By National Research Council, Division on Engineering and Physical Sciences, Computer Science and Telecommunications Board, Committee on Information Technology and Creativity, Marjory S. Blumenthal, Alan S. Inouye, William J. Mitchell
Computer technology has drawn from and contributed to many disciplines and practices because it emerged as a box in the midst of the twentieth century. these interactions, in flip, have contributed to the evolution of data expertise â€" new kinds of computing and communications, and new purposes â€" that proceed to increase from the artistic interactions among laptop technological know-how and different fields.
Beyond Productivity argues that, in the beginning of the twenty first century, info expertise (IT) is forming a robust alliance with artistic practices within the arts and layout to set up the intriguing new, area of knowledge expertise and artistic practicesâ€"ITCP. There are significant merits to be won from encouraging, assisting, and strategically making an investment during this domain.
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Extra info for Beyond Productivity Information, Technology, Innovation, an
5 More generally, the start of a creative act is the escape from one range of assumptions—a context—often with the aid of another context seemingly at odds with the first but that provides a new way of viewing what we already thought we understood. 6 Creativity can be linked to tools, which have been a constant factor in the arts as well as in science and engineering. Because ITCP is defined with reference to a set of tools—IT—it calls for an understanding of creativity as human complements to digital capabilities: the opportunity, knowledge, and skill to make disciplined judgments about how and when to use or not use those capabilities.
The actions of all three systems are necessary for creativity to occur. SOURCE: Derived from Mihaly Csikszentmihalyi, 1987, “A Systems Approach to Creativity,” p. 326 in The Nature of Creativity. Contemporary Psychological Perspectives, R. K. vidual creativity, . . ) Framed in terms of this social model of creativity as a dynamic system connecting people, institutions, and knowledge domains, the creative core common to IT and the arts becomes easier to identify. Creativity results from the interaction of these three systems.
And a third component consists of design-related activities, such as architecture, interior and landscape design, product design, graphics and communication design, and fashion. There are some problems with the very idea of “creative” industries. Creativity clearly is not confined to them, and much of what they engage in could hardly be called creative in any sense. Sometimes, as when they devote their efforts to churning out routine “content,” they even seem actively counter-creative. Still, the creative industries do ultimately depend on talented, original artists, designers, and performers to create the value that they add to and deliver, while many artists, designers, and performers depend on the infrastructure of the creative industries and are rewarded by their engagement with the creative industries.
Beyond Productivity Information, Technology, Innovation, an by National Research Council, Division on Engineering and Physical Sciences, Computer Science and Telecommunications Board, Committee on Information Technology and Creativity, Marjory S. Blumenthal, Alan S. Inouye, William J. Mitchell