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

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

Stuck in a rut - Can I try something different? The role of intrinsic motivation and mood in the creative performance of ICT professionals : a thesis presented in partial fulfilment of the requirements for the degree of Master of Business Studies in Human Resource Management at Massey University, Albany, New Zealand

In a hyper-competitive and knowledge-based economy, creativity and innovation are considered as the lifeblood of success for ICT firms. Literature suggests that intrinsic motivation and positive mood drive the creative performance of employees. Nonetheless, the mechanism through which creativity antecedents influence the creative performance of IT professionals is seldom examined. Furthermore, the assertion that intrinsic motivation and positive mood – through motivational-affective mechanisms – spur employee creativity has rarely been tested. Therefore, drawing on Self-Determination theory, Cognitive Evaluation theory and Componential theory of creativity, the current study examines the relationship between specific creativity antecedents (job flexibility, perceived supervisor support for creativity, creative role identity and creative self-efficacy), intrinsic motivation, positive mood and creative performance of IT employees. Partial-least-squares based structural equation modeling (PLS-SEM) was conducted using survey data collected from 157 IT professionals working in various organisations, including both multinational corporations and tech start-ups, in United States (USA). The results suggested that job flexibility, perceived supervisor support for creativity, creative role identity and creative self-efficacy positively and significantly influence creative performance of IT professionals. Specifically, both intrinsic motivation and positive mood were found to mediate the relationship between personal and contextual factors (creativity antecedents) and employee creativity, thereby playing a role of chain mediators. The findings highlight the significance of motivational-affective mechanisms underpinning employee creativity. Implications of the results for theory and practice are also discussed

Modes of communication during jazz improvisation

This study investigated modes of communication adopted by six student jazz musicians during rehearsal and performance. Six one-hour rehearsal sessions and a performance were observed and videotaped for analysis. Results revealed six modes of communication that formed two main categories, verbal and non-verbal, each containing three distinct modes of communication: instruction, cooperation and collaboration. Non-verbal collaborative mode displayed empathetic attunement, which is a vehicle for empathetic creativity. Empathetic creativity is a theoretical concept proposed by the author based on the concept of empathetic intelligence (Arnold, 2003, 2004). Practical applications of empathetic creativity are discussed with reference to music education, focusing on evaluation of individual contribution to group creative performances

Self-awareness, self-evaluation, and creativity.

The present research examined when self-evaluation influences creativity. Based on objective self-awareness theory, the authors predicted that feeling able to improve would buffer against the detrimental effects of self-evaluation on creativity. Two experiments manipulated self-evaluation (varying self-awareness, Study 1; providing objective performance standards, Study 2) and perceived ability to improve potential failure on the creativity task. Self-evaluation reduced creativity (generating remote associates, finding unusual uses for a knife) in both experiments, but only when people did not expect to improve. When people felt able to improve, self-evaluation did not affect creativity. Connections between self-motives, creativity, and defensiveness are discussed

Automatic assessment of creativity in heuristic problem-solving based on query diversity

Indexación: Web of Science; Scopus.Research, development and innovation are the pillars on which companies rely to offer new products and services capable of attracting consumer demand. This is why creative problem-solving emerges as one of the most relevant skills of the 21st century. Fortunately, there are many creativity training programs that have proven effective. However, many of these programs and methods base on a previous measurement of creativity and require experienced reviewers, they consume time for being manual, and they are far from everyday activities. In this study, we propose a model to estimate the creative quality of users' solutions dealing with heuristic problems, based on the automatic analysis of query patterns issued during the information search to solve the problem. This model has been able to predict the creative quality of solutions produced by 226 users, reaching a sensitivity of 78.43%. Likewise, the level of agreement among reviewers in relation to the creative characteristics is evaluated through two rubrics, and thereby, observing the difficulties of the manual evaluation: subjectivity and effort. The proposed model could be used to foster prompt detection of non-creative solutions and it could be implemented in diverse industrial processes that can range from the recruitment of talent to the evaluation of performance in R&D&I processes.https://www.revistadyna.com/search/automatic-assessment-of-creativity-in-heuristic-problem-solving-based-on-query-diversit

From the beginning: negotiation in community evaluation

This article focuses on negotiation and discusses its relevance for evaluators. Given the impetus for participatory evaluation, evaluators would benefit from improving skills that enable them to make collaborative decisions and work alongside stakeholders, in particular in community evaluations. Negotiation skills are explored through post hoc reflection of a Sure Start programme evaluation in a UK setting. Literature on stakeholder involvement and negotiation is discussed together with the UK evaluation. Recommendations are made on how to utilize elements of negotiation in community programme evaluation. Key skills are highlighted, including attention to: working with emotional situations, face-giving, rapport and creativity, timing, perceptions and improvisation