Graphics Reference
In-Depth Information
hybrid bird, ant, and blood vessel mechanism can
be useful in generating interesting and intelligible
drawing outputs.
Margaret Boden, who defines creativity as
the ability to generate novel and valuable ideas
(1998, 2007a, 2007b; 2006), describes three types
of creativity - combinational (which produces un-
familiar combinations of familiar ideas by making
associations between ideas that were previously
only indirectly linked); exploratory (which rests
on some culturally accepted style of thinking);
and transformational (where the space or style are
transformed by altering or dropping their defining
dimensions, to generate ideas that could not have
been generated before the change).
Boden (2010, p.16) also stresses that human
minds are “capable of holding, integrating, fol-
lowing, and also abandoning general principles of
behaviour. These may be moral, political, religious
… or aesthetic.” Hence there is an ambiguous
relationship between creativity and freedom: “A
style is a (culturally favoured) space of structural
possibilities: not a painting, but a way of painting,
or a way of sculpting, or composing fugues... and
so on. It's partly because of these thinking styles
that creativity has an ambiguous relationship with
freedom.” Creativity and artistic personality have
been often linked with the mood disorders, espe-
cially manic-depressive (bipolar) disorder. Traits
of personality such as independence of judgment,
self-confidence, attraction to complexity, aesthetic
orientation, and risk-taking are used as measures
of the creativity of individuals (Sternberg, 2008).
Boden (2009) introduced a distinction between
psychological and historical views of creativity.
Psychological novelty (or P-creative idea) is new
to the person who generated it, while a historical
novelty (or H-creative idea) has never occurred in
history before. The available tools may influence
the working style; for example, an access to the
Internet makes gathering information about other
works quicker, and collaboration easier.
Several studies deal with the part played by
creativity in the effectiveness of solving problems
and the aesthetics of the solutions. Boden consid-
ers creativity a fundamental activity of human
information processing, which can be modeled
by artificial intelligence techniques; she also pro-
posed that artificial intelligence ideas might help
to understand creative thought. The combinational
creativity strategies may include mixing familiar
and strange settings, mixing genres, objects or
styles, inserting an unrelated or unexpected frag-
ment, or translating the meaning of iconic objects
and images into new domains to evoke intended
connotations. According to Boden (2010), this
type of creativity seems to be difficult for artificial
intelligence (AI) to model because of lack of the
rich store of world and cultural knowledge.
APPROACHES FROM OTHER
POINTS OF VIEW
A model of creativity is not universal because
concepts of art and creativity differ in the world
cultures (Sawyer, 2012). Moreover, creative
capacities have been linked with many think-
ing activities. Complexity of the theme became
even greater due to the studies about creativity
conducted in other than art domains. Research
in cognitive neuroscience, focused mostly on
consciousness, memory, language, attention,
decision-making, and learning alters the estab-
lished notions about creativity. Advancements in
the fields of computing, creativity of computers,
artificial intelligence, computing technology in
education, and many other approaches change
these notions even more.
Several authors (for example, Wiggins,
2006; Ritchie, 2007) examined methods avail-
able for evaluation of computational creativity
and discussed neuroaesthetics - the study of the
neurological basis for aesthetic behavior, which
results in creating art. In terms of the science
of complex systems Galanter (2010, 2011) de-
scribed the neuroaesthetic complexity model as
characterized by a built-in balance of order and
disorder, or expectation and surprise. According
to Pablo Gervás (2009, p. 58) it is difficult to
