A Four Strategy Model of Creative Parameter Space Interaction

Aus de_evolutionary_art_org
Version vom 27. Januar 2015, 20:58 Uhr von Gbachelier (Diskussion | Beiträge) (Die Seite wurde neu angelegt: „ == Reference == Robert Tubb and Simon Dixon: A Four Strategy Model of Creative Parameter Space Interaction. In: Computational Creativity 2014 ICCC 2014…“)

(Unterschied) ← Nächstältere Version | Aktuelle Version (Unterschied) | Nächstjüngere Version → (Unterschied)
Wechseln zu: Navigation, Suche


Reference

Robert Tubb and Simon Dixon: A Four Strategy Model of Creative Parameter Space Interaction. In: Computational Creativity 2014 ICCC 2014.

DOI

Abstract

This paper proposes a new theoretical model for the design of creativity-enhancing interfaces. The combination of user and content creation software is looked at as a creative sys- tem, and we tackle the question of how best to design the interface to utilise the abilities of both the computer and the brain. This model has been developed in the context of music technology, but may apply to any situation in which a large number of feature parameters must be adjusted to achieve a creative result. The model of creativity inspiring this ap- proach is Wiggins’ Creative Systems Framework. Two fur- ther theories from cognitive psychology motivate the model: the notion of creativity being composed of divergent and con- vergent thought processes, and the “dual process” theory of implicit vs. explicit thought. These two axes are combined to describe four different solution space traversal strategies. The majority of computer interfaces provide separate param- eters, altered sequentially. This theory predicts that these one- to-one mappings encourage a particular navigation strategy (“Explicit-Convergent”) and as such may inhibit certain as- pects of creativity.

Extended Abstract

Bibtex

Used References

Ansburg, P. I., and Hill, K. 2003. Creative and analytic thinkers differ in their use of attentional resources. Person- ality and Individual Differences 34(7):1141 – 1152.

Barrett, F. J. 1998. Coda - creativity and improvisation in jazz and organizations: Implications for organizational learning. Organization Science 9(5):605–622.

Barto, A. G. 1998. Reinforcement learning: An introduc- tion. MIT press. 25–49.

Blackwell, A., and Collins, N. 2005. The programming language as a musical instrument. Proceedings of PPIG05 (Psychology of Programming Interest Group).

Boden, M. A. 1992. The creative mind: Myths and mecha- nisms. Abacus.

Bresson, J.; Agon, C.; and Assayag, G. 2011. Openmusic: Visual programming environment for music composition, analysis and research. In Proceedings of the 19th ACM In- ternational Conference on Multimedia, MM ’11, 743–746. New York, NY, USA: ACM.

Buchanan, B. G. 2001. Creativity at the metalevel: Aaai- 2000 presidential address. AI magazine 22(3):13–28.

Campbell, D. T. 1960. Blind variation and selective reten- tions in creative thought as in other knowledge processes. Psychological review 67(6):380.

De Martino, B.; Kumaran, D.; Seymour, B.; and Dolan, R. J. 2006. Frames, biases, and rational decision-making in the human brain. Science 313(5787):684–687.

Dietrich, A., and Kanso, R. 2010. A review of EEG, ERP, and neuroimaging studies of creativity and insight. Psycho- logical bulletin 136(5):822.

Dietrich, A. 2007. Whos afraid of a cognitive neuroscience of creativity? Methods 42(1):22–27.

Duignan, M.; Noble, J.; and Biddle, R. 2010. Abstraction and activity in computer-mediated music production. Com- puter Music Journal 34(4):22–33.

Evans, J. S. B., and Frankish, K. E., eds. 2009. In two minds: Dual processes and beyond. Oxford University Press.

Evans, J. S. B. 2003. In two minds: dual-process accounts of reasoning. Trends in cognitive sciences 7(10):454–459.

Fiebrink, R.; Trueman, D.; Britt, C.; Nagai, M.; Kaczmarek, K.; Early, M.; Daniel, M.; Hege, A.; and Cook, P. 2010. Toward understanding human-computer interaction in com- posing the instrument. In Proc. of the International Com- puter Music Conference.

Gabora, L. 2005. Creative thought as a non darwinian evolutionary process. The Journal of Creative Behavior 39(4):262–283.

Guilford, J. P. 1967. The nature of human intelligence. McGraw-Hill (New York).

Hunt, A., and Kirk, R. 2000. Mapping strategies for musical performance. Trends in Gestural Control of Music 21.

Hunt, A.; Wanderley, M.; and Kirk, R. 2000. Towards a model for instrumental mapping in expert musical interac- tion. In Proceedings of the 2000 International Computer Music Conference, 209–212.

Jacob, R. J.; Sibert, L. E.; McFarlane, D. C.; and Mullen Jr, M. P. 1994. Integrality and separability of input de- vices. ACM Transactions on Computer-Human Interaction (TOCHI) 1(1):3–26.

Jennings, K. E.; Simonton, D. K.; and Palmer, S. E. 2011. Understanding exploratory creativity in a visual domain. In Proceedings of the 8th ACM conference on Creativity and cognition, 223–232. ACM.

Joyce, C. 2009. The blank page: effects of constraint on cre- ativity. Ph.D. Dissertation, Haas School of Business, Uni- versity of California, Berkeley.

Kahneman, D. 2011. Thinking, fast and slow. Farrar, Straus and Giroux.

Kronengold, C. 2005. Accidents, hooks and theory. Popular Music 24(3):381.

Magnusson, T. 2010. Designing constraints: Composing and performing with digital musical systems. Computer Mu- sic Journal 34(4):62–73.

Masters, R. S. 1992. Knowledge, knerves and know-how: The role of explicit versus implicit knowledge in the break- down of a complex motor skill under pressure. British jour- nal of psychology 83(3):343–358.

McGilchrist, I. 2009. The master and his emissary: The divided brain and the making of the western world. Yale University Press.

Mooney, J. 2011. Frameworks and affordances: Under- standing the tools of music-making. Journal of Music, Tech- nology and Education 3(2-3):2–3.

Mycroft, J.; Reiss, J. D.; and Stockman, T. 2013. The influ- ence of graphical user interface design on critical listening skills. In Sound and Music Computing (SMC), Stockholm.

Nash, C., and Blackwell, A. 2012. Liveness and flow in notation use. In Essl, G.; Gillespie, B.; Gurevich, M.; and O’Modhrain, S., eds., Proceedings of the International Con- ference on New Interfaces for Musical Expression (NIME). Ann Arbor, Michigan: University of Michigan.

Norman, D. A. 1999. Affordance, conventions, and design. interactions 6(3):38–43.

Pearce, M., and Wiggins, G. A. 2002. Aspects of a cognitive theory of creativity in musical composition. In Proceedings of the ECAI02 Workshop on Creative Systems.

Schooler, J. W.; Ohlsson, S.; and Brooks, K. 1993. Thoughts beyond words: When language overshadows insight. Jour- nal of experimental psychology: General 122(2):166.

Simonton, D. K. 1999. Origins of genius: Darwinian per- spectives on creativity. Oxford University Press.

Stanovich, K. E., and West, R. F. 2000. Individual differ- ences in reasoning: Implications for the rationality debate? Behavioral and brain sciences 23(5):645–665.

Stanovich, K. E. 2009. Distinguishing the reflective, algo- rithmic, and autonomous minds: Is it time for a tri-process theory?, In Evans and Frankish (2009). 55–88.

Tubb, R., and Dixon, S. 2014. Sonic zoom: A zoomable mapping of a musical parameter space using hilbert curves. Computer music journal 38(3):forthcoming.

Wallas, G. 1926. Art of Thought. Verlag.

Wan, C. Y., and Huon, G. F. 2005. Performance degrada- tion under pressure in music: An examination of attentional processes. Psychology of Music 33(2):155–172.

Wanderley, M. M., and Depalle, P. 2004. Gestural control of sound synthesis. Proceedings of the IEEE 92(4):632–644.

Wiggins, G. A. 2006. A preliminary framework for description, analysis and comparison of creative systems. Knowledge-Based Systems 19(7):449–458.

Wiggins, G. A. 2012. The mind’s chorus: Creativity before consciousness. Cognitive Computation 4(3):306–319.

Winkler, T. 1995. Making motion musical: Gesture map- ping strategies for interactive computer music. In Proceed- ings of the International Computer Music Conference.


Links

Full Text

http://computationalcreativity.net/iccc2014/wp-content/uploads/2014/06/1.3_Tubb.pdf

intern file

Sonstige Links