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• W2577185756 abstract "We start with a critical examination of the traditional view of creativity in which the creator is the major player. We analyze many different examples to point out that the origin of all different creativity scenarios is rooted in the viewer-artifact interaction. To recognize this explicitly, we propose an alternative formulation of creativity by putting the viewer in the driver’s seat. We examine some implications of this formulation, especially for the role of computers in creativity, and argue that it captures the essence of creativity more accurately. Introduction: Traditional View of Creativity In a typical creativity scenario, there is a creator, a product and the audience. The creator creates the product, and the audience appreciates it. The creativity is almost always imputed to the creator. One could talk about a creative process, but that is again associated with the creator. The audience plays a role, and has been dubbed the field by Csikszentmihalyi (1996), but somewhat indirectly, and even then, one usually makes a distinction between a popular artist and a creative artist, which are not synonymous. This framework is questioned in this paper by analyzing a number of creativity scenarios and tracing the root factor that allows us to dub them creative. It is not the first time that these issues are being raised, for they are well known in the literature. But it may be the first time we are bringing them all together to suggest that perhaps there is something fundamentally wrong with this view of creativity. We then propose an alternative formalism for creativity by looking at it from the audience’s point of view. Though this may seem almost heretical at first sight, we argue that it provides a more accurate framework to address various issues surrounding creativity, including the role of computers therein. Analysis of Some Creativity Scenarios We present here several creativity scenarios and analyze them to identify the root cause as to why they are labeled creative. Case of Creative Individuals If we try to think of creative people, who comes to mind? Perhaps Einstein, Mozart, Michelangelo or Leonardo da Vinci. In the modern times, we might think of Steve Jobs. But what do we mean when we say that they are creative? Perhaps music came naturally to Mozart. In a letter to his father on Nov. 8, 1777, he wrote: “I cannot write in verse, for I am no poet. I cannot arrange the parts of speech with such art as to produce effects of light and shade, for I am no painter. Even by signs and gestures I cannot express my thoughts and feelings, for I am no dancer. But I can do so by means of sounds, for I am a musician.” However, what makes his work great is because of the way people have responded to his music over more than two centuries. (See also Kozbelt 2005; and Painter 2002.) Steve Jobs has sprouted and nurtured many creative ideas, but again it is how people responded to the artifacts based on his ideas, like Mac, iPod, and iPhone, that is the key factor in his having become an icon of technological innovation and creativity. And one could easily dispute whether he was creative when it came to his clothes. Einstein’s brain was preserved after his death so that people can study it to get any clues about the biological basis for creativity. But here also it is the impact of his theory of relativity, and its eventual acceptance by the scientific community that was a key factor in him becoming an icon of scientific creativity of the twentieth century. Moreover, Einstein was also dogmatic at times, perhaps the most famous case being his rejection of Alexander Friedmann’s expanding universe hypothesis (Singh 2004). Needless to say, we are not trying to argue that these people were not creative, but merely to point out that they were creative some of the times, and in some areas; and, more importantly for the discussion here, that we determine when they were creative based on how the audience responded to their ideas or artifacts. Creativity in Mentally Different Individuals Take the case of Stephen Wiltshire, discussed in Sacks (1995). He has an amazing ability to draw a landscape from memory after seeing it only once. Though he is diagnosed with autism, his work is highly regarded both by critics and general population. He was awarded Member of the Order of the British Empire for services to art in 2006. So he is no doubt a very creative person, no matter which criterion one chooses to apply. But let us think about it a minute. What do we mean by saying that he is creative? His work has a certain style, level of details that most people cannot reach, aesthetic appeal, and all that. As with Mozart, we can go further and say that perhaps this is the way he expresses himself naturally: just like you and I might describe what we did on our last summer vacation, he draws fantastic landscapes. The International Conference on Computational Creativity 2012 62 landscapes are fantastic to us, his audience, and that is the crucial factor in his being recognized as a creative genius. We can now throw in here examples of people with schizophrenia or brain damage, savants or manicdepressive people, and so on (Sawyer 2006). When these people produce work that is considered creative, it is exclusively the evaluation of the audience that is the key factor in this judgment. For many of them, this is their mode of being, and it could not have been otherwise. Often the intention is missing as well. (See also Abraham et al. 2007; Glicksohn 2011.)" @default.
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• W2577185756 date "2012-01-01" @default.
• W2577185756 modified "2023-10-04" @default.
• W2577185756 title "Whence is creativity" @default.
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