Graphics Reference
In-Depth Information
address creativity in the context of storytelling,
especially inventing stories. Gervás reviewed
the existing storytelling systems with respect to
creative process and listed several points: who is
the creator, what is the output, who is the audi-
ence (especially in terms of the evaluation of
novelty of the output), expectations and whether
the output is unexpected in some way, whether
the output meets some goal, what are the inputs,
whether feedback is being contemplated. Thomas
S. Kuhn (1970) observed earlier that either very
young individuals or the ones very new to the field
made the great inventions, and they changed the
paradigms. Maybe it is so because, according to
Chi and Snyder (2011), thinking outside the box
is difficult, especially for those with the most in-
depth knowledge. Chi and Snyder, supported by
the experimental results saw possible explanation
in a structure of our thinking, which is driven by
hypotheses, preconceptions, and expectations. The
authors activated the side of brain associated with
novel ideas (R, right anterior temporal lobe) and
at the same time suppressed the side associated
with maintaining existing hypotheses (L, left
anterior temporal lobe). They posed they could
free the brain from a fixed mental set and thus
allow alternate solutions. In result of stimulation
people were able to see the correct answer with a
burst of insight from the right side of their brain
that had been blocked by the left side.
portraits used for avatars in online worlds and com-
munication networks. He noticed a shift toward
understanding a digital portrait as performative
acting, in place of the ontological understanding as
an individual being to be contemplated in terms of
its craftsmanship and aesthetic values. According
to Heinrich, the avatar-portrait functions not only
as representation but also as an embodiment, in a
somewhat similar way as it operated in Eastern,
Byzantine icons. It surpasses general notion of
a technological medium by constructing a di-
rect material and sensory relationship between
people and transcending the humanistic concept
of identity. As stated by Heinrich (2010, p. 9),
“the digital iconic avatar seems to undermine the
Western epistemic distinction between the human
subject and pictorial representation, questioning
the notion of the body as a mainly biologically
defined entity.”
In electronic art, we may discuss basic ap-
proaches to designing an artwork with all related
freedom/precision compromises; for instance, by
exploring “the line between analogue and digital”
(Sullivan, 2000). In terms of the study of human
speech, one may venture an analogy between the
statements made with the use of speech or of visual
art, and the statements in English or in Japanese
language. The typical features of English language
are seen as a digital mode of description, logical
approach, linear structures, quantitative measure,
and facile scientific description, while Japanese
language is characterized by the analogous mode
of description, emotional approach, qualitative
evaluation, and facile poetic expression.
Digital Portrait as Personification
With changing meaning and taxonomies of
creative actions many may think about artistic
productions in a new way, not only as the pictures
but also the spatially-referenced and time-based
events, or the interactive and interdisciplinary
visual forms of storytelling. In the digital environ-
ment, both the notion of a portrait and the related
aesthetic expectations may overcome the semiotic
divide between material and fictional characters,
or between realistic and virtual images (Heinrich,
2010). Falk Heinrich (2010) discussed digital
Project: Designing a Coin with
a Visual and Verbal Side
The following project may involve using not only
creativity but also ingenuity - applying your own
solutions to problems or meeting challenges. When
using one's own ingenuity one applies complex
thought processes, brings together, often collec-
tively, thinking and acting to overcome problems.
