Jtel creativity carl_smith_ltri

London Metropolitan University Learning Technology Research Institute
Interdisciplinary Techniques and
Methodologies for Employing
Creativity Across Research Practises
Carl Smith
Director
Learning Technology Research Institute (LTRI)
London Metropolitan University
Ambjörn Naeve
Director
Knowledge Management Research Group
Royal Institute of Technology,
Stockholm, Sweden

Overview
This lecture and workshop will focus on how we
can combine creative design processes with
available analogue and digital technologies to
explore the 'possibility space‟ of our research
practises and projects.

Creativity Techniques and Methodologies
1) Hybrid Reality / Mixed Reality
2) Post Digital Design/ New Aesthetic
3) Performing Analogue and Digital Context Engineering.
4) Macroscopic Visualisation.
5) Body hacking / Reality hacking.
6) Perceptual Augmentation Devices.

Objective 1 of FP7 Challenge 8: ICT for
Creativity and Learning + Horizon 2020 -
Research priorities:
 Gaining a better understanding of the potential of technology in human
creative processes and fostering the synergy between them.
 The development of creative experience tools that make use of all our
senses and allow for richer, more collaborative experiences.
 Progress towards a formal understanding of creativity with a view to
advancing the measurable capability of computers. Improved efficiency of
creative processes.
 Roadmaps for future research and innovation in the creative industries.
 Improved competitive position of the European cultural and creative
industries- closer dialogue between research and industry.

CRe-AM Creativity Research Adaptive Roadmap.
 FP7 ICT-2013.8.1 Technologies and scientific foundations in
the field of creativity. This project aims to bridge communities
of creators with communities of technology providers and
innovators, in a collective, strategic intelligence/road mapping
effort.
 Ranked #1 in call

1) Hybrid Reality / Mixed Reality

Our embodied ability to generate meaning
The 1990s were about the virtual. We were
fascinated by the new virtual spaces made
possible by computer technologies. Images of
an escape into a virtual space that leaves
physical space useless (Manovich, 2005)
In cyberspace, without our embodied ability to
grasp meaning, relevance slips through our
non-existent fingers (Dreyfus, 2001).

Mixed Reality

The world as an interface - Implications for
creativity – Every object becomes a file.

Computer Vision : PTAM

Clay Vision

Ancient Technology with Modern Pedagogy

Ancient Technology: Body Mnemonics
„the body space is a very
individual culturally defined
construct, and thus can
provide a highly personalised
and meaningful interface.”
(Ängeslevä, J. 2003)

The power of association – developing
transferable skills using spatial construction
and manipulation

360 films
 Escaping the fixed, fragmented point of view
 Using technology to capture the context (bi directional)
 Link up with real time search
 Giga pixel images – magnification of the context.
Zoom down to the atomic level to see what conditions
at that level are doing to form the context.
 http://edition.cnn.com/interactive/2010/01/world/haiti.360/index.2.html

Creativity Technique
 Explore the design and interaction (between the units of
construction) of your research landscapes or projects by re-
imagining (or re-imaging) them architecturally.
 Use a very familiar room to tag or google sketch up to create
a basic model. Explore the resulting relationships between
the physical, digital and conceptual aspects of the reformed
landscape.

2) Post Digital Design / New Aesthetic
 Hybrid reality tools are shaping our experience of a new blended
digital subjective/analogue objective space.
 Well designed MAR should enable the creation of situations and
concepts that could not have been realised before by uniting the
strengths, features and possibilities of both the physical and the
virtual space.
 With hybrid reality the emphasis is firmly on bi directional spatial
construction which creates a requirement for an increase in
spatial literacy.
 The New Aesthetic is a term used to refer to the eruption of the
digital within physical space; the increasing appearance of the
visual language of digital technology in the physical world.

Post digital design - Deformscape
Architect Thom Faulders:
explores interfaces
between space,
perception, and context.
He situates the practice
of architecture within a
broader context of
performative research
and material
investigations that
negotiate dynamic
relationships between
users and environments.

Post digital design - mvrdv cloud
http://www.designboom.com/architecture/mvrdv-the-cloud/

Post Digital Design Space

A revolution in spatial literacy: Access to
new spaces: Implications for what can be
known

Fractured View = No common ground /
(Cultural Heritage) = Reduction in Creativity
/ Knowledge Construction.

Labelling is not real knowledge? Feynman

The label allowed the object to be seen

Instead of having to learn it you can just see it

Importance of peripheral vision.
 Exercise your peripheral vision - eyes can learn.
Scientists have found that there is a neurotransmitter
in the peripheral nervous system, that is crucial to
focus and memory.
 Exercise: Stare straight ahead for several seconds
and don‟t move your eyes. Mentally note everything
you can see without moving your eyes. When you
believe you‟ve taken note of everything, write down
everything you saw. Then, try the exercise again and
see if you can add to your list.
 This is a problem with augmented reality which tends
to focus on only what is directly in front of you.

Context Engine: Inception App

Dimensions App
 Dimensions isn‟t played on the touchscreen of your
device, it is played in your real life.
 The app makes use of every possible sensor on the
iPhone. In Dimensions, you really are inside the game
 Most games require your full attention when you play
them this is played in the periphery.

Going beyond the limits of print by using
the body as the interaction device.

Looking at data in ways not previously possible.

The units of construction

The Evolution of form through Networked data
„To be able to follow the tradition of each
architectural element, be it a portal, a niche or a
vault; to witness its interplay with corresponding
forms as spatial motifs in paintings and treatises;
and in some cases see how this interplay leads to
an evolution in the complexity of a form. This will
lead eventually to an understanding of the
humanities subjects that is profoundly different
from that which has traditionally been possible.‟
(Veltman,2002)

Images and Models as Interfaces

Methodology
 Use MIXED REALITY techniques to give access to the UNITS
OF CONSTRUCTION OF
KNOWLEDGE
 Use MULTIPLE POINTS OF
VIEW to examine those
units of construction
for EVOLUTIONS OF FORM.
 Use those evolutions of form to create NETWORKS of the
CONSTRUCTION METHODOLOGIES

Heruka Mandala – Entering the data
 To create a live 3D walk-
through of a Buddhist
Mandala. The main
intention is to provide a
visualization aid for
meditators.

3) Performing Analogue and Digital Context Engineering

Digital Context Engineering

Same Height Parties :
artist Hans Hemmert
explores the notion of
how first impressions are
made, as any height
related impressions are
subverted. Usually when
talking to people it‟s
suggested you approach
them at their level. Eye
contact is constantly
recommended as a way
to bond with people.
Context Engineering - Conversation Spacification

Context Engineering
Innespace
Productions
have created a
series of unique
dolphin-inspired
submersible
boats that can
jump, dive and
roll like real
dolphins.

Context Engineering
Ernesto Neto
His immersive architectural
habitats, create a zone
where body and mind,
sense and intellect are in
constant flux.
The sculpture is the wearer
in this relationship.
Ernesto Neto Humanoids

Context Engineering: Presence and Function
Ryuji Nakamura -
Pond: the tensile
arrangement of the
flexible strings
allows inhabitants
to augment their
presence
requirements.
Augmenting
changes in function
and environment.
Creative Learning
spaces.

4) Macroscopic Visualisation
• The macroscope effectively
provides the overview and the
local point of view of the
research object simultaneously.
• Within one field of view, to be
both in the world and to see
yourself in it. The power of
looking through, and occupying,
your own field of vision.
• We can see through satellites
now.

Creativity technique - Macroscopic
Visualisation
 Well-designed research landscapes and their individual
spaces should provide the ability to interactively re-program
associations for alternative juxtapositions and points of view.
 One method of achieving this in terms of a navigational
methodology is to develop macroscopic interfaces.
 This is designed to enable users of those research
landscapes to look across data sets and turn every object of
study into a file in order to discover patterns and rapidly
reframe their understanding.

5) Body Hacking - The development of creative experience
tools that make use of all our senses and allow for richer,
more collaborative experiences.

Body Hacking as Quantified self
 Body hacking for self transformation: weight,
exercise habits, sleep patterns – they can all be
quantified and as a result decisions about your day
can be based on your personal -analytics.
 Just like an engineer will analyse data and tweak
specifications in order to optimise a software
program, people are -collecting and correlating data
on the “inputs and outputs” of their bodies to
optimise physical and mental performance.

Persuasive Mirror
A HCI device that provides enhanced visual
feedback using the appropriate psychological
strategies to support lifestyle behaviour
change.

Neuroscience: Hacking brain activity

6) Perceptual Augmentation Devices
Exploring perceptual
expansion through
sensory substitution
and augmentation. The
function of these
devices is to activate
new pathways for
sensory perception and
to expand the body's
senses.

Plug-in architecture - Walter Pichler
Absolute Architecture: For Pichler and
Hollein, architecture was not what it
enables, nor what in encloses, but what
it is.

Lorenz Potthast's Decelerator helmet
"Decelerator," the avant
garde piece of headgear
does just that: it has a
camera that feeds video to
the head-mounted display
inside, with the wearer (or
someone else) able to
control the speed of the
video playback with a
remote.

FlyVIZ headset - 360-degree super(vision)
 Augmenting a sense to give the
person wearing it something
that the rest of us don't have;
the power to see all around
them at once. What does this
mean? You can dodge balls
thrown at you from behind.
 Works by reformatting the 360-
degree image to remove
distortion and compress it to fit
into a human's field of view.
 15 min for brain to adjust.
 The FlyVIZ can only give you
360-degree vision: you must
choose how to use it.

Julius-Von-Bismarck - Topshot-Helmet –
Inducing OBE

Conclusion:
 Researching the navigational shift that results when the world
itself becomes the interface. Mixing analogue and digital
material in post digital „context engines‟.
 Fluidity of thinking relates to fluidity of movement (Maher)
 Design problem: Replacing imagination with
graphics/visualisation?
 How space for experiential communication has been
constructed in the past will not necessarily dictate future
potential.
 How to build daydreaming back in – no down time. The
subconcious is ten thousand times stronger than the
conscious mind. How to access the hypnagogic state of
consciousness.

Brian eno - Building a trap to catch
inspiration and creativity’:
Brian Eno sums it up perfectly: “I often think I don't have a
single new idea in my head. But the big mistake is to just wait
for inspiration to happen. You have to build a trap to catch it. I
like to do that by starting the very mundane task of tidying my
studio. It may seem like it has nothing to do with the creative
job in hand but I think tidying up is a form of daydreaming, and
what you're really doing is tidying up your mind. It's a kind of
mental preparation. It's a way of getting your mind in place to
notice something."

Blogs on creativity
 http://vimeo.com/channels/designfiction
 http://www.wired.com/beyond_the_beyond/
 http://new-aesthetic.tumblr.com/

Workshop tasks
 Question 1) What is creativity for you?
 Question 2) Think of a research problem that could be
addressed using any of the creativity techniques, tools and
methodologies outlined here or others you know.
 Question 3) Can we ever have a formal (measurable)
understanding of creativity?

Questions
carl.smith@londonmet.ac.uk
http://www.makototojiki.com/

Jtel creativity carl_smith_ltri

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