Creativity 4 Ps Process Place Person Product BigCLittlec Category 4 Ps Level of magnitude Developmental Person Place Product Minic to Proc Psychometric Product Littlec ID: 1018347
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1. Creativity EmbodiedBy Sanders McMillan
2. Creativity?4 P’s: Process, Place, Person, Product Big-C/Little-cCategory4 P’sLevel of magnitudeDevelopmentalPerson, Place, ProductMini-c to Pro-cPsychometricProductLittle-c to Big C CognitivePerson and ProcessLittle-c to Big-CSystemsAll P’sLittle-c to Big-C(Kozbelt, Beghetto, and Runco 2010)
3. Cognitive Models of Creativity: Geneplore (Finke, Ward, & Smith 1992)Generative ProcessesPreinventive StructuresExploratory ProcessesRetrievalVisual PatternsAttribute FindingAssociationObject FormsConceptual InterpretationSynthesisMental BlendsFunctional InferenceTransformationCategory ExemplarsContextual ShiftingAnalogical TransferMental ModelsHypothesis testingCategorical ReductionVerbal CombinationsSearching for limitations
4. Musical Creativity: Generative ProcessesGenerative Theory of Tonal Music (Lerdahl & Jackendoff 1983)Compositional grammarHierarchical mental representations and structures Decision-making? Free-will, mind/body problemhttp://davesmey.com/papers/primitive/album.jpg
5. The Studio As Compositional Tool (Eno 1983)“The move to tape was very important, because as soon as something’s on tape, it becomes a substance which is malleable and mutable and cuttable and reversible… the effect of tape was that it really put music in a spatial dimension, making it possible to squeeze the music, or expand it.”“It… gave rise to.. in-studio composition, where you no longer come to the studio with a conception of the finished piece. Instead, you come with actually rather a bare skeleton of the piece, or perhaps with nothing at all… you can begin to compose in relation to those facilities. You can begin to think in terms of putting something on, putting something else on, trying this on top of it, and so on, then taking some of the original things off… and seeing what you’re left with — actually constructing a piece in the studio.”
6. Embodied Musical CreativityBound up with tools/technology and our bodiesDescriptive account of how we produce music with tools/technologyClaim 1: Creative process externalized onto toolsClaim 2: Off-line creative cognition rooted in previous bodily engagements with tools
7. Philosophical BackgroundMerleau-Ponty, Phenomenology of Perception (1945)Body schemaReady-to-Hand (Heidegger 1927)Embodied CognitionCognition is situated in a real-world, real-time environment, Cognition is time pressured in this environment, Cognitive work is off-loaded onto this environment, The environment is part of the cognitive system, Cognition is for action, and Off-line cognition is body-based. (Wilson, 2002)
8. How do we interact with musical tools?Mediation technology (Lehman 2008)Models of action:Information-Processing view (Pressing 1988)Input -> processing and decision-making -> motor outputHaptic and auditory feedbackSensorimotor loopMotor memory & automaticity (Laabs and Simmons 1981; Shriffin & Schneider)Body Schema, Ready-to-Hand
9. Theory of Affordances (Gibson 1979)Direct vs. indirect perceptionNeuropsychological findings (Grèzes & Decety, 2002; Grèzes, Tucker, Armony, Ellis, & Passingham, 2003). AffordancesOpportunities for actionAbilities of organism and properties of environmentPerceived directly
10. Affordances: Shaping How We CreateConstrain perceived action possibilitiesRevising Geneplore Dutār vs Rubāb (Baily 1985)http://www.oart.eu/joomla/images/physiology.jpghttp://www.afghanland.com/entertainment/music/instruments/tanboor.gif
11. Affordances: Externalizing Creative ProcessEpistemic actions (Kirsh & Maglio 1994)Off-loading creative cognitive processes“The world is it’s own best model” (Rodney Brooks)Cognitive extensions (Magnusson 2009)Theory of extended mind (Clark and Chalmers 1998)Revising Geneplore
12. Sampler (AKAI MPC2000) Drum Machine (Roland TR-808)http://www.samplekings.com/images/akai-mpc2000_top_lg.jpghttps://resources.tidal.com/images/d9975026/b2d1/4689/be59/896919318f91/1080x720.jpg
13. Embodiment Relations and the Body SchemaEmbodiment Relations (Ihde 1990)Mediating actionSubsumption in body schemaBodily extensions (Maravita & Iriki, 2004)Ways of the Hand (Sudnow 1978)Musical structures understood spatio-kineticallyThought and action intertwinedCoupled system (Dotov, Nie, and Chemero 2010)
14. Differences in Musical TechnologiesAcousticElectronicDigitalPhysical materials/acousticsElectronic materialsSymbolicDirect mapping between gesture and soundMediated mapping (through interface)Arbitrary, mediated mapping (input devices/interface)Bodily extension (Embodiment Relations)Cognitive extension (Hermeneutic Relations)Cognitive/Bodily extension (?)Embodied knowledgeEncapsulated/represented by toolEncapsulated/represented by tool(Magnusson 2009; Leman 2007)
15. Embodiment: Off-line Creative ThinkingEmbodied music cognitionEmbodied understanding of music (Iyer, 2002; Mead, 1999; J. Seitz, 2005)Mimetic Hypothesis (Cox 2011)Multimodal auditory imageryInvolving kinesthetic imageryIntegrated auditory-motor network (Haslinger et al., 2005; Hickok et al., 2003; Lotze, 2013)Revising Geneplore
16. ImplicationsEmbodied interactions with technology: important modality of creationThe tool you use mattersDesigning music technologies
17. http://mtg.upf.edu/system/files/projectsweb/reactable_02_0.jpghttps://macprovid.vo.llnwd.net/o43/hub/media/1116/7768/cdj-2000nexus_angle_low.jpeghttp://media.guitarcenter.com/is/image/MMGS7/MPK-Mini-Mk2/J08540000000000-00-500x500.jpghttps://spliceblob.splice.com/images/daws/ableton-live.png
18. https://static.dezeen.com/uploads/2015/02/MiMu-gesture-control-glove-by-Imogen-Heap_dezeen_01_644.jpghttp://www.medienkunstnetz.de/assets/img/data/2056/bild.jpg
19. ReferencesClark, A., & Chalmers, D. (1998). The Extended Mind. InterAction, 8(1), 48-64.Cox, A. (2011). Embodying Music: Principles of the Mimetic Hypothesis. Music Theory Online, 17, np.Grèzes, J., & Decety, J. (2002). Does visual perception of object afford action? Evidence from a neuroimaging study. Neuropsychologia, 40(2), 212-222.Grèzes, J., Tucker, M., Armony, J., Ellis, R., & Passingham, R. E. (2003). Objects automatically potentiate action: an fMRI study of implicit processing. European Journal of Neuroscience, 17(12), 2735-2740.Dotov, D. G., Nie, L., & Chemero, A. (2010). A Demonstration of the Transition from Ready-to-Hand to Unready-to-Hand.(Research Article). PLoS ONE, 5(3), e9433.Eno, B. (1983). The Studio as Compositional Tool. Retrieved from http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htmFinke, R. A., Ward, T. B., & Smith, S. M. (1992). Creative cognition: theory, research, and applications. Cambridge, Mass.: Cambridge, Mass. : MIT Press.Iyer, V. (2002). Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music. Music Perception: An Interdisciplinary Journal, 19(3), 387-414.Kirsh, D., & Maglio, P. (1994). On distinguishing epistemic from pragmatic action. Cognitive Science, 18(4), 513-549.Kozbelt, A., Beghetto, R. A., & Runco, M. A. (2010). Theories of creativity. In J. C. Kaufman & R. J. Sternberg (Eds.), The Cambridge handbook of creativity (pp. 20 - 47). New York: New York : Cambridge University Press.Lotze, M. (2013). Kinesthetic imagery of musical performance. Frontiers in human neuroscience, 7, 280.Lerdahl, F., & Jackendoff, R. (1983). A generative grammar of tonal music. Cambridge, MA: MIT PressMagnusson, T. (2009). Of epistemic tools: Musical instruments as cognitive extensions. Org. Sound, 14(2), 168-176.Maravita, A., & Iriki, A. (2004). Tools for the body (schema). Trends in Cognitive Sciences, 8(2), 79-86.Mead, A. (1999). Bodily hearing: physiological metaphors and musical understanding. Journal of Music Theory, 43(1), 1.Merleau-Ponty, M. (1962). Phenomenology of perception. New York: New York : Humanities Press.Seitz, J. A. (2000). The bodily basis of thought. New Ideas in Psychology, 18(1), 23-40.Sudnow, D. (1978). Ways of the Hand: The Organization of Improvised Conduct (Vol. 83). New York, NY: Bantam Books.Wilson, M. (2002). Six views of embodied cognition. Psychonomic bulletin & review, 9(4), 625.