Veale / Feyaerts / Forceville Creativity and the Agile Mind

A Multi-Disciplinary Study of a Multi-Faceted Phenomenon
1. Auflage 2013
ISBN: 978-3-11-029529-0
Verlag: De Gruyter
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, Band 21, 380 Seiten

Reihe: Applications of Cognitive Linguistics [ACL]ISSN

Zielgruppe

Academics of Different Disciplines, as well as Lay Readers with a General Interest in Creativity in all its Forms

Autoren/Hrsg.

Veale, Tony

Feyaerts, Kurt

Forceville, Charles

Fachgebiete

• Sozialwissenschaften Psychologie Allgemeine Psychologie Kognitionspsychologie
• Geisteswissenschaften Sprachwissenschaft Psycholinguistik, Neurolinguistik, Kognition

Inhaltsverzeichnis

1;Part I: Introduction;13
1.1;1 Creativity and the Agile Mind;15
1.1.1;Introducing The Agile Mind;15
1.1.2;Understanding The Agile Mind: A Journey;16
1.1.3;Conceptual Agility in an Abstract Space;18
1.1.4;Collecting The Agile Mind: A Bird’s Eye View;30
1.1.5;Parting Thoughts;35
1.1.6;References;35
1.2;2 E Unis Pluribum: Using Mental Agility to Achieve Creative Duality in Word, Image and Sound;37
1.2.1;Agile Interpretation and Creative Duality;37
1.2.2;Agile Imagery;38
1.2.3;Agile Sounds;43
1.2.4;Agile Words;45
1.2.5;CRIME: An Agile Framework for Producers and Consumers;47
1.2.6;Conclusions;55
1.2.7;References;56
2;Part II: Computers and Creativity;59
2.1;3 Computers and Creativity;61
2.1.1;Introduction;61
2.1.2;What do we mean by ‘creativity’: Some examples;61
2.1.3;Cognitive mechanisms of creativity;66
2.1.4;Computational modeling of creativity;68
2.1.5;Computer-based creativity-support systems;73
2.1.6;Conclusions and future research;76
2.1.7;References;78
2.2;4 Gravital: natural language processing for computer graphics;81
2.2.1;Introduction;81
2.2.2;Computer graphics and user interfaces;82
2.2.3;Graphics Language Processor;84
2.2.4;Perception;88
2.2.5;Node-based interface;95
2.2.6;Acknowledgements;97
2.2.7;References;97
2.3;5 Talking Points in Linguistic Creativity;99
2.3.1;Introduction;99
2.3.2;Related Work and Ideas;102
2.3.3;Acquiring Conceptual Talking Points;104
2.3.4;Building a Slipnet of Talking Points;109
2.3.5;Empirical Evaluation;111
2.3.6;Conclusions;113
2.3.7;References;114
3;Part III: Verbal Communication;117
3.1;6 Creatively Exploiting Linguistic Norms;119
3.1.1;Introduction;119
3.1.2;What is an exploitation?;120
3.1.3;The Creative Continuum;124
3.1.4;Are all rhetorical tropes exploitations?;130
3.1.5;Summary and Conclusions;136
3.1.6;References;137
3.2;7 Online semantic creativity in parliamentary debates;139
3.2.1;Introduction;139
3.2.2;Theoretical background;141
3.2.3;Case-study: creativity and perspectivation in interactional discourse;147
3.2.4;Conclusions and outlook;155
3.2.5;References;156
3.3;8 Yo, who be the main gangsta in our phat gang? - Linguistic creativity and the construction of hyperpersonal identity;159
3.3.1;Introduction;159
3.3.2;Three perspectives on relating online;161
3.3.3;An example of hyperpersonal communication - Creative gangstas on the net;164
3.3.4;Blending Theory and the creation of hyperpersonal identity;168
3.3.5;The creation of hyperpersonal identity as a joint process of action layering;172
3.3.6;The role of the medium;176
3.3.7;Conclusions;177
3.3.8;References;178
3.4;9 Resonating humour - A corpus-based approach to creative parallelism in dialogue;181
3.4.1;Introduction;181
3.4.2;Theoretical background;183
3.4.3;The dataset: semi-automatic retrieval from the Corinth corpus;187
3.4.4;Resonating humour in the Corinth corpus;192
3.4.5;Conclusion;199
3.4.6;References;200
3.5;10 A Cognitive Grammar of Creativity;205
3.5.1;Introduction;205
3.5.2;Cognitive Linguistics;206
3.5.3;Analysing Creativity;215
3.5.4;Conclusions;223
3.5.5;References;225
4;Part IV: Visual Communication;229
4.1;11 Creativity in the forms and functions of spontaneous gestures with speech;231
4.1.1;Introduction;231
4.1.2;Formal characteristics of creative gestures;234
4.1.3;Creativity in the functions of coverbal gestures;241
4.1.4;Discussion and Conclusions;248
4.1.5;Acknowledgements;250
4.1.6;References;250
4.2;12 Creative visual duality in comics balloons;253
4.2.1;Introduction;253
4.2.2;Blending Theory, Emergent Structure, and Creativity;254
4.2.3;Blending, Emergent Structure, and Creativity in Comics Balloons;258
4.2.4;Blending and Creativity in Balloons: Concluding Remarks;267
4.2.5;Acknowledgments;270
4.2.6;References;271
4.3;13 Creativity in Comics. Exploring the Frontiers of the Medium by Respecting Explicit Self-Imposed Constraints;275
4.3.1;Introduction;275
4.3.2;Creative constraints;277
4.3.3;The creative duality of Oubapo;280
4.3.4;Conclusions;286
4.3.5;References;289
4.4;14 On verbal irony, images and creativity: A corpus-analytic approach;293
4.4.1;Introduction;293
4.4.2;Method;302
4.4.3;Results;305
4.4.4;Conclusion and discussion;307
4.4.5;References;310
5;Part V: Musical Performance;313
5.1;15 Multimodal blending and musical creativity. Dualities in the quixotry of Richard Strauss, Jan Sandstrom and Christian Lindberg;315
5.1.1;Context and relevance;315
5.1.2;Theoretical tenets: integrating multimodality in blending;316
5.1.3;Don Quixote as a transformative genre in the literature and music;320
5.1.4;Lindberg’s quixotry: reinventing the trombone concerto;323
5.1.5;Dual conclusions on creativity, multimodality and blending;329
5.1.6;References;331
5.2;16 The Agile Musical Mind: mapping the musician’s act of creation;335
5.2.1;Introduction;335
5.2.2;The musician’s act within the family of creative acts.;336
5.2.3;The multiple parameters behind musical creativity;338
5.2.4;Family resemblances: the expectation of the unexpected and the blend of the tacit dimensions;343
5.2.5;Conclusion;351
5.2.6;References;352
5.3;17 Timbre Networks: An approach to Composition and Performance in Computer Music;355
5.3.1;Introduction;355
5.3.2;Timbre Composition;357
5.3.3;Going Live;362
5.3.4;The computer as music performer;370
5.3.5;Conclusion: A journey, and a point of departure;371
5.3.6;References;373
6;Index;375

Über Autor(innen)

Tony Veale, University College Dublin, Ireland; Kurt Feyaerts, Katolieke Universiteit Leuven, Belgium; Charles Forceville, Universiteit van Amsterdam, The Netherlands.