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Which clippings match 'Creative Process' keyword pg.1 of 2
17 DECEMBER 2012

Invention is the result of creative experimentation and synthesis

"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)

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TAGS

ild a bridge • conceptualisationconstruction techniquescreative processcreativity • design a bridge • design methoddesign process • experiment broadly • experimental enquiryexperimental investigation • experimental research • experimental techniquesexperimental thinkingexperimental workexperimentation • experiments • inventioniterative cycleiterative design processmethods for design practice • potential solutions • right answer • single right answer • synthesise knowledgetestingtheory building • variety of sources • visualising the creative process

CONTRIBUTOR

Simon Perkins
10 JULY 2012

KAOSPilot: enterprising leader creating value for you and others

"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."

(Christer Windeløv–Lidzélius)

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TAGS

1991action learning • alternative action • Arhus • autonomousbusiness leaderschange • Chaos Pilots • classical education system • compassionconsultancyconsultant • create value • creative enterprise • creative enterprising design • creative leadership • creative leadership design • creative process • creative process design • creative project design • creative projectscreative thinkingcreativity in the classroom • cultural projects • Denmarkdesign thinkingdivergent thinkingeducation • educational programme • enterprising leader • entrepreneurship • Front Runners (organisation) • information and communication • innovative educational programme • KAOSPilot • Kaospilot Aarhus • knowledge constructionleadershiplearning by doing • live clients • management education • network of professionals • new jobs • new pressures • novel initiative • personal development • personal growth • playfulness • private educational programme • project management • rapidly changing society • real worldrisk-takingschools • self-designed projects • self-governing institution • social changesocial construction of knowledge • social inventiveness • social projects • streetwise • thought leaders • ways of thinkingyoung peopleyouth organisation

CONTRIBUTOR

Simon Perkins
16 JANUARY 2012

The Family Factory: Developing Methods for Live 3D Animation

"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.

TAGS

3D animation • abstract ideas • actual equipment • actual production • applied researchartistic practice • computer science methods • conceptualisationconstraintscreative practicecreative process • creative production in theatre • enquiry • evaluation phase • experimentation • field of activity • hands on experience • intuitive impression of the material • new methodsparticipantsperformance • physical impression of the material • planningPRAMnetprototype • prototype development • puppetpuppeteerqualitative interviewsresearchresearch project • reviewing • systems development • theatretheory buildingvideo documentationvirtual puppetworkshops

CONTRIBUTOR

Simon Perkins
30 JUNE 2011

OpenFrameworks: open source C++ toolkit for creative coding

"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."

(OpenFrameworks)

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TAGS

ACU Toolkit • API • Arturo Castro • Ben Fry • C++ library • C++ toolki • Casey ReasChris OSheacodecreative codingcreative process • cross compiler • cross platform • Damian Stewart • experimentation • freeImage • freeType • interactioninteraction designintuitiveiPhone • Lee Byron • LinuxMac • Mehmet Akten • MIT Media LabMIT Media Lab Aesthetics and Computation Group • OF • OF community • ofxIphone • open sourceOpenFrameworksOpenGLPCProcessing (software) • Processing community • Processing development environmentQuickTime • rtAudio • sequence grabbing • software classessoftware codesoftware framework • software functions • software interface • software libraries • software library • software tool • Theodore Watson • Zach Gage • Zach Lieberman

CONTRIBUTOR

Simon Perkins
22 JUNE 2011

Examination of Theses in the Creative Arts: The Exegesis

"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)

TAGS

analytical documentation • Australia • body of work • context and background of the creative work • contextual • contextual critical review • creative artscreative process • creative production • creative work • critical support to the project • cultural contextdoctoral submission • Examination of Theses • exegesisfield research • historical context • MA • Masters submission • oeuvre • parallel critical support • PhDrationale • research document • sustained account • techniques and strategies • theoretical context • University of Newcastle

CONTRIBUTOR

Simon Perkins
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