About the Importance of Interface Complexity and Entropy for Online Information Sharing

In this paper, we describe two experiments that show the powerful influence of interface complexity and entropy on online information sharing behaviour. 134 participants were asked to do a creativity test and answer six open questions against three different screen backgrounds of increasing complexity. Our data shows that, as an interface becomes more complex and has more entropy users refer less to themselves and show less information sharing breadth. However, their verbal creativity and information sharing depth do not suffer in the same way. Instead, an inverse U shaped relationship between Interface complexity and creativity as well as information sharing depth can be observed: Users become more creative and thoughtful until a certain tipping point of interface complexity is reached. At that point, creativity and th inking suffer, leading to significantly less disclosure. This result challenges the general HCI assumption that simplicity is always best for computers interface design , as users'creativity and information sharing depth initially increases with more interface complexity. Our results suggest that the Yerkes Dodson Law may be a key theory underlying online creativity and depth of online disclosures

Power Chic

Fashion is a mode of art created using combinations of forms, patterns and materials. I always use elements and principles of design like rhythm, balance and texture when I create my ensemble. I strongly believe as we move higher in the fashion chain, simplicity blends with exquisite wearable creativity. Fashion designers use subtle hints of styling elements with utmost delicacy

Applications of Lithuanian folk music to American elementary music education.

The purpose of this study was to introduce the elements of Lithuanian folk music as an option for fulfilling multicultural curriculum requirements in American music education. Fifteen songs were selected for this study. The main criterion was melodic and harmonic simplicity, the involvement of movement elements, improvisational possibilities, creativity, and verbal message. The songs are presented in native Lithuanian language, with a literal _English translation, with a phonetic pronunciation and English setting of the text. Suggestions for movement are also given

Meredith Clark, Senior Interior Design Exhibition 2014

I can never stand still. I must explore and experiment. I am never satisfied with my work. I resent the limitations of my own imagination. — WALT DISNEY Design Philosophy A well-executed design is a unique expression of one’s personality and character shining throughout a space. The amount of creativity, simplicity and vast knowledge that goes into a design is something we pride ourselves on. However the more we learn the less certain we are that we know everything. Design is constantly evolving; we must never stop educating ourselves, if we do we are just creating more limitations to our work

History of art paintings through the lens of entropy and complexity

Art is the ultimate expression of human creativity that is deeply influenced by the philosophy and culture of the corresponding historical epoch. The quantitative analysis of art is therefore essential for better understanding human cultural evolution. Here we present a large-scale quantitative analysis of almost 140 thousand paintings, spanning nearly a millennium of art history. Based on the local spatial patterns in the images of these paintings, we estimate the permutation entropy and the statistical complexity of each painting. These measures map the degree of visual order of artworks into a scale of order-disorder and simplicity-complexity that locally reflects qualitative categories proposed by art historians. The dynamical behavior of these measures reveals a clear temporal evolution of art, marked by transitions that agree with the main historical periods of art. Our research shows that different artistic styles have a distinct average degree of entropy and complexity, thus allowing a hierarchical organization and clustering of styles according to these metrics. We have further verified that the identified groups correspond well with the textual content used to qualitatively describe the styles, and that the employed complexity-entropy measures can be used for an effective classification of artworks.Comment: 10 two-column pages, 5 figures; accepted for publication in PNAS [supplementary information available at http://www.pnas.org/highwire/filestream/824089/field_highwire_adjunct_files/0/pnas.1800083115.sapp.pdf

Cinema of poverty: Independence and simplicity in an age of abundance and complexity

Over the past 25 years of writing, producing and directing, my aspirations as a creative artist in film have shifted from a paradigm in which the scale and scope of financial and human resources shaped not only the creative intentions of a project, but the very definition of what made something ‘cinematic’, to a new paradigm in which poverty - both in terms of resources and, more philosophically, in terms of artistic expression - has become one of the defining features of my artistic aspiration and my understanding of a new cinema. This development has interacted with parallel developments in technologies of production, distribution and exhibition, of a kind and scale I never envisaged when first embarking on a career in film, and has, for me, led to a kind of creative liberation which I am only now beginning to fully understand. Traditionally, human and financial resources have been considered essential for the production of quality, creative narrative films. In this article, I shall reflect on my own practice to explore how poverty can enhance the creative engagement with the medium and lead to the development of new and innovative approaches to, amongst other things, narrative imagery and, in so doing, explore how poverty can introduce new and original approaches to cinematic story-telling

A Study of the Relationships Between the Wallach & Kogan Tests of Creativity, the Barron-Welsh Art Scale and Ego Strength

A test of the Wallach and Kogan Tests of Creativity was conducted using the Barron Welsh Art Scale as a criterion of creativity. The Wallach and Kogan Tests measure verbal fluency and uniqueness of ideas, supposedly the basis of creative behavior. The Barron-Welsh Art Scale, on the other hand, differentiates known creative people from non-creative along a dimension of preference complexity or simplicity. The Barron Ego Strength Scale was included as a measure of a trait found to be higher in creative people than in the normal population. High intercorrelations between the three measures were hypothesized. No relationship was found, which leaves unanswered the question of the validity of either the Wallach and Kogan measures or the Barron scales. One possibility for this lack of correlation is that creative people, as differentiated by the Barron scales, are people who have committed themselves to a profession and so are different from those who do not

A ’Trinitarian’ Theory of the Self

I argue that the self is simple metaphysically, whilst being complex psychologically and that the persona that links these moments might be dubbed ”creativity’ or ”imagination’. This theory is trinitarian because it ascribes to the self these three ”features’ or ”moments’ and they bear at least some analogy with the Persons of the Trinity, as understood within the neo- platonic, Augustinian tradition