"Why waste time on expensive experiments when the right answer is obvious? The flaw in this thinking is that creativity is an iterative process in which you synthesize the final result from a variety of sources and thousands of potential solutions. It is not purely a deductive process with a single right answer.
When you fail to experiment broadly, you are building your solution from an anemic set of mental and technical resources. It is the equivalent of trying to design a bridge when the only material you've tested is paper. You can certainly build a bridge, but it will not be nearly as good compared to someone who experimented with a broad range of materials and construction techniques including steel or concrete."
(Daniel Cook, 16 August 2010)
"The KaosPilots was founded in 1991 in Århus, Denmark. It grew out of a youth organization called the Front Runners, a truly novel initiative, who worked with cultural and social projects.
The KaosPilots is a self–governing institution comprised of two parts: the school and a consultancy. The purpose of the KaosPilots is 'positive social change through personal growth'.
The consultancy offers the same capabilities that are offered to the students to companies, NGO's and public organizations, but adapted to suit their specific need. For examples of clients please click here.
The program is a three–year long education where the focus lies upon learning by doing through client assignments, from entrepreneurs, consultants, leaders and thought leaders.
The program consists of the disciplines Creative Enterprising Design, Creative Project Design, Creative Process Design and Creative Leadership Design and the education is designed around and operates according to the values Streetwise, Risk–taking, Balance, Compassion, Real World and Playful.
Based on the written application approximately 70 individuals are invited to attend a unique three–day workshop in the spring every year. Through a variety of assignments the applicant provides information to the staff and students who in the end will select a diverse team of about 35 aspiring KaosPilots to begin the program in the fall.
According to a comprehensive survey conducted in 2005 approximately 30% of the graduated KaosPilots work as an entrepreneur.
A KaosPilot is an enterprising leader who creates value for themselves and others."
"In this way the puppeteers would be part of the development of the prototypes for the virtual puppets as well as the characters for the play, before the actual rehearsals would begin two month later. ...
The value of the actual meetings and workshops can not be emphasised enough. This gave the participants hands on experience with the constraints in the actual equipment and a chance to meet the team that would be responsible for operating it. It is not until the artist has a very physical and intuitive impression of the material and the involved people the creative process takes off for real–before this everything is abstract ideas. ...
In the planning of the research project and the actual production the division of labour within and between each field of activity were specified as outlined in section 3.
As the process went on the borders became more blurred exploring the new field between creative production in theatre and animation and methods from computer science and systems development. One of the big challenges was the development of a common language between the artist and the programmer/technicians and to define and invent new methods that were necessary to carry out the production.
I tried to explore the numerous reasons for this in the evaluation phase of the project. This was done by conducting qualitative interviews with the participants and by reviewing the large body of video documentation from the process. The footage was edited to a 50 minute documentary about the project on which the following assumptions are based (Callesen 2001)."
(Jørgen Callesen, 2003, p.15,18,30)
Callesen (2001) Virtual Puppets in Performance, Proceedings, Marionette: Metaphysics, Mechanics, Modernity, International Symposium, University of Copenhagen, 28. March – 1. April, 2001
Callesen, J. (2003) "The Family Factory – Developing new Methods for Live 3D Animation" in Madsen, K.H. Production methods: behind the scenes of virtual inhabited 3D worlds. Springer–Verlag, London.
"Openframeworks is a c++ library designed to assist the creative process by providing a simple and intuitive framework for experimentation.
The library is designed to work as a general purpose glue, and wraps together several commonly used libraries under a tidy interface: openGL for graphics, rtAudio for audio input and output, freeType for fonts,freeImage for image input and output, quicktime for video playing and sequence grabbing.
The code is written to be both cross platform (PC, Mac, Linux, iPhone) and cross compiler. The API is designed to be minimal and easy to grasp. There are very few classes, and inside of those classes, there are very few functions. The code has been implemented so that within the classes there are minimal cross–referening, making it quite easy to rip out and reuse, if you need, or to extend.
Simply put, openFrameworks is a tool that makes it much easier to make things via code. We find it super useful, and we hope you do too.
OpenFrameworks is actively developed by Zach Lieberman, Theodore Watson, and Arturo Castro, with help from the OF community. ofxIphone, is actively developed by Mehmet Akten and Zach Gage, with development help from Lee Byron and Damian Stewart. The OF website is designed and maintained by Chris O'shea.
OpenFrameworks is indebted to two significant precursors: the Processing development environment, created by Casey Reas, Ben Fry and the Processing community; and the ACU Toolkit, a privately distributed C++ library developed by Ben Fry and others in the MIT Media Lab's Aesthetics and Computation Group."
"4.2 The main purpose of the exegesis is to support and complement the creative work by providing the context and background of the creative work. The Degree Rules state that the exegesis must 'provide a rationale for the techniques and strategies adopted in the creative work and must situate them in relation to a theoretical and/or historical cultural context. Where appropriate, it may include a sustained account of the creative process.
4.5 In communication, the exegesis will provide an analytical documentation of the creative work. The exegesis will provide, for example, an analytical documentation of the creative production, a parallel critical support to the body of work produced, or a contextual, polemic extension to the broadcast work.
4.6 In design/illustration, the exegesis may take a number of forms, for example, an analytical documentation of design/illustration process and/or field research, a parallel critical support to the project or body of work produced or a contextual critical review of the project.
5.0 Word Length
5.1 Although there is no prescribed word length for the accompanying exegesis it is recommended that this should normally comprise 12,000 – 25,000 words for a Masters and 20,000 – 35,000 words for a Doctoral submission and should not normally exceed 40,000 words excluding appendices, tables and illustrative matter."
(The University of Newcastle, Australia, 28 August 2009)