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Creativity and the Agile Mind [electronic resource] :a Multi-Disciplinary Study of a Multi-Faceted Phenomenon / ed. by Tony Veale, Kurt Feyaerts adn Charles Forceville.

By: Forceville, Ch. (Charles).
Contributor(s): Feyaerts, Kurt | Veale, Tony.
Material type: materialTypeLabelBookSeries: Applications of Cognitive Linguistics ACL: Publisher: Berlin : De Gruyter, 2013Description: 1 online resource (380 pages).Content type: text Media type: computer Carrier type: online resourceISBN: 9783110295306; 311029530X; 9783110295290 (electronic bk.); 3110295296 (electronic bk.).Subject(s): Creativity (Linguistics) | Cognitive grammar | Grammar, Comparative and general -- Coordinate constructions | PSYCHOLOGY -- Creative Ability | SELF-HELP -- CreativityGenre/Form: Electronic books.DDC classification: 153.3/5 Online resources: EBSCOhost
Contents:
Part I: Introduction; 1 Creativity and the Agile Mind; Introducing The Agile Mind; Understanding The Agile Mind: A Journey; Conceptual Agility in an Abstract Space; Collecting The Agile Mind: A Bird's Eye View; Parting Thoughts; References; 2 E Unis Pluribum: Using Mental Agility to Achieve Creative Duality in Word, Image and Sound; Agile Interpretation and Creative Duality; Agile Imagery; Agile Sounds; Agile Words; CRIME: An Agile Framework for Producers and Consumers; Conclusions; References; Part II: Computers and Creativity; 3 Computers and Creativity; Introduction.
What do we mean by 'creativity': Some examplesCognitive mechanisms of creativity; Computational modeling of creativity; Computer-based creativity-support systems; Conclusions and future research; References; 4 Gravital: natural language processing for computer graphics; Introduction; Computer graphics and user interfaces; Graphics Language Processor; Perception; Node-based interface; Acknowledgements; References; 5 Talking Points in Linguistic Creativity; Introduction; Related Work and Ideas; Acquiring Conceptual Talking Points; Building a Slipnet of Talking Points; Empirical Evaluation.
ConclusionsReferences; Part III: Verbal Communication; 6 Creatively Exploiting Linguistic Norms; Introduction; What is an exploitation?; The Creative Continuum; Are all rhetorical tropes exploitations?; Summary and Conclusions; References; 7 Online semantic creativity in parliamentary debates; Introduction; Theoretical background; Case-study: creativity and perspectivation in interactional discourse; Conclusions and outlook; References; 8 Yo, who be the main gangsta in our phat gang? -- Linguistic creativity and the construction of hyperpersonal identity; Introduction.
Three perspectives on relating onlineAn example of hyperpersonal communication -- Creative gangstas on the net; Blending Theory and the creation of hyperpersonal identity; The creation of hyperpersonal identity as a joint process of action layering; The role of the medium; Conclusions; References; 9 Resonating humour -- A corpus-based approach to creative parallelism in dialogue; Introduction; Theoretical background; The dataset: semi-automatic retrieval from the Corinth corpus; Resonating humour in the Corinth corpus; Conclusion; References; 10 A Cognitive Grammar of Creativity; Introduction.
Cognitive LinguisticsAnalysing Creativity; Conclusions; References; Part IV: Visual Communication; 11 Creativity in the forms and functions of spontaneous gestures with speech; Introduction; Formal characteristics of creative gestures; Creativity in the functions of coverbal gestures; Discussion and Conclusions; Acknowledgements; References; 12 Creative visual duality in comics balloons; Introduction; Blending Theory, Emergent Structure, and Creativity; Blending, Emergent Structure, and Creativity in Comics Balloons; Blending and Creativity in Balloons: Concluding Remarks; Acknowledgments.
Summary: Creativity is a highly-prized quality in almost any domain of human endeavor, whether one is crafting tangible objects from physical materials, or mental objects from concepts, words, pictures and musical notes. It is a diverse, multi-faceted phenomenon that demands a diverse, multi-disciplinary perspective. By bringing together a wide range of creative producers and consumers, in domains as diverse as cognition, language, music, gesture, image and computation, this volume offers the student of creativity a new and exciting perspective whose many facets form a comprehensive and coherent whole.
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Part I: Introduction; 1 Creativity and the Agile Mind; Introducing The Agile Mind; Understanding The Agile Mind: A Journey; Conceptual Agility in an Abstract Space; Collecting The Agile Mind: A Bird's Eye View; Parting Thoughts; References; 2 E Unis Pluribum: Using Mental Agility to Achieve Creative Duality in Word, Image and Sound; Agile Interpretation and Creative Duality; Agile Imagery; Agile Sounds; Agile Words; CRIME: An Agile Framework for Producers and Consumers; Conclusions; References; Part II: Computers and Creativity; 3 Computers and Creativity; Introduction.

What do we mean by 'creativity': Some examplesCognitive mechanisms of creativity; Computational modeling of creativity; Computer-based creativity-support systems; Conclusions and future research; References; 4 Gravital: natural language processing for computer graphics; Introduction; Computer graphics and user interfaces; Graphics Language Processor; Perception; Node-based interface; Acknowledgements; References; 5 Talking Points in Linguistic Creativity; Introduction; Related Work and Ideas; Acquiring Conceptual Talking Points; Building a Slipnet of Talking Points; Empirical Evaluation.

ConclusionsReferences; Part III: Verbal Communication; 6 Creatively Exploiting Linguistic Norms; Introduction; What is an exploitation?; The Creative Continuum; Are all rhetorical tropes exploitations?; Summary and Conclusions; References; 7 Online semantic creativity in parliamentary debates; Introduction; Theoretical background; Case-study: creativity and perspectivation in interactional discourse; Conclusions and outlook; References; 8 Yo, who be the main gangsta in our phat gang? -- Linguistic creativity and the construction of hyperpersonal identity; Introduction.

Three perspectives on relating onlineAn example of hyperpersonal communication -- Creative gangstas on the net; Blending Theory and the creation of hyperpersonal identity; The creation of hyperpersonal identity as a joint process of action layering; The role of the medium; Conclusions; References; 9 Resonating humour -- A corpus-based approach to creative parallelism in dialogue; Introduction; Theoretical background; The dataset: semi-automatic retrieval from the Corinth corpus; Resonating humour in the Corinth corpus; Conclusion; References; 10 A Cognitive Grammar of Creativity; Introduction.

Cognitive LinguisticsAnalysing Creativity; Conclusions; References; Part IV: Visual Communication; 11 Creativity in the forms and functions of spontaneous gestures with speech; Introduction; Formal characteristics of creative gestures; Creativity in the functions of coverbal gestures; Discussion and Conclusions; Acknowledgements; References; 12 Creative visual duality in comics balloons; Introduction; Blending Theory, Emergent Structure, and Creativity; Blending, Emergent Structure, and Creativity in Comics Balloons; Blending and Creativity in Balloons: Concluding Remarks; Acknowledgments.

References.

Creativity is a highly-prized quality in almost any domain of human endeavor, whether one is crafting tangible objects from physical materials, or mental objects from concepts, words, pictures and musical notes. It is a diverse, multi-faceted phenomenon that demands a diverse, multi-disciplinary perspective. By bringing together a wide range of creative producers and consumers, in domains as diverse as cognition, language, music, gesture, image and computation, this volume offers the student of creativity a new and exciting perspective whose many facets form a comprehensive and coherent whole.

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