Collaborative Creative Processes Research Articles

Natural Language Processing Approach to Evaluate Real-Time Flexibility of Ideas to Support Collaborative Creative Process

Natural Language Processing Approach to Evaluate Real-Time Flexibility of Ideas to Support Collaborative Creative Process

Artistes contemporains, un label de qualité: L’artiste dans le processus de co-création par collaborations

This study explores the relationship between contemporary artists and brands, highlighting the connections between the two, particularly through the lens of the artistic sphere and its role in collaborative creative processes. Numerous studies have been carried out under the aegis of brands, but only a very small proportion of them from the perspective of contemporary artists. By identifying the small share of artists who have developed relationships with brands, we propose to provide an insight into the proportion of artists who engage in collaboration. We present a design reasoning of a collaborative process that sheds light on the contributions of each stakeholder.

Co-Creation and Developing the Creative Economy: The ‘Galo da Madrugada’ Case

Summary This case study explores the potential of connecting the creative economy with tourism through the analysis of the collaborative creative process, to rethink a carnival icon called ‘Galo de Madrugada’ (Morning Rooster) in Recife, Brazil. The icon already existed but the process by which it used to be created was not collaborative and caused few and temporary impacts. Via the description of the new creative process of the ‘Galo de Madrugada’, which brings together people from various cities in Pernambuco state, the case study illustrates how awareness for sustainable consumption is increased, which simultaneously acts as a tool to build capacity in local communities, create meaningful connections and boost social cohesion via co-working opportunities. Information © The Authors 2023

An Extended AI-Experience: Industry 5.0 in Creative Product Innovation.

Creativity plays a significant role in competitive product ideation. With the increasing emergence of Virtual Reality (VR) and Artificial Intelligence (AI) technologies, the link between such technologies and product ideation is explored in this research to assist and augment creative scenarios in the engineering field. A bibliographic analysis is performed to review relevant fields and their relationships. This is followed by a review of current challenges in group ideation and state-of-the-art technologies with the aim of addressing them in this study. This knowledge is applied to the transformation of current ideation scenarios into a virtual environment using AI. The aim is to augment designers' creative experiences, a core value of Industry 5.0 that focuses on human-centricity, social and ecological benefits. For the first time, this research reclaims brainstorming as a challenging and inspiring activity where participants are fully engaged through a combination of AI and VR technologies. This activity is enhanced through three key areas: facilitation, stimulation, and immersion. These areas are integrated through intelligent team moderation, enhanced communication techniques, and access to multi-sensory stimuli during the collaborative creative process, therefore providing a platform for future research into Industry 5.0 and smart product development.

Costa Resiliente: A Serious Game Co-Designed to Foster Resilience Thinking

Resilience thinking is critical for improving disaster preparedness, response, and adaptation. While there are several strategies focused on assessing resilience capacity in human communities, there are few strategies focused on fostering resilience thinking. Game-based learning is an active and immersive teaching strategy that can foster complex skills such as resilience. However, this field needs further research in terms of its potential to strengthen community resilience to disasters. In this paper, we validated a serious game to foster community resilience. We present the collaborative creation process for the development of the board game Costa Resiliente, and its subsequent migration into a video game. We have developed an experimental study to evaluate the contributions of the mobile game against the board game. The result is a technological tool based on scientific knowledge to foster resilience thinking in coastal human communities exposed to hazards. The board game was developed using data from local research on community resilience, and from experts in emergency planning and developing games collected in focus groups. The board game’s effect on fostering resilience thinking was validated with school students from a coastal town. During the migration process into a video game, we used a design thinking methodological approach for the co-creation of audiovisual elements, in which beneficiaries participate actively and early. Through this approach, visual and auditory elements that are familiar to coastal communities were integrated into the video game elements. Our study indicates that game-based learning is a useful approach to foster resilience thinking, and that a better gaming experience can be provided by a video game. The potential of this video game for educating young age groups about community resilience is further discussed.

The Theatre of Anthony Neilson by Trish Reid

Reviewed by: The Theatre of Anthony Neilson by Trish Reid Marc Shaw (bio) Trish Reid. The Theatre of Anthony Neilson. London: Bloomsbury Methuen Drama, 2017. Pp viii + 215. $60. Trish Reid's book The Theatre of Anthony Neilson is the first full-length study of the Scottish playwright's work, making it an important moment in Anthony Neilson scholarship. Up until now, Neilson scholars have published single chapters or journal articles that explore one to three of Neilson's plays in the context of contemporary writing (British, Scottish) or an academic angle (e.g., mental health, spectatorship). Reid's thorough book covers all sixteen of Neilson's works from 1991 to 2016, even unpublished manuscripts; and, Reid often shines a scholarly light on a particular moment that illuminates Neilson's characters in fresh ways, proving that his work is ready for this deeper critical study. Before The Theatre of Anthony Neilson, one of the most thorough examinations of his work came in Aleks Sierz's chapter contextualized as part of the 90s "In-Yer-Face" label. Reid's book is more academic than Sierz's work, and she presents Neilson as a theatre-maker who coaxes his new productions in inventive ways—as writer, director, collaborator. Sierz gives us excellent, detailed descriptions and analyses of early Neilson plays like Penetrator, The Censor, and Normal, but Reid goes deeper into theoretical ideas. With Penetrator, for example, Reid applies Judith Butler and other scholars to more deeply deconstruct the main characters' gender identities—an approach that opens up our understanding of Tadge especially. In the next chapter, Reid applies Peggy Phelan's psychoanalytic ideas to Normal, arguing that the empirical real and the imagined can hold equal weight in the characters' minds and in our reading—questioning what is "normal" by showing the effect the Dusseldorf Ripper (Kurten) has on his young lawyer (Wehner). As the play gets increasingly subjective in the second half, the blur between rational and irrational is important because "Neilson seems at once to disapprove and yet also approve of the notion that the subjective rebel, the individual who privileges inner and outer realities, should be true to his calling, whatever the cost, and perhaps even to suggest that this figure is more like us than not" (53). Reid also presents Neilson as more theatre-maker than playwright, explaining that, "as the new millennium dawned, critics viewing his work through the prism of in-yer-face began to look forward to a new Neilson piece in the expectation of something reliably controversial and sexually explicit. It was at this point that Neilson changed direction," focusing on "formal experimentation as … choice of subject matter" (5, 7). While David Lane had mentioned Neilson as a theatrical deviser who uses actors as part of his writing process, the exploration is not as detailed and informative as what we find in Reid's book. [End Page 435] Wisely, Reid never favors one particular theoretical approach over another. Past academic explorations in Neilson scholarship have analyzed his work through such lenses as camp, pornography, the sublime, spectatorship, and madness and psychiatry. Reid builds on that prior scholarship as she divides her book into different strands of analysis that she calls "Dramaturgies …" These show the variety of Neilson's foci in his writing, including his dramaturgies of (1) Love: Relationship Plays; (2) Horror: Staging Nightmares; (3) Imagination: Looking Inside; (4) Generosity: Seasonal Entertainment; and (5) Presence: Staging Liveness. Several times Reid mentions the difficulty in finding through-lines to someone's life work, but these divisions work well, especially in the career of someone like Neilson, who has written on such a wide range of subject matter. Within each individual chapter, Reid explores the plays that fit that given dramaturgy chronologically. Hence chapter 1, "Dramaturgies of Love: Relationship Plays," covers Penetrator (1993), The Censor (1997), and Stitching (2002). Reid focuses on Neilson's collaborative creative process too: she explains that "rather than arriving on the first day of rehearsals with a finished play, or even a draft, Neilson begins with little more than an idea and a group of actors and designers with whom he then develops the show during the rehearsal period" (2...

EFEMERA Imagem - Exibição AudioVisual FullDome

This article communicates impressions about the series of events EFEMERA Imagem - FullDome AudioVisual Exhibition, reflecting from its organization with LabInter (UFSM), to its in person at the UFSM Planetarium or in a Virtual Reality environment with online access. Launching perceptions of curatorship, expography and artistic experiences, with appreciation of immersive audiovisual works for fulldome cinema, produced by artists from different countries, displayed in video projection inside the vaulted architecture or on other surfaces. EFEMERA Imagem aims to experiment with new methods of immersive/interactive cultivation and enjoyment of visual music works. Investigating the expansion of communicational processes, it brings up synesthetic sensations. It aims to establish new relationships between the public (general and researchers), the media (works and technologies) and the environment (physical, architectural or virtual). The audiovisual works presented usually have shared authorship, arising from collaborative creative processes that explore different languages ​​and technologies. In this sense, EFEMERA Imagem encourages the development of new local projects for fulldome, aiming at its fruition, opening space for the circulation of other works, national and international. Thus, it promotes global networks of cooperation, strengthening partnerships between artists, institutions and research groups in Art and Technology.

Material Sources, Lack of Notation and the Presence of Collaborators: The case of Double by Constança Capdeville

This article discusses the compositional taxonomy of music theatre works by Constança Capdeville (1937–92) and offers a way to analyse her music and collaborative processes and also the performance of her work through a case study of the piece Double. Capdeville’s works include different elements such as music, settings (staging), movement, text, tape-recorded sound, visual image, props, costumes and lighting. Documentation for the compositions is scattered across different sources or simply lost, making it difficult to reconstruct the works as they have improvised hypothetical components and idiosyncratic or non-standard notations. Using a type of musicological archeology, I want to contribute to the understanding of gesture, language and communication in Capdeville’s works. I aim to preserve the works, particularly by highlighting the collaborative approach of the composer and proposing ways of establishing a documentation process for these aspects in order to systematise the works. I focus on the use of technology of magnetic tape as both a source of listening (the tapes provide a recording of the entire performance) and an instrument (tape recordings are given parts in the composition of the piece). Technology is also an important analytical tool because it helps to track collaborative creative processes. The iAnalyse software is used to help reconstruct and interpret music theatre works.

“Be Yourself”: Frank Ocean’s Blonde and Hip-Hop

Upon the release of Frank Ocean’s 2016 album, Blonde, its minimalist yet textured musical aesthetic saw critics compare the album to works by rock auteurs such as Brian Wilson and Brian Eno. However, Blonde, while not necessarily a hip-hop album, makes extensive reference to hip-hop in both its musical and lyrical content as well as its extra-musical implications. This essay argues that Blonde’s various connections to a “hip-hop tradition” are more important to understanding the album’s identity than any comparison to a rock-influenced musical aesthetic. This essay defines a “hip-hop tradition” as determined by factors other than the musical aesthetic of the released album, which include the album’s cultural standing, the intention behind the creation, composition or release of the work, the style of lyricism, and the artist’s history and identity: in Blonde’s case, all these factors remain largely indebted to hip-hop conventions. This type of consideration represents a more holistic method of assessing the core identity of a musical work as opposed to solely relying on sonic or commercial considerations. This paper next examines Blonde’s various connections to a “hip-hop tradition” through a study of Ocean’s own personal and musical history, Ocean’s rebellion against the neocolonial establishment of the music industry, his highly collaborative creative process, and the album’s hip-hop-influenced lyrical content.

Performing the Lived Experience of Dementia: Revealing Humanity through Evidence-Based Collaborative Creation

Raising the Curtain on the Lived Experience of Dementia (RTC) is a five-year collaboration between education, arts, and health care that uses community-based, arts-engaged, participatory research approaches, including theatre, to work with participants with the lived experience of dementia. This article is based on interviews with the three project leads as well as one project participant, and details RTC’s key elements of creative practice, its core values that influence collaborative creation processes, and the ways RTC differs from common models of working with people living with dementia. Examples of the project’s theatre and performance activities and practices are woven throughout.

Composing Together and Not Together - Intimacy as a Condition for Collaboration

Collaborative creative processes within the realm of Western Art Music are usually hidden and/or not actually collaborative at all. Vera John-Steiner (2000) defines ‘integrative collaboration’ as a working situation in which roles merge and a shared ideology and vision emerge through dialogue. This artistic research project investigates to what extent intimacy is a condition for collaboration and what it means within music-making. Intimacy is newly defined as the play of affective, physical and emotional borders between people where our own sense of ourselves can be shaped. By considering collaborative working as a compositional tool, intimacy becomes something that can be encouraged, indeed collaborative skills can be practiced. Through a variety of music-making projects in which I am project lead, composer and/or performer or composer-performer, I devise strategies for handing over power to my colleagues and harnessing their creativity such that they become co-creators rather than just interpreters. I investigate different approaches to intimacy within the domains of music and theatre. I also reflect on my own development as a collaborator and attempt to create a set of principles for successful collaborative working. A set of advantages to adopting a devised process have emerged and a new focus on the long-term potential of a group or partnership changes the context for collaboration. Understanding that a creative partnership is a tree and artistic products are the fruits of that tree has caused me to understand collaboration as multimodal, beyond the score, and made clear the options for the choices of values within collaboration.

Students\u2019 collaborative creative process and its phases in mathematics: an explorative study using dual eye tracking and stimulated recall interviews

In the age of artificial intelligence where standard problems are increasingly processed by computers, creative problem solving, the ability to think outside the box is in high demand. Collaboration is also increasingly significant, which makes creative collaboration an important twenty-first-century skill. In the research described in this paper, we investigated students’ collaborative creative process in mathematics and explored the collaborative creative process in its phases. Since little is known about the collaborative creative process, we conducted an explorative case study, where two students jointly worked on a multiple solution task. For in-depth insight into the dyad’s collaborative creative process, we used a novel research design in mathematics education, DUET SRI: both students wore eye-tracking glasses during their collaborative work for dual eye-tracking (DUET) and they each participated in a subsequent stimulated recall interview (SRI) where eye-tracking videos from their joint work served as stimulus. Using an inductive data analysis method, we then identified the phases of the students’ collaborative creative process. We found that the collaborative creative process and its phases had similarities to those previously found for solo creative work, yet the process was more complex and volatile and involved different branches. Based on our findings, we present a tentative model of the dyad’s collaborative process in its phases, which can help researchers and educators trace and foster the collaborative creative process more effectively.

‘Third nature’: Embodiment of borders and thinking beyond – surviving despite capitalism

In the wake of the COVID-19 pandemic and the subsequent era of social distancing, it has become imperative for many artists to maintain somatic embodied practices. This article will address the embodied nature of collaborative creative process at a distance. Using Walter Mignolo’s ‘pluriversal worlds’ as a starting point, the article will explore how artists can maintain collaborative migrant knowledge production across geographical and imaginary spaces. We will analyse the digital dialogue commission ‘Third Nature’ and how it applied the Authentic Movement somatic dyadic technique in a digital format. The article will also reflect on how the ‘third nature’ co-sharing and co-witnessing process allowed the artists to dwell in the imaginary and natural border territory and to still feel upheld by one another.

Spiralling into Perfection: Staging the Choreography of Portability

AbstractWhat is important is to understand and circumvent the many parameters that determine the success of a touring show. These can include modularity, ergonomics, language of assemblers and expedient durability amongst many other issues. Adam Davis is Chief Creative Officer of TAIT – the architectural engineering and software company that has worked with everyone from Elton John to Beyoncé and U2. He explains TAIT's ‘design spiral’ approach and the benefits of collaborative creative processes.

Inovasi Proses Kreatif Rosette Guitar Quartet Di Era New Normal

Rosette guitar quartet is a guitar quartet group consisting of four guitar players and on originally the Rosette guitar quartet was performing classical guitar songs arranged in four guitars. Method in this research using an qualitative approach. Qualitative research tries to answer question rather than testing the hypothesis. This research uses creative process theory and innovations theory which consist of 4 types, namely (1) Discovery (2) Extension (3) Duplication (4) Synthesis. The Result of innovation made by Rosette guitar quartet are (1) Invention made by Rosette Guitar is creating a new process in the guitar quartet group perfoming songs in postmodern era and uploaded on social media, such as “Youtube”, (2) Development of the Rosette guitar expresses his works in social media, where to adjust the new habits to music enthusiast that can appreciate perfoming of Rosette by virtual. (3) Rosette Guitar duplicate the most successful musicians used to express and maximize each his work in “Youtube” which gets a lot of appreciation (viewers) according to the new normal era. (4) The Rosette guitar perfoms synthesis with create new works every month and uploaded on “Youtube”. Collaborative creative process of this synthesis considered by Rosette guitar quartet as great opportunity to music works, expression as well as new innovations in industry creative in the new normal era.Keywords: Innovation, Creative Process, New Normal.

Collaborative Creative Processes That Challenge Us as "Anomaly", and Affirm Our Indigeneity and Enact Our Sovereignty

Collaborative Creative Processes That Challenge Us as "Anomaly", and Affirm Our Indigeneity and Enact Our Sovereignty

Editorial

Over the past two decades, collaboration has emerged as a keyword and an important methodological and ethical concern in various disciplines, which has nurtured interdisciplinary approaches that often encompass innovative processes of knowledge production. In sonic practice, trends such as participatory art, the workshop turn, and ideas of Do-It-With-Others contributed to the emergence of creative processes that manifest within the sphere of inter-human relations through participation and collaboration. Such processes can operate beyond the institutional space, or classic studio and gallery settings, by engaging directly with the social realm; blurring the lines between art, performance and our lived social, political, economic, technological and environmental realities. How are interdisciplinary practices, methodologies and vocabularies shaping the way sound and music works are created and experienced? How does this search for knowledge change sonic practice? The second issue of Airea Journal explores these questions by presenting practice-based and theoretical contributions of collaborative interdisciplinary creative processes in sound. This special focus on sound is addressed from multiple perspectives in relation to compositional, audiovisual, social, political, environmental, participatory and performative standpoints. This is a move that pays attention to and interrogates the aesthetics, methodologies and politics of interdisciplinary sonic practices. The sound arts often involve more than one disciplines and in order to study and comprehend them, an interdisciplinary approach is demanded. Many sound artworks are more than just (about) sound or sounds. Consequently, no single discipline is able to fully encompass how sound as affective and vibrant matter can be both reflexive and constitutive of social, cultural, political, religious, ethical, and perhaps even biological or cognitive developments. Sound can be investigated from almost any angle, and the articles in the present issue include numerous disciplines and subjects.

Rediscovering Cumulative Creativity from the Oral Formulaic Tradition to Digital Remix: Can I Get a Witness?

For most of human history, the essential nature of creativity was understood to be cumulative and collective. This notion has been largely forgotten by modern policies that regulate creativity and speech. As hard as it may be to believe, the most valuable components of our immortal culture were created under a fully open regime with regard to access to pre-existing expressions and reuse. From the Platonic mimesis to Shakespeare’s “borrowed feathers,” the largest part of our culture has been produced under a paradigm in which imitation — even plagiarism — and social authorship formed constitutive elements of the creative moment. Pre-modern creativity spread from a continuous line of re-use and juxtaposition of pre-existing expressive content, transitioning from orality to textuality and then melding the two traditions. The cumulative and collaborative character of the oral formulaic tradition dominated the development of epic literature. The literary pillars of Western culture, the Iliad and the Odyssey, were fully forged in the furnace of that tradition. Later, under the aegis of Macrobius’ art of rewriting and the Latin principles of imitatio, medieval epics grew out of similar dynamics of sharing and recombination of formulas and traditional patterns. Continuations, free re-use, and the re-modeling of iconic figures and characters, such as King Arthur and Roland, made chansons de geste and romance literature powerful vehicles in propelling cross-country circulation of culture.The parallelism between past and present highlights the incapacity of the present copyright system to recreate the cumulative and collaborative creative process that proved so fruitful in the past. In particular, the constant development and recursive use of iconic characters, which served as an engine for creativity in epic literature, is but a fading memory. This is because our policies for creativity are engineered in a fashion that stymies the re-use of information and knowledge, rather than facilitating it. Under the current regime, intellectual works are supposedly created as perfect, self-sustaining artifacts from the moment of their creation. Any modifications, derivations, and cumulative additions must secure preventive approval and must be paid off, as if they were nuisances to society.Rereading the history of aesthetics is particularly inspiring at the dawn of the networked age. The dynamics of sharing of pre-modern creativity parallel the features of digital networked creativity. As in the oral-formulaic tradition, digital creativity reconnects its exponential generative capacity to the ubiquity of participatory contributions. Additionally, the formula — the single unit to be used and reused, worked and re-worked — is the building block of the remix culture as well as the oral formulaic tradition. Today, in an era of networked mass collaboration, ubiquitous online fan communities, user-based creativity, digital memes, and remix culture, the enclosure of knowledge brought about by an ever-expanding copyright paradigm is felt with renewed intensity. Therefore, I suggest that the communal, cumulative, social and collaborative nature of creativity and authorship should be rediscovered and should drive our policies. In order to plead my case, I have asked for the support of the most unexpected witnesses.

Semionauts of Tradition: Music, Culture, and Identity in Contemporary Singapore by Juliette Yu-Ming Lizeray and Chee-Hoo Lum

Reviewed by: Semionauts of Tradition: Music, Culture, and Identity in Contemporary Singapore by Juliette Yu-Ming Lizeray and Chee-Hoo Lum JinXing (Gene) Lai (bio) Semionauts of Tradition: Music, Culture, and Identity in Contemporary Singapore. Juliette Yu-Ming Lizeray and Chee-Hoo Lum. Singapore: Springer, 2018. 248 pp., color illustrations, bibliographies, glossary. ISBN: 978-981-13-1010-2 (hardcover), $109.99; ISBN: 978-981-13-1011-9 (e-book), $84.99. Semionauts of Tradition: Music, Culture and Identity in Contemporary Singapore, by anthropologist Juliette Yu-Ming Lizeray and music education scholar Chee-Hoo Lum, is a timely book that provides an update on the Singaporean music scene. It contributes to "a deeper understanding of the diverse, fluid, interconnected, and constantly evolving assemblages that make up Singaporean musicians' contemporary identities and creative practice" (8). In this ethnographically rich book, the authors seek to mitigate a balance in power relations between researchers and interlocutors, and accordingly they draw heavily on the voices of their interlocutors in their discussions. In chapter 1, Lizeray and Lum define the theoretical groundings for the book. Borrowing from Nicolas Bourriaud, an art critic and curator, they [End Page 154] interpret their case studies using the notions of semionaut and radicant. According to Lizeray and Lum, "A semionaut … is a person who navigates signs. This entails constructing pathways through a field of signs, and creating new and uncharted connections between hitherto unrelated ones. A semionaut of tradition is one that does so with traditional signs or signs relating to tropes and understandings of tradition" (2). Additionally, Lizeray and Lum use radicant to interpret their interlocutors' efforts to negotiate their musical and ethnical identity in different contexts. Radicant and semionaut act as heuristic tools that help us to interpret the constantly changing identity of a globalized, multicultural city such as Singapore (6). In chapter 2, Lizeray examines the "Singapore sound" ideology, derived from the official racial categories of Chinese, Malay, Indian, and Others, or the CMIO model, which celebrates differences among Singaporeans. Musicians who are engaged in the "Singapore sound" ideology are given incentives and receive more performance opportunities from government agencies. Lizeray notes that most of her interlocuters disdain the Singapore sound ideology. They seek to create music that is genuinely artistic rather than music that adheres to bureaucratic ideology. In chapter 3, Lum examines the benefits of collaborative creative processes. He notes that collaborative creative processes among musicians from different musical traditions encourage the broadening, deepening, and diversifying of their musical vocabularies. Chapter 4 features NADI Singapura, Singapore's first Malay percussion group that performs on an eclectic collection of percussion instruments from the Malay archipelago. In this chapter, Lizeray discusses how members of NADI Singapura preserve Malay traditional music while actively innovating from it. She observes that the elements that have led to their success include the notion of community as family, charismatic leadership, Malayness as a group ethos, and the ensemble's open-mindedness to innovations. In chapter 5, Lum examines his interlocutors' perspectives on fusion. Among the perspectives, a few points emerged. First, musicians create fusion music to attract younger audiences and to change audiences' perceptions of their musical tradition. Second, through collaborations, musicians exchange musical ideas and learn new musical languages. Finally, fusion is necessary, but there must be some form of gatekeeping. This ensures that the musical tradition is still recognizable despite the integration of new musical elements. Lizeray examines three local Chinese music ensembles in chapter 6—Nen (念), MUSA, and SA (仨)—as well as three Singaporean Chinese musicians based in New York City and Melbourne, Australia. Lizeray highlights that contemporary musicians' creative endeavors and personal affinities transcended racial boundaries and assumptions of cultural purity. Lizeray arrives [End Page 155] at her argument by comparing how Singaporean Chinese musicians based in Singapore and overseas express their Chinese identity in idiosyncratic ways through their musical works and performance practices. In chapter 7, Lum discusses how musicians used nostalgia as "hooks" in their music and performance practices to engage Singaporean audiences. These hooks (145) include the use of familiar rhythmic patterns and folk tunes, the creation of music videos that feature Singapore's landscapes, and the participation in collaborative music projects that revitalize the...

Agent-based modeling of collaborative creative processes with INGENIAS

Agent-based modeling of collaborative creative processes with INGENIAS