Distributed Creativity in Play

International audienceOur objective is to explore distributed forms of creativity that arise in play to help guide and foster supportive research, game design, and technology. This workshop seeks to bring together researchers, game designers, and others to examine theories of creativity and play, game design practices, methods for studying creativity in play, and creative play experiences. Participants will present work, video prototype, discuss topics, and contribute to outcomes

Structure and play: rethinking regulation in the higher education sector

This paper explores possible tactics for academics working within a context of increasing regulation and constraint. One suggested tactic is to move outside of a creativity-conformity binary. Rather than understanding creativity and conformity as separable, where one is seen as excluding the other, the authors consider the potential of examining the relationships between them. The theme of 'structure and play' illustrates the argument. In the first part of the paper, using various examples from art and design - fields generally associated with creativity - the authors explore the interrelatedness of creativity and conformity. For example, how might design styles, which are generally understood as creative outcomes, constrain creativity and lead to conformity within the design field? Is fashion producing creativity or conformity? Conversely, the ways in which conformity provides the conditions for creativity are also examined. For example, the conformity imposed by the state on artists in the former communist bloc contributed to a thriving underground arts movement which challenged conformity and state regulation. Continuing the theme of 'structure and play', the authors recount a story from an Australian university which foregrounds the ongoing renegotiation of power relations in the academy. This account illustrates how programmatic government in a university, with its aim of regulating conduct, can contribute to unanticipated outcomes. The authors propose that a Foucauldian view of distributed power is useful for academics operating in a context of increasing regulation, as it brings into view sites where power might begin to be renegotiated

Experiential Role of Artefacts in Cooperative Design

The role of material artefacts in supporting distributed and co-located work practices has been well acknowledged within the HCI and CSCW research. In this paper, we show that in addition to their ecological, coordinative and organizational support, artefacts also play an ‘experiential’ role. In this case, artefacts not only improve efficiency or have a purely functional role (e.g. allowing people to complete tasks quickly), but the presence and manifestations of these artefacts bring quality and richness to people’s performance and help in making better sense of their everyday lives. In a domain like industrial design, such artefacts play an important role for supporting creativity and innovation. Based on our prolonged ethnographic fieldwork on understanding cooperative design practices of industrial design students and researchers, we describe several experiential practices that are supported by mundane artefacts like sketches, drawings, physical models and explorative prototypes – used and developed in designers’ everyday work. Our main intention to carry out this kind of research is to develop technologies to support designers’ everyday practices. We believe that with the emergence of ubiquitous computing, there is a growing need to focus on personal, emotional and social side of people’s everyday experiences. By focusing on the experiential practices of designers, we can provide a holistic view in the design of new interactive technologies

Redefining Creativity in the Era of AI? Perspectives of Computer Scientists and New Media Artists

Artificial intelligence (AI) has breached creativity research. The advancements of creative AI systems dispute the common definitions of creativity that have traditionally focused on five elements: actor, process, outcome, domain, and space. Moreover, creative workers, such as scientists and artists, increasingly use AI in their creative processes, and the concept of co-creativity has emerged to describe blended human–AI creativity. These issues evoke the question of whether creativity requires redefinition in the era of AI. Currently, co-creativity is mostly studied within the framework of computer science in pre-organized laboratory settings. This study contributes from a human scientific perspective with 52 interviews of Finland-based computer scientists and new media artists who use AI in their work. The results suggest scientists and artists use similar elements to define creativity. However, the role of AI differs between the scientific and artistic creative processes. Scientists need AI to produce accurate and trustworthy outcomes, whereas artists use AI to explore and play. Unlike the scientists, some artists also considered their work with AI co-creative. We suggest that co-creativity can explain the contemporary creative processes in the era of AI and should be the focal point of future creativity research.© 2022 The Author(s). Published with license by Taylor & Francis Group, LLC. This is an Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives License (http://creativecommons.org/licenses/by-nc-nd/4.0/), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way.fi=vertaisarvioitu|en=peerReviewed

UPAYA SEKOLAH DALAM MENINGKATKAN KREATIFITAS SISWA MELALUI KEGIATAN EKSTRAKURIKULER PRAMUKA DI SMP N 1 JATIWANGI KABUPATEN MAJALENGKA

HIDAYATI ILHAM : The scout activity is one of the extracurricular program is given in SMP Negeri 1 Jatiwangi whose objective is not only the students know the scout itself, but more than the students are expected to have good creativity both when the students are still in school especially when students have already graduated. So the student’s creativity could be beneficial for the future. This study aims to find out about the school’s efforts does in improving students 'creativity in SMP Negeri 1 Jatiwangi, to determine the increase in students’ creativity through the activities of scout extracurricular in SMP Negeri 1 Jatiwangi, and to know how big the scout role in improving students' creativity in SMP Negeri 1 Jatiwangi. The creativity is the ability to create the new products or the ability to provide the new ideas and it can apply in the problem solving. In other word, creativity is a creative effort to generate ideas and discoveries towards a better, like the response form of the various problems that exist. The school is a formal institution which is given the responsibility to improve the children development, belonging to the development of children's creativity through the teachers by sharing programs both intra and extra school. One of the efforts of the school to improve the students’ creativity is through the programs of scout’s extracurricular which held regularly every week. In the manner of the programs of scout’s extracurricular, the school expected results is the increasing creativity of students, especially in the learning process. In this paper the writer used the several approaches, namely data collection techniques such as through observation, interviews, questionnaires and documentation. The questionnaires were distributed to all students, the leader of scout who was amounting to 100 students. The role of extracurricular scout in SMP Negeri 1 Jatiwangi in improving the students’ creativity really looks important. The extracurricular activities become a very significant driving factor in improving the students’ creativity. Looking at the data obtained from the questionnaire, of the 100 respondents 85 respondents believed that creativity has increased after attending extracurricular the activities scout. This is a sign that the scout extracurricular activities play an important role in helping to improve the student’s creativity

Extending processual practice-based organizational creativity : a case from theatre

This thesis addresses the conceptualisation of creativity within organisation studies. It contributes to practice-based processual approaches to organisational creativity (OC), a recent stream of literature that emphasises the temporal progression of activities as the basis of understanding the creative phenomenon from a practice-based perspective. To this end, the thesis explores professional practices in a theatre; an exciting field where the materiality of human and non-human bodies matter, and meanings and contents are negotiated in a complex creation process based on specific professional practices. The thesis contributes to practice-based processual OC by mobilising the epistemology of practice as a theoretical framework for reconfiguring organisational creativity in practice. The epistemology of practice provides a frame for considering the processual, collective and material dimensions of OC. I show how creativity is a complex and multifaceted phenomenon where knowledge, power, performance and sociomaterial dimensions intersect in practice, to stimulate and produce creative emergence. To deepen the analysis of the creative practices, I enrich the epistemology of practice with analytical concepts from the perspective of distributed cognition and Actor-Network Theory. In conversation with the epistemology of practice, these traditions deepen the distributed and sociomaterial dimensions of organisational creativity, offering additional tools for a more nuanced analysis of the phenomenon. This suggests going beyond the conceptualisation of creativity as the solving of a problem, and interpreting it instead as variant composition practices where relationships are tested, and chains of mediations are produced that generate innovative outcomes. This dissertation is organised by way of an introduction and three publications that considered the same empirical case about the production of a theatre show for children, entitled “Ruote Rosa”. The production was written and directed by myself, and the empirical investigations were undertaken as a collaborative ethnography by myself and my co-author for the resultant publications. Research findings demonstrate how the epistemology of practice, with distributed cognition and creativity, and ANT, expand the knowledge of practice-based processual OC, explaining it as a complex multidimensional phenomenon, where different elements meet in practice and give birth to creative emergence. The practical, tacit, sensible professional knowledge of the participants, the power dimension, the sociomateriality and the common orientation of the practice (object of practice), play together and intersect in the creative flow, stimulating and orienting the creative emergence. The thesis documents, and explains, how the dimensions follow each other in a chain of relations that move the process toward something shared and stable; the production of an artifact that, in this case, was a theatre show

The Right Place at the Right Time: Creative Spaces in Libraries

Purpose This essay explores the recent trend in libraries: that of the establishment of spaces specifically set aside for creative work. The rise of these dedicated creative spaces is owed to a confluence of factors that happen to be finding their expression together in recent years. This essay examines the history of these spaces and explores the factors that gave rise to them and will fuel them moving forward. Design/Methodology/Approach A viewpoint piece, this essay combines historical research and historical/comparative analyses to examine the ways by which libraries have supported creative work in the past and how they may continue to do so into the 21st century. Findings The key threads brought together include a societal recognition of the value of creativity and related skills and attributes; the philosophies, values, and missions of libraries in both their longstanding forms and in recent evolutions; the rise of participatory culture as a result of inexpensive technologies; improved means to build community and share results of efforts; and library experience and historical practice in matters related to creativity. The chapter concludes with advice for those interested in the establishment of such spaces, grounding those reflections in the author’s experiences in developing a new creative space at Virginia Commonwealth University. Originality/value While a number of pieces have been written that discuss the practicalities of developing certain kinds of creative spaces, very little has been written that situates these spaces in larger social and library professional contexts; this essay begins to fill that gap

Collaborative Practices that Support Creativity in Design

Design is a ubiquitous, collaborative and highly material activity. Because of the embodied nature of the design profession, designers apply certain collaborative practices to enhance creativity in their everyday work. Within the domain of industrial design, we studied two educational design departments over a period of eight months. Using examples from our fieldwork, we develop our results around three broad themes related to collaborative practices that support the creativity of design professionals: 1) externalization, 2) use of physical space, and 3) use of bodies. We believe that these themes of collaborative practices could provide new insights into designing technologies for supporting a varied set of design activities. We describe two conceptual collaborative systems derived from the results of our study

Tabletop Role-Playing Games and Social Skills in Young Adults

This paper explores the relationship between playing tabletop role-playing games (TTRPGs) and the creativity, self-efficacy, and social skills of the players. Eighty-five people ages 18-25 were surveyed on their perceived levels of these three variables, as well as how often they played TTRPGs. Responses of those who did play TTRPGs were compared with results of those who did not play TTRPGs. A statistically significant positive correlation was identified in all participants between creativity and self-efficacy, creativity and social skills, and self-efficacy and social skills. Participants who played TTRPGs scored statistically significantly higher in measures of creativity than participants who did not play TTRPGs. There was no statistically significant difference in the two groups in terms of self-efficacy or social skills. These findings, along with previous studies concentrating on possible benefits of TTRPGs, suggest that there is a strong relationship between creativity and playing TTRPGs, and further investigation into ways TTRPGs could be implemented in the treatment of autistic patients are warranted

Creativity and Culture in Copyright Theory

Creativity is universally agreed to be a good that copyright law should seek to promote, yet copyright scholarship and policymaking have proceeded largely on the basis of assumptions about what it actually is. When asked to discuss the source of their inspiration, individual artists describe a process that is intrinsically ineffable. Rights theorists of all varieties have generally subscribed to this understanding, describing creativity in terms of an individual liberty whose form remains largely unspecified. Economic theorists of copyright work from the opposite end of the creative process, seeking to divine the optimal rules for promoting creativity by measuring its marketable byproducts. But these theorists offer no particular reason to think that marketable byproducts are either an appropriate proxy or an effective stimulus for creativity (as opposed to production), and more typically refuse to engage the question. The upshot is that the more we talk about creativity, the more it disappears from view. At the same time, the mainstream of intellectual property scholarship has persistently overlooked a broad array of social science methodologies that provide both descriptive tools for constructing ethnographies of creative processes and theoretical tools for modeling them