Creativity In Conscience Society

Creativity is a result of brain activity which differentiates individuals and could ensure an important competitive advantage for persons, for companies, and for Society in general. Very innovative branches – like software industry, computer industry, car industry – consider creativity as the key of business success. Natural Intelligence Creativity can develop basic creative activities, but Artificial Intelligence Creativity, and, especially, Conscience Intelligence Creativity should be developed and they could be enhanced over the level of Natural Intelligence. Providing only neurological research still does not offer a scientific basis for understanding creativity but thousand years of creative natural intelligence behavior observations offer some algorithms, models, methods, guidelines and procedures which could be used successfully in Conscience Society Creativity. Present Essay discusses the evolution of the notion of Creativity (what it is, why it is important, where it is used), analyzes creativity from basic point of view (Creativity as a Brain Activity; Mastering Daily Life; Creativity and Profession; Piirto’s six Steps; When and where Creativity Occurs; How Creative People are looked upon), and also manages Individual Creativity and Company Goals (Individual Creativity; Teams, Creativity and Product Development; Company’s Product Development Goals; Entrepreneur’s and Small Companies’ Product Development).creativity, intuition, spirituality, conscience society, natural intelligence, artificial intelligence.

The Dynamics of Creativity in Software Development

Software is primarily developed for people by people and human factors must be studied in all software engineering phases. Creativity is the source to improvise solutions to problems for dominating complex systems such as software development. However, there is a lack of knowledge in what creativity is in software development and what its dynamics are. This study describes the current state of the research plan towards a theory on creativity in software development. More specifically, it (1) states the motivation for studying creativity in software development under a multidisciplinary view; it (2) provides a first review of the literature identifying the shortcomings in the field; it (3) proposes a research design, which includes rarely employed methods in software engineering. To understand creativity in software development will provide a better knowledge of the software construction process and how individuals intellectually contribute to the creation of better, innovative products.Comment: 6 Pages. To be presented in the 14th International Conference on Product-Focused Software Process Improvement (PROFES 2013) - Doctoral Symposium, 12 June 2013, Paphos, Cyprus. This is the final, accepted version (after peer review

Creativity in the Brazilian Culture

Research has pointed out creativity as a sociocultural and contextually embedded phenomenon. As a consequence, the effect of cultural factors on the manifestation of creativity has been discussed worldwide. The purpose of this chapter is, therefore, to analyze the development of creativity in the Brazilian culture. A brief description of the Brazilian culture is provided. Models of creativity developed by Brazilian researchers, as well as a review of creativity studies conducted in the educational environment, are presented. Guidelines for future cross-cultural studies on creativity are also suggested

Creativity Process In The Product Development Of Urban Toys Called The Power Anger

Bandung is a gathering place for creative groups that produce creative products. Urban toys are toys that have visual meaning by applying symbols into the shape of characters. Starting from the anxiety of the creator through the process of creativity, the toy products are power angers. The making of this figure starts from visual references which are combined with shapes and colours that correspond to the meaning on the basis of the type of human nature. The process of creativity used is imitative creativity (unconscious), the researcher looks at the creator in the space and time of the process of creating a product until product development. The development of the figure “the power anger” product is a collaboration of ideas with other creators to create different new products. Keywords: Urban Toy, Creativity, Product Development

Weaving creativity into the Semantic Web: a language-processing approach

This paper describes a novel language processing ap- proach to the analysis of creativity and the development of a machine-readable ontology of creativity. The ontol- ogy provides a conceptualisation of creativity in terms of a set of fourteen key components or building blocks and has application to research into the nature of cre- ativity in general and to the evaluation of creative prac- tice, in particular. We further argue that the provision of a machine readable conceptualisation of creativity pro- vides a small, but important step towards addressing the problem of automated evaluation, ’the Achilles’ heel of AI research on creativity’ (Boden 1999)

The longer term value of creativity judgements in computational creativity

During research to develop the Standardised Procedure for Evaluating Creative Systems (SPECS) methodology for evaluat- ing the creativity of ‘creative’ systems, in 2011 an evaluation case study was carried out. The case study investigated how we can make a ‘snapshot’ decision, in a short space of time, on the creativity of systems in various domains. The systems to be evaluated were presented at the International Computational Creativity Conference in 2011. Evaluation was performed by people whose domain expertise ranges from expert to novice, depending on the system. The SPECS methodology was used for evaluation, and was compared to two other creativity evaluation methods (Ritchie’s criteria and Colton’s Creative Tripod) and to results from surveying people’s opinion on the creativity of the systems under investigation. Here, we revisit those results, considering them in the context of what these systems have contributed to computational creativity development. Five years on, we now have data on how influential these systems were within computational creativity, and to what extent the work in these systems has influenced further developments in computational creativity research. This paper investigates whether the evaluations of creativity of these systems have been helpful in predicting which systems will be more influential in computational creativity (as measured by paper citations and further development within later computational systems). While a direct correlation between evaluative results and longer term impact is not discovered (and perhaps too simplistic an aim, given the factors at play in determining research impact), some interesting alignments are noted between the 2011 results and the impact of papers five years on

Is Creativity Lost in Translation? A discussion of the cultural underpinnings of creativity

Abstract In the interrelated knowledge economy the fostering of creativity is key and as such is the focus of many government initiatives internationally. But is an international definition of creativity achievable or even desirable? Comparisons of different cultures’ propensities for creativity are problematic when we consider that most creativity research has taken place in Western cultures, with Western measures; and when creativity is defined as revolutionary this has often presented a dichotomous view of creativity that equates Westernisation with modernity. As a form of communication, creativity is open to mis- translation across cultures and despite some consensus between the West and Confucian heritage cultures on the desirable attributes to facilitate creativity, misunderstandings of creative practice based on cultural general tendencies such as individualism and collectivism remain. This paper reviews the literature on the development of concepts of creativity in Western and Confucian heritage cultures as well as reporting on a qualitative research study into the understandings and practice of creativity in a London art and design college in order to comment on the existence of a cross-cultural creativity divide and suggest that rather than be set against each other, creativity is enhanced by cultural creativity exchange and cross-cultural collaboration

A Standardised Procedure for Evaluating Creative Systems: Computational Creativity Evaluation Based on What it is to be Creative

Computational creativity is a flourishing research area, with a variety of creative systems being produced and developed. Creativity evaluation has not kept pace with system development with an evident lack of systematic evaluation of the creativity of these systems in the literature. This is partially due to difficulties in defining what it means for a computer to be creative; indeed, there is no consensus on this for human creativity, let alone its computational equivalent. This paper proposes a Standardised Procedure for Evaluating Creative Systems (SPECS). SPECS is a three-step process: stating what it means for a particular computational system to be creative, deriving and performing tests based on these statements. To assist this process, the paper offers a collection of key components of creativity, identified empirically from discussions of human and computational creativity. Using this approach, the SPECS methodology is demonstrated through a comparative case study evaluating computational creativity systems that improvise music

Conceptual Model for Developing Creativity in Batik Industry

The purpose of this research is to develop a conceptual model of creativity in batik industry. This model was developed by conducting a study from previous research that discuss important factors for the development of creativity. This conceptual model was built based on four variable, namely creative person, intrinsic motivation, job skills training, and creative organizational climate. Creative person will stimulate the creativity development in batik industry. A creative person are more able to improve their creativity if they have intrinsic motivation, given some training that related with the job skills they needed, and supported by organization that have positive climate (climate in organization that respects creativity, provide opportunities, time, facilities, infrastructure and incentives to employees to think about, designing, researching and developing new products that better and more innovative). For the further research, this study can be continued by testing the model empirically through distributing the questionnaire to some participant of SMEs and processing data from the results of questionnaire distribution using the data processing software like SPSS, LISRELL, etc