Cross-Domain Influences on Creative Processes and Products

According to the honing theory of creativity, the iterative process culminating in a creative work is made possible by the self-organizing nature of a conceptual network, or worldview, and its innate holistic tendency to minimize inconsistency. As such, the creative process is not limited to the problem domain, and influences on creativity from domains other than that of the final product are predicted to be widespread. We conducted a study in which participants with varying levels of creative experience listed their creative outputs, as well as influences (sources of inspiration) on these outputs. Of the 758 creative influences, 13% were within-domain narrow, 13% within-domain broad, 67% cross-domain, and 6% unclear. These findings support the hypothesis that to trace the inspirational sources or 'conceptual parents' of a creative output, and thus track its cultural lineage, one must look beyond the problem domain to the creators' self-organizing, inconsistency-minimizing worldview at large.Comment: 6 pages, 2 table

Design: One, but in different forms

This overview paper defends an augmented cognitively oriented generic-design hypothesis: there are both significant similarities between the design activities implemented in different situations and crucial differences between these and other cognitive activities; yet, characteristics of a design situation (related to the design process, the designers, and the artefact) introduce specificities in the corresponding cognitive activities and structures that are used, and in the resulting designs. We thus augment the classical generic-design hypothesis with that of different forms of designing. We review the data available in the cognitive design research literature and propose a series of candidates underlying such forms of design, outlining a number of directions requiring further elaboration

Both Generic Design and Different Forms of Designing

This paper defends an augmented cognitively oriented "generic-design hypothesis": There are both significant similarities between the design activities implemented in different situations and crucial differences between these and other cognitive activities; yet, characteristics of a design situation (i.e., related to the designers, the artefact, and other task variables influencing these two) introduce specificities in the corresponding design activities and cognitive structures that are used. We thus combine the generic-design hypothesis with that of different "forms" of designing. In this paper, outlining a number of directions that need further elaboration, we propose a series of candidate dimensions underlying such forms of design

The Chain of Quality through Integrated Product Development

Today, it is almost impossible to find a manufacturer who has not been significantly influenced by the quality culture, but it is evident that some are doing more to improve their product quality than others are. The so-called "Chain of Quality" through integrated product development is a useful metaphor since it recognises that quality is a continuing topic of attention throughout the product development process and that discrete, quality related activities in the process are inter-linked. Depending upon how the product development process is modelled, the chain can be viewed as open or closed with single or parallel threads. In this paper, the overall purpose of the chain, the nature and identity of its many links and the relationship of the chain to the product development process will be discussed. In so doing, this paper will present an overall picture of important product development strategies and practices that can have a key impact on product quality

Paradigms in the study of creativity: introducing the perspective of cultural psychology

This article identifies three paradigms in creativity theory and research in psychology. The He-paradigm, focused on the solitary genius, has been followed, mainly after the 1950s, by the I-paradigm, equally individualistic in nature but attributing creativity to each and every individual. Extending this view, the We-paradigm incorporates what became known as the social psychology of creativity. The cultural psychology of creativity builds upon this last theoretical approach while being critical of some of its assumptions. This relatively new perspective, using the conceptual and methodological framework of cultural psychology, investigates the sociocultural roots and dynamics of all our creative acts and employs a tetradic framework of self – community – new artifact – existing artifacts in its conceptualization of creativity. The theoretical basis of the cultural psychology approach is analyzed as well as some of its main implications for both the understanding and study of creativity

Four PPPPerspectives on Computational Creativity

From what perspective should creativity of a system be considered? Are we interested in the creativity of the system’s out- put? The creativity of the system itself? Or of its creative processes? Creativity as measured by internal features or by external feedback? Traditionally within computational creativity the focus had been on the creativity of the system’s Products or of its Processes, though this focus has widened recently regarding the role of the audience or the field surrounding the creative system. In the wider creativity research community a broader take is prevalent: the creative Person is considered as well as the environment or Press within which the creative entity operates in. Here we have the Four Ps of creativity: Person, Product, Process and Press. This paper presents the Four Ps, explaining each of the Four Ps in the context of creativity research and how it relates to computational creativity. To illustrate how useful the Four Ps can be in taking a fuller perspective on creativity, the concepts of novelty and value explored from each of the Four P perspectives, uncovering aspects that may otherwise be overlooked. This paper argues that the broader view of creativity afforded by the Four Ps is vital in guiding us towards more encompassing and comprehensive computational investigations of creativity

Amabile‘s consensual assessment technique: Why has it not been used more in design creativity research?

Amabile’s Consensual Assessment Technique (CAT) has been described as the “gold standard” of creativity assessment; been extensively used within creativity research, and is seen as the most popular method of assessing creative outputs. Its discussion within scholarly research has continued to grow year by year. However, since 1996, a systematic review of the CAT has not been undertaken, and, within design journals, appears not to have occurred, in relation to design, or more broadly, the creative industries in general. Yet, the consensus of domain judges is a prevalent methodology for design education, and professional design awards. This paper presents the findings from a systematic literature review of the CAT covering works from 1982 to 2011. It details key journals and authors publishing or citing CAT related studies, and highlights the limited number of CAT studies within design journals, with suggestions for why this may be the case

Design and Geographically Liberated Difference

The concept of geographically liberated difference has emerged from the overlap of cultural studies and economics as a critique of the effects of globalisation on cultures through the manufacturing and distribution of artefacts with unique differences across diverse territories. Although this concept is known in the domains of cultural studies and economics, very little has been written on its effect and understanding within design, especially industrial design. Industrial design has vast influence on the production and distribution of products across the globe from small scale to mass production of millions of units. The mechanisms by which design influences the evolution of cultures through the concept of geographically liberated difference are important for future development. Research by the authors indicates parallel streams of both digital and analogue methods supporting successful models of geographically liberated difference in design practice. Examples of these approaches are discussed to uncover the operable mechanisms and arguments concerning the future value and influence of this feature of globalisation