages will be dedicated to the explication and exemplification of this particular mode of feeling, and to its possible definition as âsoft thoughtâ
The promises and perils of the neuroscience of creativity.
Our ability to think creatively is one of the factors that generates excitement in our lives as it introduces novelty and opens up new possibilities to our awareness which in turn lead to developments in a variety of fields from science and technology to art and culture. While research on the influence of biologically-based variables on creativity has a long history, the advent of modern techniques for investigating brain structure and function in the past two decades have resulted in an exponential increase in the number of neuroscientific studies that have explored creativity. The field of creative neurocognition is a rapidly growing area of research that can appear chaotic and inaccessible because of the heterogeneity associated with the creativity construct and the many approaches through which it can be examined. There are also significant methodological and conceptual problems that are specific to the neuroscientific study of creativity that pose considerable limitations on our capacity to make true advances in understanding the brain basis of creativity. This article explores three key issues that need to be addressed so that barriers in the way of relevant progress being made within the field can be avoided. Are creativity neuroimaging paradigms optimal enough?What makes creative cognition different from normative cognition?Do we need to distinguish between types of creativity
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