Creativity and the Agile Mind

1 - Part I: Introduction [Seite 13]
1.1 - 1 Creativity and the Agile Mind [Seite 15]
1.1.1 - Introducing The Agile Mind [Seite 15]
1.1.2 - Understanding The Agile Mind: A Journey [Seite 16]
1.1.3 - Conceptual Agility in an Abstract Space [Seite 18]
1.1.4 - Collecting The Agile Mind: A Bird's Eye View [Seite 30]
1.1.5 - Parting Thoughts [Seite 35]
1.1.6 - References [Seite 35]
1.2 - 2 E Unis Pluribum: Using Mental Agility to Achieve Creative Duality in Word, Image and Sound [Seite 37]
1.2.1 - Agile Interpretation and Creative Duality [Seite 37]
1.2.2 - Agile Imagery [Seite 38]
1.2.3 - Agile Sounds [Seite 43]
1.2.4 - Agile Words [Seite 45]
1.2.5 - CRIME: An Agile Framework for Producers and Consumers [Seite 47]
1.2.6 - Conclusions [Seite 55]
1.2.7 - References [Seite 56]
2 - Part II: Computers and Creativity [Seite 59]
2.1 - 3 Computers and Creativity [Seite 61]
2.1.1 - Introduction [Seite 61]
2.1.2 - What do we mean by 'creativity': Some examples [Seite 61]
2.1.3 - Cognitive mechanisms of creativity [Seite 66]
2.1.4 - Computational modeling of creativity [Seite 68]
2.1.5 - Computer-based creativity-support systems [Seite 73]
2.1.6 - Conclusions and future research [Seite 76]
2.1.7 - References [Seite 78]
2.2 - 4 Gravital: natural language processing for computer graphics [Seite 81]
2.2.1 - Introduction [Seite 81]
2.2.2 - Computer graphics and user interfaces [Seite 82]
2.2.3 - Graphics Language Processor [Seite 84]
2.2.4 - Perception [Seite 88]
2.2.5 - Node-based interface [Seite 95]
2.2.6 - Acknowledgements [Seite 97]
2.2.7 - References [Seite 97]
2.3 - 5 Talking Points in Linguistic Creativity [Seite 99]
2.3.1 - Introduction [Seite 99]
2.3.2 - Related Work and Ideas [Seite 102]
2.3.3 - Acquiring Conceptual Talking Points [Seite 104]
2.3.4 - Building a Slipnet of Talking Points [Seite 109]
2.3.5 - Empirical Evaluation [Seite 111]
2.3.6 - Conclusions [Seite 113]
2.3.7 - References [Seite 114]
3 - Part III: Verbal Communication [Seite 117]
3.1 - 6 Creatively Exploiting Linguistic Norms [Seite 119]
3.1.1 - Introduction [Seite 119]
3.1.2 - What is an exploitation? [Seite 120]
3.1.3 - The Creative Continuum [Seite 124]
3.1.4 - Are all rhetorical tropes exploitations? [Seite 130]
3.1.5 - Summary and Conclusions [Seite 136]
3.1.6 - References [Seite 137]
3.2 - 7 Online semantic creativity in parliamentary debates [Seite 139]
3.2.1 - Introduction [Seite 139]
3.2.2 - Theoretical background [Seite 141]
3.2.3 - Case-study: creativity and perspectivation in interactional discourse [Seite 147]
3.2.4 - Conclusions and outlook [Seite 155]
3.2.5 - References [Seite 156]
3.3 - 8 Yo, who be the main gangsta in our phat gang? - Linguistic creativity and the construction of hyperpersonal identity [Seite 159]
3.3.1 - Introduction [Seite 159]
3.3.2 - Three perspectives on relating online [Seite 161]
3.3.3 - An example of hyperpersonal communication - Creative gangstas on the net [Seite 164]
3.3.4 - Blending Theory and the creation of hyperpersonal identity [Seite 168]
3.3.5 - The creation of hyperpersonal identity as a joint process of action layering [Seite 172]
3.3.6 - The role of the medium [Seite 176]
3.3.7 - Conclusions [Seite 177]
3.3.8 - References [Seite 178]
3.4 - 9 Resonating humour - A corpus-based approach to creative parallelism in dialogue [Seite 181]
3.4.1 - Introduction [Seite 181]
3.4.2 - Theoretical background [Seite 183]
3.4.3 - The dataset: semi-automatic retrieval from the Corinth corpus [Seite 187]
3.4.4 - Resonating humour in the Corinth corpus [Seite 192]
3.4.5 - Conclusion [Seite 199]
3.4.6 - References [Seite 200]
3.5 - 10 A Cognitive Grammar of Creativity [Seite 205]
3.5.1 - Introduction [Seite 205]
3.5.2 - Cognitive Linguistics [Seite 206]
3.5.3 - Analysing Creativity [Seite 215]
3.5.4 - Conclusions [Seite 223]
3.5.5 - References [Seite 225]
4 - Part IV: Visual Communication [Seite 229]
4.1 - 11 Creativity in the forms and functions of spontaneous gestures with speech [Seite 231]
4.1.1 - Introduction [Seite 231]
4.1.2 - Formal characteristics of creative gestures [Seite 234]
4.1.3 - Creativity in the functions of coverbal gestures [Seite 241]
4.1.4 - Discussion and Conclusions [Seite 248]
4.1.5 - Acknowledgements [Seite 250]
4.1.6 - References [Seite 250]
4.2 - 12 Creative visual duality in comics balloons [Seite 253]
4.2.1 - Introduction [Seite 253]
4.2.2 - Blending Theory, Emergent Structure, and Creativity [Seite 254]
4.2.3 - Blending, Emergent Structure, and Creativity in Comics Balloons [Seite 258]
4.2.4 - Blending and Creativity in Balloons: Concluding Remarks [Seite 267]
4.2.5 - Acknowledgments [Seite 270]
4.2.6 - References [Seite 271]
4.3 - 13 Creativity in Comics. Exploring the Frontiers of the Medium by Respecting Explicit Self-Imposed Constraints [Seite 275]
4.3.1 - Introduction [Seite 275]
4.3.2 - Creative constraints [Seite 277]
4.3.3 - The creative duality of Oubapo [Seite 280]
4.3.4 - Conclusions [Seite 286]
4.3.5 - References [Seite 289]
4.4 - 14 On verbal irony, images and creativity: A corpus-analytic approach [Seite 293]
4.4.1 - Introduction [Seite 293]
4.4.2 - Method [Seite 302]
4.4.3 - Results [Seite 305]
4.4.4 - Conclusion and discussion [Seite 307]
4.4.5 - References [Seite 310]
5 - Part V: Musical Performance [Seite 313]
5.1 - 15 Multimodal blending and musical creativity. Dualities in the quixotry of Richard Strauss, Jan Sandstrom and Christian Lindberg [Seite 315]
5.1.1 - Context and relevance [Seite 315]
5.1.2 - Theoretical tenets: integrating multimodality in blending [Seite 316]
5.1.3 - Don Quixote as a transformative genre in the literature and music [Seite 320]
5.1.4 - Lindberg's quixotry: reinventing the trombone concerto [Seite 323]
5.1.5 - Dual conclusions on creativity, multimodality and blending [Seite 329]
5.1.6 - References [Seite 331]
5.2 - 16 The Agile Musical Mind: mapping the musician's act of creation [Seite 335]
5.2.1 - Introduction [Seite 335]
5.2.2 - The musician's act within the family of creative acts. [Seite 336]
5.2.3 - The multiple parameters behind musical creativity [Seite 338]
5.2.4 - Family resemblances: the expectation of the unexpected and the blend of the tacit dimensions [Seite 343]
5.2.5 - Conclusion [Seite 351]
5.2.6 - References [Seite 352]
5.3 - 17 Timbre Networks: An approach to Composition and Performance in Computer Music [Seite 355]
5.3.1 - Introduction [Seite 355]
5.3.2 - Timbre Composition [Seite 357]
5.3.3 - Going Live [Seite 362]
5.3.4 - The computer as music performer [Seite 370]
5.3.5 - Conclusion: A journey, and a point of departure [Seite 371]
5.3.6 - References [Seite 373]
6 - Index [Seite 375]