- Sep 2024
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dl.acm.org dl.acm.org
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Coughlan
Tim Coughlan, University at Bath; work is focused on the design and evaluation of systems that support inclusion, creativity, and openness in learning.
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Gabora
cognitive scientist Lee Gabora's work looks at how culture changes over time, how people come up with new ideas, and how this helps culture change.
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“an associative mode of perceiving metaphoric connections between correlating items in memory, and an analytic mode that is conducive to understanding cause and effect relationships”
there are two ways of thinking: the first assists in seeing creative links between ideas and the second assists in understanding how one idea leads to another (i.e cause and effect).
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Becoming sensitized to these epistemological differences enables us to discern which aspects of creative work is emphasized more than others and see how hierarchies of knowledge get constructed.
in exploring how our foundations of knowledge are built, we can dissect how we assign value or rank to knowledge - or generally accepted assumptions.
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tools for ideation are frequently distinct from tools for implementation, often lacking the capability to seamlessly transfer data between them
this is often seen in common design tools; is it a product of capitalism? Is the market afraid of standardization? In the transfer of one product to another?
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This perpetuates seeing the “support staff” as merely a resource (rather than central to the creative process), whose work can be replaced.
designs solely generated by models are not informed by the complex human interaction in the design process, by designers.
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This emphasis on “acting through the interface” [19] sees technology as acting as an extension of the artist or designer using the tool.
tech is integral to creative process - well designed tech is about ease of use and integration.
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The third wave or the third paradigm [70] shares many of the same assumptions as the second wave – i.e. the centrality of the physical world in our construction of meaning – with a stronger focus on the various abilities of the human body.
focus on physical abilities / senses shape novelty in interaction.
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The shift in perspective toward the social in psychology covered in the previous embodied action view of creativity resembles an analogous trend in HCI’s “second wave theories”.
focus on group work and social contexts of digital environments.
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The tool-mediated expert activity view of creative work focuses on supporting (expert) creative practices through tools. Activity theory
There are many philosophical theories that explore computers as a tool that are extensions of humans. In some circles, humans have become cyborgs in that sense - they cannot be separated from the tools they use every single day.
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Since the 1980s, creativity research in psychology has moved away from “univariate, positivist research paradigms” to “more complex, constructivistic, systems-oriented research models” [56].
creativity research has evolved from simple, individual-focused approach to an increasingly complex, systems-oriented approach that centers social interactions and artifacts. This has attracted sociologists.
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In other words, moment-to-moment creative actions draw from a large pool of embodied resources, relying on tacit analysis of the fit between the resource and the situation at any given moment.
In the moment, creativity relies on constant adjustments based on intuition - an intuition that is formed based on prior experience.
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In addition to the primacy of interacting with the physical world through our bodies, the embodied view of creative work also highlights the role of the body in partnership with the dynamic situation, i.e. the moment-to-moment actions people take in response to different contingencies.
Creativity benefits from interacting with the environmental and adapting to environmental changes.
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Creative work as reflective practice focuses on the “importance of physical and artifact-centered action in the world to aid thought”
Artifact interaction enriches design processes by grounding it in real world experience.
But what of the bias toward familiar materials? Asking a blacksmith to prototype a house and you might find yourself living in a tin can.
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That view of creativity neglects the role the body and the physical world play during the creative process as well as the social context in which creativity takes place.
As mentioned earlier, creativity doesn't happen in a vacuum - there is a plethora of societal and culture context which any designer exists in.
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They do not subscribe to the thinking that “geniuses use cognitive processes that are radically different from those employed by most individuals and that may not be accessible to the methods of cognitive science”
Creativity comes from common mental processes that everyone uses - all creativity (aka problem-solving) relies on the same basic principles. Creativity is, then, accessible to anyone, because it just depends on how you mix and match those principles.
Intertwined within each person are emotional, cultural, and experiential factors that inform and, at times, limit their creativity.
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“Most opinion among design methodologists and among designers holds that the act of designing itself is not and will not ever be a scientific activity; that is, that designing is itself a nonscientific or a-scientific activity”.
design isn't scientific but concedes that scientific methods can formalize design.
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Proponents of this movement stood on the spectrum with regards to how close they placed design next to science. On the looser end, design is viewed simply as “systematic design”, or, “the procedures of designing organized in a systematic way”
asks is creativity connected to science or science?
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In other words, creative work is about “devis[ing] courses of action aimed at changing existing situations into preferred ones”
In creativity, problem solvers choose the best tool for the job using their own foundational knowledge they've acquired over their education or career. Building upon this, what tool an individual selects to solve a problem may be based on prior values and assumptions.
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a precise definition will adequately circumscribe creative work, marking out the part(s) of creative process or levels of expertise technology should support
current research looks to define creativity in hopes of understanding what parts of creation (iteration, design, execution) tech should help enhance, as well as which level of skill (beginner, intermediate, etc) tech should be catered towards.
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Identifying this vagueness, Remy et al. [112] point out that creativity can simultaneously refer to the “creativity of the outcome”, “the usability of the tool itself”, or “the productivity of the process [as mediated through] CST”.
creativity can mean different things at the same time.
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Simply put, creativity is a noun performing the work of an adjective.
to further simplify, creativity is used as a noun (a thing) but functions as an adjective (a descriptive word).
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When evaluating computer-mediated creative work, should we ask if technology is enhancing the creative person(s) –perhaps pointing toward an adoption of CST definitions such as “[computational techniques that] mak[e] people more creative more often” [124]– or should we examine how technology is facilitating the creative activity –thus suggesting the need to develop evaluation metrics for CST that are comparable to usability principles
in evaluating computer-mediated creative work, does one focus on whether tech enhances the creator or that it facilitates the creative action?
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- Jun 2023
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www.semanticscholar.org www.semanticscholar.org
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This analysis will result in the form of a new knowledge-based multilingual terminological resource which is designed in order to meet the FAIR principles for Open Science and will serve, in the future, as a prototype for the development of a new software for the simplified rewriting of international legal texts relating to human rights.
software to rewrite international legal texts relating to human rights, a well written prompt and a few examples, including the FAIR principles will let openAI's chatGPT do it effectively.
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The common aim of lawmakers is to achieve effective legislative texts, namely tests that with the synergy of the other actors in the legislative pro‐ cess can produce the desired regulatory results. However, the process for achieving this common goal is not identical. Broadly speaking, civil and common law countries differ in their approaches.
Plain Language Movement: Common law and civil law differ in their approaches.
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- Oct 2020
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facebook.github.io facebook.github.io
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Why not just use that instead of inventing a syntax that's not part of ECMAScript?
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- Sep 2020
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github.com github.com
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One of the arguments that's frequently deployed in favour of JSX-based frameworks over template-based ones is that JSX allows you to use existing language constructs:
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- Jun 2020
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stackoverflow.com stackoverflow.com
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What would be nice is if JavaScript had a built-in way to do what I can do in Ruby with:
> I18n.interpolate('Hi, %{name}', name: 'Fred') => "Hi, Fred"
But to be fair, I18n comes from i18n library, so JS could just as easily (and I'm sure does) have a library that does the same thing.
Update: Actually, you can do this in plain Ruby (so why do we even need
I18n.interpolate
?):main > "Hi, %{name}" % {name: 'Fred'} => "Hi, Fred"
main > ? String#% From: string.c (C Method): Owner: String Visibility: public Signature: %(arg1) Number of lines: 9 Format---Uses str as a format specification, and returns the result of applying it to arg. If the format specification contains more than one substitution, then arg must be an Array or Hash containing the values to be substituted. See Kernel::sprintf for details of the format string. "%05d" % 123 #=> "00123" "%-5s: %016x" % [ "ID", self.object_id ] #=> "ID : 00002b054ec93168" "foo = %{foo}" % { :foo => 'bar' } #=> "foo = bar"
I guess that built-in version is fine for simple cases. You only need to use
I18n.translate
if you need its more advanced features likeI18n.config.missing_interpolation_argument_handler
.
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clean and understandable markup template without the help of 3rd party
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medium.com medium.com
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I really do not like writing templates in a file, such as #each , #if. I do not like to prefer using new approaches for which i can do it with purely in JavaScript.
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- Mar 2019
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www.plainlanguage.gov www.plainlanguage.gov
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what is plain language This government site describes the rationale for plain language and more importantly provides some tools for using it. Plain language can be useful when writing text for e-learning products, among other things; this is a useful site to review. There is a list of resources as well. rating 4/5
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- Jan 2019
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blog.growkudos.com blog.growkudos.com
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We found that a plain language summary gives readers an instant overview of an article, making it easier to understand and also easier to find.
Here is an example Plain Language Summary created for one of David Sommer's own articles.
Maximize publication impact by all stakeholders coordinating their efforts
What is it about?
In this paper I explore the idea that in order to maximize a publication's impact, everybody needs to play their part - authors, co-authors, publishers, institutions, societies and funders. The author is the common factor that links all of these organizations and groups, so their thinking must shift towards creating a culture of discoverability, encouraging the organizations they work with to help generate impact. The author becomes the conductor, leading the orchestra of players. Why is it important?
The case for authors taking responsibility for maximizing the impact of their research has never been stronger. With over $1 trillion invested in research every year it is surprising to find some studies showing that 50% of articles are never read, and a much higher percentage are never cited. With researchers under increasing pressure from institutions and funders to demonstrate that their research will have impact and be applied, it is critical that researchers do all they can to make sure the right people find, understand and use their work.
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- Jul 2016
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medium.com medium.com
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Translation apps continue to leave much to be desired.
Cue Roman Jakobson. In a way, by giving the illusion of mutual understanding, these apps exacerbate the problem. Also, because they do the worst job with rich language work (nuance, subtlety, wordplay, polysemy, subtext…) they encourage a very “sterile” language which might have pleased Orwell like it pleases transhumanists, but which waters down what makes language worth speaking.
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