Creative Confluence

Name: Creative Confluence | Democratic Planning in the 21st Century and Beyond
Brand: John Benjamins Publishing Company
Price: 130.99 EUR
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Democratic Planning in the 21st Century and Beyond

Johan F. Hoorn(Autor*in)

John Benjamins Publishing Company

1. Auflage

Erschienen am 22. Mai 2014

XV, 320 Seiten

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Inhalt

Creative Confluence
Editorial page
Title page
LCC data
Dedication page
Table of contents
Introduction
1. Puzzled
2. Urgency of creativity
3. Creativity in theory
3.1 Creativity in the humanities
4. Creativity in application
5. Heading for common ground
6. The Confluence Theory of Creativity
7. About this book
Acknowledgements
chapter 1
Confluence
1. Cooling down
2. Thermodynamics
3. Assembling
4. Blind variation, selective retention
5. Brain architecture
6. Selective attention: Survival or opportunities
7. Two types of problem solving
8. Cultural history
9. Epistemics and perceptual flaws
10. The need for transformation
11. The creative process
12. Conditions of creativity
13. Probabilism, determinism, and the rule of rules
14. Creative output: Sigmoid accumulation of innovations
15. Creative Sigmoid at three scales
16. Fractal recursion of the sigmoid
Acknowledgement
chapter 2
Two world views
1. A world view follows from what we believe
2. Survival versus opportunity thinking
2.1 Old brain, young brain
3. Ontological classification, epistemic appraisal
4. Determinism, probabilism
5. Two world views leading to three theories
5.1 The ordered universe: A vision of continuity and determinism
5.1.1 Analytic decomposition
5.1.2 Hierarchical
5.1.3 No free will, no heroes, no revolutions
5.1.4 Creative drivers
5.1.5 Slow evolution
5.1.6 Invention is social
5.1.7 Copying from others
5.1.8 Harmony and perfection
5.2 A subversive universe: Discontinuity and the outlier
5.2.1 Against dehumanization
5.2.2 Deviation and disharmony
5.2.3 Genius: the freedom of formidable spirits
5.2.4 Iconic heroes
5.2.5 Hop, step, jump
5.3 Chaos: Coincidence and non-random variance
5.3.1 Pure coincidence
5.3.2 Mechanized coincidence
5.3.3 Serendipity: The human hunch
5.3.4 Mean and variance: Playing with partial determinism
5.3.5 Fractal recursion
6. Classic, Romantic, Chaotic
7. Reconciliation: Serendipity in a partly deterministic system
8. Creativity on three scales
8.1 The breakdown of determinism or why Rutherford was wrong
8.2 The law of 'anything can happen' or why Rutherford is sometimes right
chapter 3
Problem solving
1. The two ways
2. Problems are not problematic
3. Commonalities
4. Convergent and divergent thinking
4.1 Conventional computing systems are "convergent"
4.2 Humans can do both
5. Rational problem solving
5.1 Breaking down the problem
5.2 Forward and backward reasoning
5.3 Difference reduction
5.4 Means-end analysis
5.5 Problem complexity
6. Intelligence and creativity
7. Switching perspectives: narrow vs. wide
8. The balance between convergence and divergence
8.1 Intelligence: first convergence, then divergence
8.2 Creativity: first divergence, then convergence
9. Analogy: An associative reasoning strategy
9.1 Solving an analogy
9.2 Limitations of analogy use
10. Experts and novices
10.1 Experts converge
10.2 Novices diverge
10.2.1 Alternate uses
10.3 Being knowledgeable
11. Problem representations: single or multiple?
12. Decision making: deterministic - probabilistic
13. Decision models
14. Individual and group decisions
15. Decision-support systems
16. Decision support and its place in an organization
17. The distribution of innovation power through organizations
17.1 Middle management: Pockets of resistance or agents of change?
chapter 4
The creative process
1. Cross-fertilization
2. The symbiogenesis of ideas
3. Five steps
4. ACASIA
5. ACASIA in five steps
5.1 Preparation: Familiar but unusual
5.2 Incubation: Association and types of features
5.2.1 Feature sets, semantic networks, associative models, and statistics
5.2.2 Feature types
5.3 Flash of insight: Novel combinations
5.3.1 Feature matching or correlations
5.3.2 Fuzziness
5.3.3 Similarity, dissimilarity, complementarity, and perceptual biases
5.3.4 The flash of insight and the clash in hindsight
5.3.5 Novel, unique, and original
5.3.6 Metaphor
5.3.7 'As if' but not figurative
5.4 Evaluation 1
5.5 Elaboration
5.5.1 Closing physical distance
5.5.2 Abstraction
5.5.3 Integration
5.5.4 Adaptation
5.5.5 Priming and framing reduce connection possibilities
5.6 Evaluation 2
6. Organic creativity
7. Outline of a creativity process model
7.1 ACASIA process
8. Requirements on a creative simulator
8.1 Database with crisp and fuzzy ontology
8.2 Adaptable association generator
8.3 Random feature generation and connection
8.4 Familiarity measure
8.5 Associative distance estimator
8.6 Feature matchmaker
8.7 Unipolar estimators of similarity and dissimilarity
8.8 Metaphor and analogy production units
8.9 Signal detection and decision making
8.10 Information abstraction
8.11 Detection of void addresses
8.12 Search and destroy
8.13 Adaptation devices
8.14 Integration tool
8.15 A measure of physical distance
8.16 A frequency counter of combinations relative to sample size
9. Creativity calculus
10. Creativity simulation
10.1 Under construction
10.2 The Creator Simulator
10.3 How the Circle of the CobraSpoon came into being
10.4 Gible the land shark
Acknowledgements
chapter 5
The Creative Sigmoid
1. The forces that drive the sigmoid
2. Creative development
3. Creative combinatorics
4. The shape innovation takes
5. The sigmoid growth curve of cumulative change
5.1 The bandwidth of behaviors
5.2 Surfing up the sigmoids
5.2.1 Jump size depends on narrow-mindedness
5.3 Many means merging
6. Autocatalysis of creativity
7. ACASIA propels the Creative Sigmoid
8. Snakes at the pyramid
9. Requirements on a rule for creative development
9.1 Complexity
9.2 Random information flow and differentiation maximization
9.3 Sigmoid growth
9.4 Bandwidth tweaking
9.5 Scale-independent invariance between nearly self-similar sigmoids
9.6 Scale-dependent variability within sigmoids
9.7 Multiplicity
9.8 Serendipity
9.9 Combinatory resolution
9.10 Autocatalytic propulsion
9.11 Evolution and disruption
9.12 Innovation diffusion (downward, upward)
10. A rudimentary model of ACASIA
10.1 Inventing the motorhome
11. Simulation of the Creative Sigmoid
11.1 Simulation 1: Disruption on plateau
11.2 Simulation 2: Postponed acceleration
11.3 Simulation 3: Evolution within the boundaries
11.4 Simulation 4: Dead culture
11.5 Simulation 5: Lacking good fortune
11.6 Simulation 6: Increasing the chances for luck to strike
11.7 Simulation 7: Daring creativity
11.8 Simulation 8: Must be original
11.9 Simulation 9: Expanding the information universe
11.10 Simulation conclusions: As luck would have it
12. Simulations including selection and adaptation
12.1 Comparability of sigmoids
12.2 Including adaptation
12.3 Including selection
12.4 Including selection and adaptation
12.5 Organic creativity outperforms physical creativity
13. Fractal recursion
13.1 Theory alluding to fractality
13.2 Abstracted into sigmoids
13.3 Eyeball inspection of simulation output
Acknowledgement
chapter 6
Conditions of creativity
1. Contexts of creativity
2. Moderators of creativity
2.1 Culture
2.2 Politics
2.3 Economy
2.3.1 Coordinated and liberal markets
2.3.2 Protectionism
2.3.3 A new economy
2.4 Organizations
2.5 Social sphere
2.5.1 Judges and juries
2.6 Families
2.7 Personality
2.8 Brain
3. Negative world view, positive world view
3.1 Moderation or balance?
3.2 Old brain survival
young brain opportunities
4. Openness and universal access
4.1 Increasing serendipity: Influx of diverse information
4.2 Determinism and rules, probabilism and creativity
5. I-shaped people, hyphens, and T-shaped people
6. Leadership styles
6.1 Management is valuable
leadership priceless
6.2 Tidy management
6.3 Creative leadership
6.4 Creative leadership at the sigmoid
7. Changing conditions of creativity
7.1 At infancy
7.2 Early acceleration
7.3 Halfway acceleration
7.4 Just before stagnation
7.5 At maturity
7.6 Decline
8. A hard reset
Acknowledgements
chapter 7
Creation
The virtuality of epistemics
1. Epistemics of the virtual
2. Creation, fiction, and truth
3. Creator as first perceiver
4. Second perceivers and co-creators
5. Epistemics of the Virtual and ACASIA
5.1 Fictional characters and the mystification of genius
6. Epistemics of the Virtual, ACASIA, and the Creative Sigmoid
6.1 Creative confluence: Creating the "as if"
7. The Virtuality of Epistemics
Make - Take
References
List of referenced figures

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