Creativity and the Agile Mind (eBook)

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Tony Veale, University College Dublin, Ireland; Kurt Feyaerts,Katolieke Universiteit Leuven, Belgium; Charles Forceville, Universiteit van Amsterdam,The Netherlands.

Part I: Introduction 13
1 Creativity and the Agile Mind 15
Introducing The Agile Mind 15
Understanding The Agile Mind: A Journey 16
Conceptual Agility in an Abstract Space 18
Collecting The Agile Mind: A Bird’s Eye View 30
Parting Thoughts 35
References 35
2 E Unis Pluribum: Using Mental Agility to Achieve Creative Duality in Word, Image and Sound 37
Agile Interpretation and Creative Duality 37
Agile Imagery 38
Agile Sounds 43
Agile Words 45
CRIME: An Agile Framework for Producers and Consumers 47
Conclusions 55
References 56
Part II: Computers and Creativity 59
3 Computers and Creativity 61
Introduction 61
What do we mean by ‘creativity’: Some examples 61
Cognitive mechanisms of creativity 66
Computational modeling of creativity 68
Computer-based creativity-support systems 73
Conclusions and future research 76
References 78
4 Gravital: natural language processing for computer graphics 81
Introduction 81
Computer graphics and user interfaces 82
Graphics Language Processor 84
Perception 88
Node-based interface 95
Acknowledgements 97
References 97
5 Talking Points in Linguistic Creativity 99
Introduction 99
Related Work and Ideas 102
Acquiring Conceptual Talking Points 104
Building a Slipnet of Talking Points 109
Empirical Evaluation 111
Conclusions 113
References 114
Part III: Verbal Communication 117
6 Creatively Exploiting Linguistic Norms 119
Introduction 119
What is an exploitation? 120
The Creative Continuum 124
Are all rhetorical tropes exploitations? 130
Summary and Conclusions 136
References 137
7 Online semantic creativity in parliamentary debates 139
Introduction 139
Theoretical background 141
Case-study: creativity and perspectivation in interactional discourse 147
Conclusions and outlook 155
References 156
8 Yo, who be the main gangsta in our phat gang? - Linguistic creativity and the construction of hyperpersonal identity 159
Introduction 159
Three perspectives on relating online 161
An example of hyperpersonal communication - Creative gangstas on the net 164
Blending Theory and the creation of hyperpersonal identity 168
The creation of hyperpersonal identity as a joint process of action layering 172
The role of the medium 176
Conclusions 177
References 178
9 Resonating humour - A corpus-based approach to creative parallelism in dialogue 181
Introduction 181
Theoretical background 183
The dataset: semi-automatic retrieval from the Corinth corpus 187
Resonating humour in the Corinth corpus 192
Conclusion 199
References 200
10 A Cognitive Grammar of Creativity 205
Introduction 205
Cognitive Linguistics 206
Analysing Creativity 215
Conclusions 223
References 225
Part IV: Visual Communication 229
11 Creativity in the forms and functions of spontaneous gestures with speech 231
Introduction 231
Formal characteristics of creative gestures 234
Creativity in the functions of coverbal gestures 241
Discussion and Conclusions 248
Acknowledgements 250
References 250
12 Creative visual duality in comics balloons 253
Introduction 253
Blending Theory, Emergent Structure, and Creativity 254
Blending, Emergent Structure, and Creativity in Comics Balloons 258
Blending and Creativity in Balloons: Concluding Remarks 267
Acknowledgments 270
References 271
13 Creativity in Comics. Exploring the Frontiers of the Medium by Respecting Explicit Self-Imposed Constraints 275
Introduction 275
Creative constraints 277
The creative duality of Oubapo 280
Conclusions 286
References 289
14 On verbal irony, images and creativity: A corpus-analytic approach 293
Introduction 293
Method 302
Results 305
Conclusion and discussion 307
References 310
Part V: Musical Performance 313
15 Multimodal blending and musical creativity. Dualities in the quixotry of Richard Strauss, Jan Sandstrom and Christian Lindberg 315
Context and relevance 315
Theoretical tenets: integrating multimodality in blending 316
Don Quixote as a transformative genre in the literature and music 320
Lindberg’s quixotry: reinventing the trombone concerto 323
Dual conclusions on creativity, multimodality and blending 329
References 331
16 The Agile Musical Mind: mapping the musician’s act of creation 335
Introduction 335
The musician’s act within the family of creative acts. 336
The multiple parameters behind musical creativity 338
Family resemblances: the expectation of the unexpected and the blend of the tacit dimensions 343
Conclusion 351
References 352
17 Timbre Networks: An approach to Composition and Performance in Computer Music 355
Introduction 355
Timbre Composition 357
Going Live 362
The computer as music performer 370
Conclusion: A journey, and a point of departure 371
References 373
Index 375