Creativity With A Capital See


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Keynote Speech, Eleanor-Jayne Browne, International Conference on Design Theory+Practice 2010 National Taichung Institute Technology, The Application Of Design, Creativity With A Capital See

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  • ‘ Creativity’ along with ‘organic’ and ‘branding’ has become this decade’s buzzword, in the same way that ‘designer’ was applied to every product and experience created in the 1990s. Current Taiwanese government led intitiatives now encourage designers and companies to switch their focus from ODM to OBM - that is…to create new brands. However these ventures to date have not been entirely successful.It seems a little perverse to me toencourage companies and designers to engage in a practice that they don’t yet fully understand or completely believe in, making money cannot be the sole motivation for “creating”. Cultural Innovation is currently being promoted and services, experiences, products etc are being labelled as “cultural innovations” and used as a tool for marketing, promotion and business. Cultural innovations can be services, experiences and products, but without the correct mindset, commitment and true belief will become devoid of soul and value. Before we can truly create “cultural value” we have to understand the source behind it…and the source of all creation is CREATIVITY… … and I wonder how can you cultivate what most people don’t understand?”
  • This is a conversation about creativity. My aim is to engage you in a dialogue about creativity, and I’m presenting my conversation from 3 perspectives. Firstly as a practictioner whose clients demand and expect highly creative and unique solutions for their problems. I’m looking at this issue from that of a CREATIVE INDIVIDUAL who engages in experimental and conceptual work. Thirdly, I’m coming from the perspective of an educator - that is as a teacher who has direct engagement with the next generation of designers who have the power to shape our collective creative futures. I hope my conversation might explain or describe some aspects of the creative personality and what creativity means, so when individuals ask creators to be creative, they have a greater insight into what exactly they are asking for. Our job is to nurture creativity in all forms, at all stages of development, from small children to design practitioners and even scientists. If we understand, then we can create and nurture and play a role in the transformation from “Made in Taiwan” to “Created in Taiwan.” This dynamic doesn’t happen over night. The conversation has just begun and our job is to make sure it continues.
  • In the world of design, when a client asks a designer to complete a task there are always 3 issues to consider: TIME, QUALITY + SPEED. Clients always expect all three…but in reality this is impossible, you can only ever have 2 out of the 3…the same goes with creativity. Listed are three definitions of creative personas, or in other words I believe that all people fall into one of the 3 categories. The world is full of creative souls however, no one person (or at least a very few) fall into all three groups. But in actual fact, to realise creative concepts we need these 3 kinds of people to MAKE IT WORK!
  • This kind of creativity is the richest kind in terms of PURE CREATIVITY, and often is the most personal. Why? Isn’t often isn’t an important factor, that is the “why” is a personal journey whose conclusion isn’t justified by money. We do because we have to! Motivation for creating is based almost on an instinctual drive which pushes us to explore and personalise a particular technique or method. Critique from others isn’t important, it’s all about ownership and taking a concept to an ultimate level. Innate creativity is the source of commercially viable projects and concepts. Without this initial almost wild kind of thought or practice, concepts cannot be refined and commercialised.
  • On a very personal level, I strongly believe that creativity is all about making previously unrealised connections or thoughts realised…that is…
  • Kate Nichols Suspension 3. Silver nanoprisms, glass capillaries. 8" x 5". 2009. Kate Nichols is a painter who became fascinated by structural colour that is derived from a substance's geometric structure rather than its chemical composition. These structures are measured in nanometers, requiring equipment not generally to be found inan artist’s studio. Nichols was fascinated with the rich, bright hues of the Morpho butterfly, and sought to replicate those vivid colours in her work. Through research, she learned that the butterfly wings' brilliant blue colour arose through structural colour and that nanotechnology could help her obtain this vibrant palette. The Morpho butterfly’s colours are not a result of pigmentation, but rather are an example of iridescence (an optical phenomenon characterised as the property of surfaces in which hue changes according to the angle from which the surface is viewed). Inspired, Kate wished to integrate the latest advances in materials science into her own work. In 2008, she joined the Alivisatos Lab at the University of California at Berkeley as the lab's first artist in residence. There, she synthesises nanoparticles that exhibit structural colour. Structural colour is about scale and geometry. It has little to do with a substance’s chemical properties and everything to do with its physical ones. It is colour by design. This means that several different colours can be generated from a substance without modifying its chemical composition in any way. Geometric structures capable of producing such colour must be on the scale of wavelengths of visible light. This scale is measured in nanometers. Structural colours are colours caused by interference effects rather than by pigments. Colour effects are produced when a material is scored with fine parallel lines. If the microstructures are spaced randomly, light of shorter wavelengths will be scattered preferentially to produce Tyndall effect colours (light scattering): the blue of the sky. If the microstructures are aligned in arrays, for example the array of pits in a CD, they behave as a diffraction grating: the grating reflects different wavelengths in different directions due to interference phenomena, separating mixed "white" light into light of different wavelengths. If the structure is one or more thin layers then it will reflect some wavelengths and transmit others, depending on the layers' thickness. A layman's term that describes particularly the most ordered or the most changeable structural colors is iridescence. Structural colour is responsible for the blues and greens of the feathers of many birds (the blue jay, for example), as well as certain butterfly wings and beetle shells. Variations in the pattern's spacing often give rise to an iridescent effect, as seen in peacock feathers, soap bubbles, films of oil, and mother of pearl, because the reflected color depends upon the viewing angle.
  • This kind of creativity can be clearly labeled and defined. It is a measure by which other peoples’ achievements can quantified and compared to. As the title suggests, this kind of creativity is defined by a person’s repeated endeavour to perfect or achieve tangible results - that is something real, in contrast to innate creativity which is all about personal satisfaction and not based on a concrete result.
  • The quotes you can see are actually quite extreme and range from talking about an outstanding and ground-breaking computer programmer to a definitive musician to an author, but what they all share is the confirmation of their excellent achievements. Eachquote talks about its subject in a definitive way as they they are the embodiment of achievement in their respective field. These are people we can measure our own success by, these are people we need to equal if we are to be considered equally creative or successful. What they have achieved is universally agreed upon. This practiced creativity is achieved through trial and error, through practice, through sheer hard work…and as Malcolm Gladwell believes with a bit of luck! John R. Stilgoe is an award-winning historian and photographer who teaches in the History of Landscape at the Visual and Environmental Studies Department of Harvard University, where he has been teaching since 1977.
  • Malcolm Gladwell is a writer for The New Yorker and best-selling author of 4 books. His third book, Outliers: The Story of Success was released November 18, 2008. He has a gift for interpreting new ideas in the social sciences and making them understandable, practical and valuable to business and general audiences alike. In Outliers Gladwell examines the factors that contribute to high levels of success. To support his thesis, he repeatedly mentions the 10,000-Hour Rule , claiming that the key to success in any field is, to a large extent, a matter of practicing a specific task for a total of around 10,000 hours. Gladwell claims that greatness requires enormous time, using the source of The Beatles' musical talents amongst others as examples. The Beatles performed live in Hamburg, Germany over 1,200 times from 1960 to 1964, amassing more than 10,000 hours of playing time, therefore meeting the 10,000-Hour Rule. Gladwell asserts that all of the time The Beatles spent performing shaped their talent, "so by the time they returned to England from Hamburg, Germany, 'they sounded like no one else. It was the making of them.'
  • At the age of 16 John Lennon formed a band, with Paul McCartney called The Quarrymen . Later joined by George Harrison, Pete Best and Stuart Sutcliffe they were offered the chance to play to audiences in Hamburg. Travelling to Germany and playing at 4 different clubs during the period 1960-62 was a chapter in the group's history which honed their performance skills, widened their reputation, and led to their first recording, which brought them to the attention of Brian Epstein. The St. Pauli quarter of Hamburg, where the Indra club was located, was well-known as an area where prostitutes were to be found, and was a dangerous place. McCartney's father was therefore reluctant to let the teenage Paul go to Hamburg. However, as the money his son would earn was more than he earned himself, he finally agreed. Lennon delayed his studies and placated his mother by explaining the amount he would earn. The playing schedule required them to perform 7 days a week, with 1 hour off between each 60 minute set. Willie Limpinski, decided that the Kaiserkeller would attract more customers if it presented continuous live music. Lennon said: "We had to play for hours and hours on end. Every song lasted twenty minutes and had twenty solos in it. That's what improved the playing. There was nobody to copy from. We played what we liked best and the Germans like it as long as it was loud." The Beatles had been used to simply standing still when they had performed in Liverpool, but Koschmider would come to the front of the stage and loudly shout Make a show for the customers. Harrison explained that this prompted Lennon to da nce around like a gorilla, and we’d all knock our heads together. In early October 1960, Storm and the Hurricanes were free to travel to Hamburg, replacing Derry and the Seniors at the Kaiserkeller. They arrived in Hamburg on 1 October 1960, having negotiated to be paid more than the Seniors or The Beatles. They played five or six 90-minute sets every day, alternating with the Beatles. Williams warned The Beatles about the competition they would face by playing in the same club as the Hurricanes by saying, "You'd better pull your socks up because Rory Storm and the Hurricanes are coming in, and you know how good they are. They're going to knock you for six." Their work rate was phenomenal – at one point in 1961 they played for 98 nights in succession, frequently starting at 7pm and going through until 7am. They learnt how to survive on their wits, their flair for improvisation, their innate cockiness – and on a steady stream of uppers.
  • This quote by John Lennon testifies to the growing process they experienced during those years.
  • Applied creativity is currently the most applicable to the “cultural innovation” policy being promoted by the Taiwanese government. There are a multitude of existing technologies which are ripe for further development and application to innovative products and experiences. In one sense Applied Creativity can be seen as having a “product” then asking the question: “What can I do with this? How can I use this creatively and purposefully?” IT IS UNDENIABLE THAT FOR THE MOST PART, THIS KIND OF CREATIVITY IS STRONGLY LINKED TO COMPUTER SOFTWARE, TECHNOLOGIES, OPERATING SYSTEMS, MACHINES, TECHNOLOGY ETC. Fluid-driven Automatic Fire Sprinkler DUCK IMAGE To avoid panic in case of power failure, this sprinkler uses liquid-driven illumination technology that is integrated into the automatic sprinkler at the ceiling. If the automatic fire sprinkler is activated in case of fire, the flowing water drives a turbine blade for immediate power generation and lighting of the LED, transforming it into an emergency light and alarm system. The device is moreover equipped with a laser projector that additionally indicates escape paths and emergency exits.
  • Creativity is now recognised as an enabler of business transformation, because it leads change. It is a method to address problems, and problems behind problems. Creativity connects businesses to customers. Customers to new products, services and experiences. Creativity + design are process tools, innovation tools and tools to build experiences. Different kinds of applied creativity has transformed the way we… * create and share knowledge: Wikipedia, Delicious * innovate and collaborate together: InnoCentive, Instructables * have fun and entertainment: Zango * interact, network or connect with each other: Facebook, Skype, Twitter * design new products or buy +sell merchandise Ebay, Craigslist, Amazon * connect and communicate with mobile devices: iPhone , Blackberry); * write reflection blogs: blogger * share photos: flickr * podcast presentations or make creative films : YouTube * develop projects: wikis or Google docs
  • Applied creativity can synthesise human needs, wants and desires, current conditions in the economy, in materials, in sustainability issues etc. Applied creativity is different and therefore it feels different. Firstly it is not only convergent. It is a series of divergent and convergent steps. During divergence we create choices. During convergence we make choices. It almost feels like you are going backwards and getting further away from the answer but this is the essence of applied creativity. Secondly, applied creativity relies on an interplay between analysis and synthesis, breaking problems apart and putting ideas together . Synthesis is hard because we are trying to put things together which are often in tension ie. Less expensive, higher quality. Applied creativity needs to feel optimistic, exploratory and experimental but it often feels foggy to people who are more used to operating on a plan. Critically, divergence has to be supported by the culture.
  • Interdisciplinarity approaches cross traditional boundaries between academic disciplines or schools of thought. Although the term interdisciplinary is usually applied within education and training pedagogies to describe studies that use methods and Insights of several established disciplines or traditional fields of study, it now is embraced by designers + creative individuals to solve problems. Interdisciplinarity involves researchers, students, teachers, artists and practitioners in the goals of connecting and integrating several academic schools of thought, professions, or technologies -- along with their specific perspectives -- in the pursuit of a common task. There are many examples of when a particular idea, almost on the same period, arises in different disciplines such as Nanotechnology which has created a vast range of applications, such as in medicine, electronics, biomaterials and energy production. This has also happened in painting with cubism and curently the major trend in the fine arts community is the interdisciplinary collaboration between artists and scientists.
  • This painting is appropriate to represent cubism because it is the starting point for Cubism because it marks the birth of a new pictorial idiom. 20th century avant-garde art movement , pioneered by Pablo Picasso + Georges Braque, that revolutionised European painting and sculpture , and inspired related movements in music and literature . During late 19th + early 20th centuries, European cultural elite discovered African , Micronesian + Native American art. Artists like Gauguin , Matisse and Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein , at a time when both artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks . They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. 1 st phase: Analytic Cubism an analysis of the subjects (pulling them apart into planes). 2 nd phase: Synthetic Cubism pushing several objects together. Synthetic cubism is characterised by the introduction of different textures, surfaces, collage elements, papier coll � and a large variety of merged subject matter. It was the beginning of collage materials being introduced as an important ingredient of fine art work. Cubist artworks: objects are broken up, analyzed, and re-assembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles, removing a coherent sense of depth. The background and object planes interpenetrate one another to create the shallow ambiguous space, one of cubism's distinct characteristics. Cubism spread and remained vital until around 1919, when the Surrealist movement gained popularity. Cubist poetry Eg. Pierre Reverdy Haiku-like austerity is striking. Affinities to imagism and cubism are evident. Japanese form of poetry which combines form, content, and language in a meaningful, yet compact form. Poems are almost cinematic. It is the conscious, deliberate dissociation and recombination of elements into a new artistic entity made self-sufficient by its rigorous architecture. 5, 7, 5 (syllables) and 3 lines. Gertrude Stein After moving to Paris in 1903, she started to write novels, plays, stories and poems. Increasingly, she developed her own highly idiosyncratic, playful, sometimes repetitive and sometimes humorous style. "Rose is a rose is a rose is a rose � part of the 1913 poem Sacred Emily. " A rose is a rose is a rose " is probably her most famous quotation, often interpreted as meaning "things are what they are." In Stein's view, the sentence expresses the fact that simply using the name of a thing already invokes the imagery and emotions associated with it.
  • Flexio is a single use device by ITRI and the Scenario Lab, it can receive signals over the airwaves or internet radio via wifi and wimax. It uses solar powered technology and the innovative factor comes from the flexible speaker & flexible solar cell. It is designed to be used within the station-waves range, but could be modified to receive internet radio via WiFi or WiMax. The market for digital lifestyle education and entertainment applications is huge and growing. Personal portable electronics continue to get smaller, cheaper, more functional, and are increasingly multimedia & multimode. There is opportunity for Taiwan to leverage its advantages in IT technology to develop creatively integrated products that are smart, multi-functional, low energy consuming and low cost. ITRI aims to create new products designed with society, life and consumer needs in mind.
  • Flexio is a single use device by ITRI and the Scenario Lab, it can receive signals over the airwaves or internet radio via wifi and wimax. It uses solar powered technology and the innovative factor comes from the flexible speaker & flexible solar cell. It is designed to be used within the station-waves range, but could be modified to receive internet radio via WiFi or WiMax. The market for digital lifestyle education and entertainment applications is huge and growing. Personal portable electronics continue to get smaller, cheaper, more functional, and are increasingly multimedia & multimode. There is opportunity for Taiwan to leverage its advantages in IT technology to develop creatively integrated products that are smart, multi-functional, low energy consuming and low cost. ITRI aims to create new products designed with society, life and consumer needs in mind.
  • Sensual engineering. Founded by Artistic Director Gideon Obarzanek in 1995. Chunky Move is a distinct + unpredictable genre-defying dance performance. The Company’s work is both diverse in form and content; to date the Company has created a number of works for the stage, site specific, new-media and installation work. Mortal Engine, World premiere, Sydney Opera House, January 2008 Mortal Engine is a dance-video-music-laser performance using movement and sound responsive projections to portray an ever-shifting world in which the limits of the human body are an illusion. Projections react to the dancer's moving body, graphically illuminating and extending it Graphics are based on a video tracking of performers’ body outlines in realtime, which result in a laser projection of those outlines. Frieder Weiss, a software engineer, created EyeCon and Kalypso video motion sensing programs especially for use with dance, music and computer art. Frieder’s interactive systems make it possible for instruments and bodies that generate light, video, sound and movement to all share a common language and respond to each other in real time. Mortal Engine has no pre-rendered video, light or laser images. The music mix is open, allowing various sounds to be completely generated from movement data. In addition, pre-composed phrases are triggered by the dancers’ motion or by the operator in relation to where the performers are in any given sequence. This essentially means that there are no fixed timelines and the production flexes according to the rhythm of the performers. While the scenes are always in the same order, the work is truly live every night, not completely predictable and ever changing. The laser and video images have an almost brutal relationship to the sound they illustrate and when experienced by themself their connection with the dancers is not immediately apparent. However when experienced together with the dancers’ movements, they become a powerful extension to the performers’ bodies.
  • A poetic interpretation of data. There are more than 2000 manmade satellites orbiting the earth. Celestial Mechanics combines science, statistical display, and contemporary art by presenting these mechanical patterns and behaviors as a dynamic visual experience. 2005 collaboration with Gabriel Dunne. D. Scott Hessels: writer, media artist and filmmaker. Currently a professor of digital cinema at The School of Art, Design, and Media in the Nanyang Technological University in Singapore. Celestial Mechanics is a planetarium-based artwork installation that visualizes the statistics, data, and protocols of manmade aerial technologies -- a graphic display of the paths and functions of the machines hovering, flying, and drifting above our planet. The sky is filled with aircraft that transport people from place to place, perform utilitarian duties, assist in communications, enact military missions, or wander above us as debris. This work was originally developed as a series of experiments for the project "Celestial Mechanics " at UCLA . FAA data was parsed and plotted using the Processing programming environment. The frames were composited with Adobe After Effects and/or Maya. A predominant section of Celestial Mechanics is the satellite visualization sections. The image below was generated from the orbits of Low Orbiting Satellites of the Earth, based on data from SSR's (Satellite Situation Reports) collected from the public domain that date from 1994 to the present. Our viewpoint is as if we are standing on the surface of the earth, roughly around the Los Angeles area, looking skyward. The images were generated by data being parsed into MEL, a scripting language used by the 3D animation program Maya, which was then rendered into animation frames. The animation was then sped up to roughly 500x, so the viewer is exposed to the sheer scope of objects that are constantly in orbit. The average speed of an LEO satellite is 17,000 MPH, and the average size is between 1 and 2 meters across. Their functions vary from observation, to data collection, to communication, to military usage. The rings visible in this particular visualization are the satellites' line of site ring, which is the elliptical area of the Earth's surface that each satellite can "see". When each line of site ring is rendered, it is possible to see the scope of observation that is taking place.
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