In the field of design and creativity support, "externalization of mental space" has been recognized as an important challenge. Finally, we describe how Coherencer is consistent with contemporary research on the hippocampus, and we show evidence that the process of making a visualization coherent is serial. We show that Coherencer is also consistent with both the modal schematic indices of perceptual symbol systems theory (Barsalou, 1999) and the amodal contextual constraints of Thagard's (2002) theory of coherence. In particular, Coherencer is a similar, but more cognitively plausible model than the C³ model of concept combination created by Costello and Keane (2000). Theoretically, we show that Coherencer is consistent with other models of cognitive generation. We also show that co-occurrence probabilities are a better association representation than holographic vectors and that better models of coherence improve the resulting output independent of the association type that is used. We show that Coherencer is able to generate scene descriptions that are more coherent than SOILIE's original approach as well as a parallel connectionist algorithm that is considered competitive in the literature on general coherence. We describe and implement a new model of creating contextual coherence in the visual imagination called Coherencer, based on the SOILIE model of imagination. the computer “mouse”) are present in the same visualization (e.g., a visualization of a biological mouse in the same image with a computer tower). We suggest that aesthetics might be one of the factors that contribute to creative constraint, in that creatures that are too unusual would be less interesting.Īn incoherent visualization is when aspects of different senses of a word (e.g., the biological “mouse” vs. We conclude by suggesting an elaboration to Ward's thesis that will be explored in future work. This lends further support to Ward's thesis on the structural rigidity of creativity. This preliminarily suggests that changing tools does not affect the overall rigidity of the creative process. Only minor significant differences were found.
Spore creature creator human software#
To investigate this question, participants performed Ward's task twice: once using pencil and paper and once using software made to design creatures (the Spore Creature Creator). The present investigation predicts that this limitation on creativity is not restricted to drawings: the use of different technology will not change creative output. As a consequence, Ward concluded that creativity is structured. He found that participant drawings reliably contained features typical of common Earth animals.
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Ward (1994) investigated creativity by asking participants to draw alien creatures that they imagined to be from a planet very different from Earth.