Dear all,
Is it possible to measure creativity? Applying or integrating data to
system is it possible?
Best and kindly regards
Ayca
9 Mayıs 2014 Cuma tarihinde, Terence Love <[log in to unmask]> yazdı:
> Dear Gunnar,
>
> As always I'm impressed by your erudition and detail. Seriously! From now
> on, I'd be grateful if you would write my posts for me.
>
> Yes, you detailed the events of that period beautifully. Yes, the issue of
> who exactly are 'design staff' is a problem. Currently the employment
> statistics people don't seem to distinguish very much between designers and
> sweeper uppers of the print room.
>
> Your suggestion for AI of graphics for logos may be already at least
> partly
> in place with things like smart draw tools which convert sketches into
> regular aligned shapes, in much the same way that Garageband converts an
> out
> of time music riff into a regularised form.
>
> Two references from MIT review as you requested, the second is probably
> the
> more interesting:
>
> http://www.technologyreview.com/news/428437/can-creativity-be-automated/
>
>
> http://www.technologyreview.com/featuredstory/515926/how-technology-is-destr
> oying-jobs/
>
> You might also enjoy
> http://www.magisto.com/how-it-works
>
> On the layers of abstractions stuff, apologies, I guess its not the way
> people think on this list, I'll work out a good physical example to show
> it better. I tend to design in abstraction language which is great for
> many
> areas of design to get beyond thinking about the physical. (and looking at
> the dynamics of design variety is a really useful napkin design tool).
>
> Enjoyed your stories about the quemma and other novel punctuation. I'd
> thought they were also the sorts of things in the realms of novel computer
> creativity? I remember creating software in the 1970s to optimise the
> design of a mixed material bridge design. It was a university competition
> and I thought by inventing a computer optimisation we might clean up (if I
> remember right we did). What was more amazing to me, was that software
> identified several novel solutions for bridge designs that were clearly
> effective and totally different to the model that had been the basis for
> the
> optimisation software. That was an early example of computer-based
> creativity that went beyond what was put into the computer.
>
> More recently, an IBM Watson has been let loose on creative cooking. . .
> http://www.ibm.com/smarterplanet/us/en/cognitivecooking/
>
> http://www.research.ibm.com/software/IBMResearch/multimedia/Cognitive-Cookin
> g-Fact-Sheet.pdf
>
> This more follows the big data approach that Ken raised.
>
> PS finding roles for your at-persand and at-percent symbols sounds like
> exactly an ontology algorithm problem. Ask IBM to ask Watson - but turn off
> the urban dictionary first!
>
> Best wishes and thanks ,
> Terry
>
> ---
> Dr Terence Love
> PhD(UWA), BA(Hons) Engin. PGCEd, FDRS, AMIMechE, MISI
>
> Director,
> Love Services Pty Ltd
> PO Box 226, Quinns Rocks
> Western Australia 6030
> Tel: +61 (0)4 3497 5848
> Fax:+61 (0)8 9305 7629
> [log in to unmask] <javascript:;>
> --
>
>
>
>
>
> -----Original Message-----
> From: [log in to unmask] <javascript:;>
> [mailto:[log in to unmask] <javascript:;>] On Behalf Of
> Gunnar Swanson
> Sent: Friday, 9 May 2014 4:30 AM
> To: PhD-Design - This list is for discussion of PhD studies and related
> research in Design
> Subject: Re: Why designers need maths
>
> On May 8, 2014, at 8:59 AM, Terence Love <[log in to unmask]> wrote:
>
> > An example, in the late 1990s, large graphic design firms cut their
> > design staff by around 75% and at the same time were able to increase
> > output. In that case, the reduction in staff and increase in outputs
> > were mainly due to the increased productivity enabled by products from
> > Quark Express, Macromedia and Adobe.
>
> This doesn't track with my memory of the graphic design business (at least
> in the US.) The cuts were earlier, those not attributable to economic
> downturns were not as deep, and the nature of the cuts was not exactly as
> you describe. Or at least not neatly so.
>
> The first big wave of job destruction was at suppliers for design firms.
> Typesetters and 'stat houses disappeared except for the few that converted
> to computer graphics service bureaus and produced film from designers'
> QuarkXPress, etc. files. (At that point, printers had big staff reductions
> in the stripping department. Strippers--the people who created and put
> together the various pieces of film to make plates--had been the most
> skilled and best paid people in printing.) Designers inherited much of the
> responsibility that formerly belonged to typesetters, 'stat houses, and
> strippers, so the efficiencies of computerization affected designers'
> outside expenses more than their employment.
>
> This brings us to the question of what you mean by "design staff." The
> computer took over much of the role of the production people at design
> firms. Were they "design staff"? Maybe. Were they designers? It depends on
> which firms and who is describing them. One could argue that what they were
> called is more of a political question than anything else but it gets back
> to the eternal problem on this list: What do we actually mean by "design,"
> "designer," or "design staff"?
>
> > other changes due to automation that were increasingly substituting
> > instead of designers' designerly knowledge and expertise.
>
> Yes, although initially, the opposite happened. Designers who had looked
> like they really understood type complained that "the Mac isn't up to good
> typography" because they never understood how much detail work was done by
> their typographers. They now needed to make decisions about kerning and
> such
> that they had previously not faced. As you imply, much of that was
> subsequently taken over by better software.
>
> > Designers' natural human
> > reactions against automation of their roles
>
> That was the weird thing. What I saw was just the opposite. When computer
> systems started looking viable (in the pre-Mac days), most of the designers
> I knew expressed fear and most of the production artists I knew were
> excited
> at the labor saving opportunities. This despite the fact that it seemed
> clear that the designers would go on designing and the production artists
> would be unemployed.
>
> > The software is capable of
> > doing far more of the human design decisionmaking than designers and
> > many other in the design industry have been aware.
>
> Yes. To some extent. In typography, for instance, it makes decisions that
> just plain weren't made before and routinely makes decisions that were only
> made in rarified, high budget situations.
>
> > and critique possible new designs. The limit of designers learning
> > and attributes is only the limit of the number of designs a person can
> > see in their lifetime and their sensitivity to them. This and the use
> > of emotions and thinking provides the creative competence of designers.
>
> Perhaps the biggest change for graphic design is that realistic prototypes
> can be created extremely fast, allowing more iterations on tighter time
> and/or money budgets.
>
> > One reality is that quite small computer systems can now process more
> > than humans. More importantly, by processing large amounts of data
> > they can learn the intrinsic tacit properties of that information and
> > make it available to a wide variety of other processes. Graphic design
> > is relatively unusual in that it has codified much of its knowledge
> > and this makes it easier for computers to extend faster into the
> > arena of meaning and automating human processes in graphic design.
>
> So it seems to me that the biggest net role for computers in graphic design
> (as opposed to production for graphic design) is in ideation. We teach a
> clear set of ideation procedures in the graphic design program here at East
> Carolina
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