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Figure *- The legs are eliminated but their function is still present

Figure *- The legs are eliminated but their function is still present. Table 2: Idea Ratings for the Four Sources Creativity Ratings Mean S.D. Winning Ads 3.26 .49 Magazine Ads 2.88 .55 Routine-Generated Ads 2.89 .48 Laymen-Generated Ads 2.22 .43 Originality Ratings Mean S.D.

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Figure *- The legs are eliminated but their function is still present

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  1. Figure *- The legs are eliminated but their function is still present

  2. Table 2: Idea Ratings for the Four Sources Creativity Ratings Mean S.D. Winning Ads 3.26 .49 Magazine Ads 2.88 .55 Routine-Generated Ads 2.89 .48 Laymen-Generated Ads 2.22 .43 Originality Ratings Mean S.D. Winning Ads 3.33 .55 Magazine Ads 2.85 .58 Routine-Generated Ads 2.89 .54 Laymen-Generated Ads 2.22 .46

  3. Table 3: Idea Ratings Based on Template Utilization Creativity Ratings Mean S.D. Non-Template Ads 2.63 .62 Routine-Generated Ads 2.89 .48 Other Template-Based Ads 3.34 .35 Originality Ratings Mean S.D. Non-Template Ads 2.66 .70 Routine-Generated Ads 2.89 .54 Other Template-Based Ads 3.28 .43

  4. Examples of Replacement computer produced ideas ·Image of Apple Computer Terminal/ handing of Flowers (for advertising Apple computers friendliness) ·Texture of Tennis Ball / Temple Mountain Mosque (for advertising World Cup Tennis Tournament in Jerusalem). ·Shape of Plane/ Coo-coo in Coo-coo Clock (for advertising the time accuracy of a flight company). ·Picture of Jeeps/ Speaking in Sign Language (for silent car engine) shape of car/ bullet (for fast car).

  5. Distribution of Templates by Ad Quality Group Highly Contest Non evaluated winning winning ads ads ads Template Group 1 (Study 1) Group 2 (Study 2) Group 3 (Study 2) Pictorial Analogy (I) 68 40 2 Replacement 44 26 1 Extreme analogy 24 14 1 Extreme Situation (II) 24 17 1 Absurd alternatives 7 3 0 Extreme attribute 10 11 0 Extreme worth 7 3 1

  6. Consequences (III) 37 24 0 Extreme consequences 17 19 0 Inverted extreme consequences 20 5 0 Competition (IV) 19 24 2 Attribute in competition 5 19 1 Worth in competition 10 3 1 Uncommon use 4 2 0 Interactive Experiment (V) 11 3 0 Activation 8 3 0 Imaginary experiment 3 0 0

  7. Dimensionality alteration (VI) 19 15 0 New parameter connection 4 4 0 Multiplication 6 5 0 Division 5 5 0 Time leap 4 1 0 No creativity template 22 99 195 Total 200 200 200

  8. Creativity Brand attitude Humor Emotion Annoyance No training 2.80 2.62(1)** 2.40 1.83 1.57 Free association 2.08 2.28 1.45 1.62 1.63 Template training 4.02(2)** 4.13(2)** 3.57(2)** 1.79 1.60 TRAINING TYPE Mean Judgments: Experiment 3 Extreme Situation Template (Anti-Dandruff Shampoo)

  9. Creativity Brand attitude Humor Emotion Annoyance No training 2.57(1)** 2.38(1)** 1.90 1.90 2.07(1)** Free association 2.77 2.77 1.93 1.97 1.43 Template training 3.82(2)** 3.97(2)** 1.85 1.30(2)** 1.60 TRAINING TYPE Interactive Experiment Template (Diet)

  10. Creativity Brand attitude Humor Emotion Annoyance No training 2.24(1)** 2.49(1)** 1.32(1)* 1.46 1.68(1)** Free association 2.81 2.86 1.69 1.68 1.27 Template training 3.60(2)** 3.50(2)** 2.18(2)** 1.77 1.13 TRAINING TYPE Pictorial Analogy Template (Sneakers)

  11. - Microscopic Drivers and Macroscopic Jams MICRO - cars INTER - go ahead/give way at intersections. MACRO - traffic flow, jamming. Microscopic Einsteins and Macroscopic Proofs? MICRO - links, letters, geometrical elements. INTER - simplexes, words, postulates, Alexander moves. MACRO - global topology, statements, theorems.

  12. Dramas - mathematical categories endowed with dynamics. MICRO - categories INTER - relations, composition laws MACRO - (stories) dramas Microscopic Concepts and Macroscopic Ideas. MICRO - elementary concepts INTER - archetypical structures and thought procedures MACRO - creative ideas and archetypes

  13. - Microscopic Seers and Macroscopic Sight. MICRO - line elements, points in 2 Dimensions.. INTER - time and space data integration. MACRO - 3 Dimensional global motion. - Microscopic Picassos and Macroscopic Drawings. MICRO - line curvature, speed, discrete mental events. INTER - continuity, kinematics, breaks, (mind) changes. MACRO - shapes , representational meaning.

  14. - Microscopic Wealth and Macroscopic Power Laws. MICRO - investors, shares INTER - sell/buy orders MACRO - market price (cycles, crushes, booms, stabilization by noise)

  15. We are discerning 3 main complexity cases: • In very simple cases the pattern of complexity is reducible (may be by an iterative multiscale procedure) and the MCA's capturing this reducible complexity are an efficient computational and conceptual tool. • In the general case one has to put an exponential computational effort to fully "understand" the structure of the system. • In some cases the system contains certain macros which are "irreducibly complex". Yet the interactions between these macros are tractable by MCA or other algorithms. In these cases, MCA can help reduce the "less complex" part of the dynamics leaving the "irreducible core" for a separate treatment. • Recognizing the "irreducibly complex" parts of a complex system (rather than trying vainly to solve them by multiscale means) might be a very important aspect both conceptually and computationally.

  16. STRUCTURE OF MICREP-MULTISCALE PARADIGM 205 Irreducible Complexity and Multiscale Reductionism 206 Reducible vs. Irreducible Complexity 211 Semiotics Sidenotes 214 Is Discretization and Multiscale Intrinsic to Understanding ? 214 Discretization as THE Creative Act 219 Other Template Dynamics Projects 222 Cabala Dynamics vs. Cognitive Development 223 Idea Explicitation and Expression 227 Emotions Dynamics 227 Cabala TemplatesResearch Directions 229

  17. Reactions and Responses to the article Creative Sparks appeared in Science of Sept 3 1999 245 No reappraisal of creativity is necessary 245 Creative vs. Correct Ideas; Facts and Paradoxes 248 Understanding our own nature 250 Creativity - a subjective view 251 The Force of Natural Selection 253 Meme's the Word 254 Templates are central to creativity 256 Human creativity as individual and non-reproducible process

  18. I. The Pictorial Analogy Template: The Replacement Version II. The Extreme Situation Template: The Absurd Alternative version Example Examples and detailed formulation of the scheme underlying the replacement version of the pictorial analogy template (composed of a symbols set, a product space and a linking operator) are presented in the Introduction in elaborating the notion of creativity templates (see Figures 1-3). The commercial for locks showing an old lady scaring away burglars by barking at them (Suissa Miller Advertising Company, U.S.A., 1993, Cannes contest award) conveys the message that a safe and peaceful evening can be achieved either by buying a certain lock or by barking. Description Note description in the introduction. • The idea of this version is to present a tongue in cheek suggestion to the viewer: "You don't have to buy our product. There are alternative options for achieving the same results, such as..." The alternativeoption is presented in a seemingly serious manner but, contrary to the declared position of the advertiser, the viewer will draw the conclusion that such an alternative is absurd and ridiculous. • The following elements typically appear in this version: • An unexpected shift in the consumer’s frame of mind into an imaginary status or into a different product category (but unlikely, to a competitive brand). • The absurdity and extreme unrealism of the alternative option are obvious and recognizable by the consumer: Any attempt to make the alternative more realistic would only weaken the claim of the ad.

  19. The specific scheme of the lock commercial mentioned in the text consists of two sets: A set of alternative options and a set of situations. An alternative option is an object or an action (a dog, in this case) which can be used to achieve the product’s attribute (safety). The alternative option does not have to be realistic although it is assumed that the target audience will be familiar with it. A situation is a common use scenario of the product in time and place (in our case a peaceful evening in the home of an old lady). The linking operator links one element from the situation space (the lady) with one element in the alternative space (barking).

  20. Specific Scheme Note scheme in the introduction.

  21. General Scheme Specific Scheme

  22. General Scheme Specific Scheme

  23. When performing the diagonal analysis on “The Story of the Lost Princess.” 18 diagonal links were found. Two examples are presented in Table 2. Our assumption was that diagonal links indicate key-events in the story and in order to check if the events associated with these 18 diagonal links were to be considered important events, we went through 21 authors who commentated “The Story of the Lost Princess.” We looked at the 29 events they referred to and ranked them according to the number of writers referring to them. When comparing the events pointed by the diagonal links, we found that they matched quite fully the top part of the list: The .rst event that was not pointed by a diagonal link was number 14 in the ranked list and only one of these events matched a low-ranked event (number 22). The detailed analysis of this study will be published elsewhere. For the purpose of this paper it is enough that appearance of a diagonal link indicates a crucially signi.cant point in the story.

  24. This story is clearly a parallel to Rabbi Nachman’s “The story of The Lost Princess” although they are not identical. S. Pitrushka claims that neither of the two stories is the source of the other but they both share a common source in the Polish story “A Diverting Story about the Virtuous Princess Banialuce from an Eastern Land” by Hieronim Morsztyn (died in 1655). Although Rabbi Nachman did not know the Polish language, Pitrushka quotes the Polish historian A. Brinker who proved that “Princess Banialuce” was translated to the Ukrainian language. Finding a parallel story was indeed intriguing in light of the fact that Rabbi Nachman did refer to the relations between his stories and other folk tales. Rabbi Nachman’s tales were edited by his main disciple Rabbi Nathan Sternhartz of Nemirow.

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