Boden, M. (1990). The creative mind. Sphere Books, London. Home/Search Document Not in Database Summary Related Articles Check |
This paper is cited in the following contexts:
In Tent, In Touch: - Beings In Seclusion (Correct)
....information. Early results suggest that this can lead to a rare intimacy in electronic communication. COMPUTER SUPPORTED SECLUSION Our stating point in developing the Tent was the observation that the early stages of personal creativity need space, uninterrupted time and isolation [1], which are all things that currently proliferating IT tends to remove. Cross modal sensory stimulation experiencing information through various and unusual channels, is also potentially important to the generation of new insights [3] Secluded in the Tent one can choose to escape from the ....
Boden, M (1992). The Creative Mind (2nd edition). London: Abacus.
Human and Machine Collaboration in Creative Design - Pearl Pu And (1996) (Correct)
....Since each person has a different pattern to perform the conceptual design, over a longer period of time, users may observe their own behavioral pattern. They may choose to either follow similar patterns or purposely change the patterns using this visualization tool. This kind of cognitive map [2] has been found useful in prompting humans in exploring unknown territories. Since it is critical that designers do not slip into his usual way of thinking, the cognitive maps can serve as indications of the current attention memory [1] of the human so that if he notices it, he may choose to ....
Margaret A. Boden, editor. The Creative Mind. Basic Books, 1991.
Personalized Navigation of Heterogeneous Product Spaces using.. - Pu, Boi (2002) (Correct)
....criteria need to be modified in big quantities, users should be able to manipulate them without having to do too many small tweaks. In Isy travel, we explore the use of contextual navigation maps to fulfill the information seeking and searching criteria stated above. Maps, according to Boden [2], allow people to navigate through spaces and provide a visual structure regarding the boundary of spaces. A dynamic map also helps users evaluate his current path against his destination, provides possible alternatives, and allows him to express his navigation task in a visual way. Context maps ....
Boden, M. The Creative Mind. Basic Books, 1990.
Learners as Modellers of Complex Systems: What Can Be.. - Manuel Marques And (2000) (Correct)
....which will be useful to set the appropriate context in which the RR Model relates to the main issue of this paper: the square question. Conceptual Spaces, Creativity and The Cognitive Pyramid The first concept to be discussed in this subsection is what Margaret Boden defines as Conceptual Space (Boden 1990). The second reifies the idea that creativity is a key issue in human modelling activities (Langley et al. 1987, Boden 1990, Naur 1994, Klahr et al. 2000) The third and final foundational concept is what we will define as the Cognitive Pyramid that encompasses the previously mentioned elements ....
....question. Conceptual Spaces, Creativity and The Cognitive Pyramid The first concept to be discussed in this subsection is what Margaret Boden defines as Conceptual Space (Boden 1990) The second reifies the idea that creativity is a key issue in human modelling activities (Langley et al. 1987, Boden 1990, Naur 1994, Klahr et al. 2000) The third and final foundational concept is what we will define as the Cognitive Pyramid that encompasses the previously mentioned elements under a dynamicist approach. A C space (Conceptual Space) is a way of defining a knowledge domain using notational basic ....
Boden, M. 1990. The Creative Mind, Myths and Mechanisms. Weidenfield and Nicholson.
An Integrated Analogy Model for Creative Reasoning - O'Donoghue (1999) (Correct)
....predicted a highly reactive substance due to all the unused Carbon bonds) A new interpretation which resolved the apparent anomalies was required. Creativity is usually examined as a search for inspiration, wherein we look for new analogies with which to restructure or reinterpret old knowledge (Boden, 1994). Viewing sound as waves upon the water or the heart as a pump introduces new ways of understanding old, though ill understood concepts. Hadamard described Creativity as being composed of the following stages : i) Preparation ii) Incubation iii) Illumination iv) Verification As we shall see, ....
Boden, M. A. "The Creative Mind", Abacus, 1994.
An Account of Writing as Creative Design - Sharples (1996) (4 citations) (Correct)
....a writer needs to accept the constraint of goals, plans, and schemas, but creative writing requires the breaking of constraint; writing is primarily a cognitive activity, but it cannot be performed without physical tools and resources. I shall call on theories of cognition and creativity from Boden (1990; 1994a) Gelernter (1994) and Karmiloff Smith (1990) and descriptions of how designers think from Lawson (1990) and others. These will form the basis of an account of writing as creative design. The central part of the account is that writing is an open ended design process, mediated by tools ....
Boden, M. A. (1990) The Creative Mind. London: Weidenfeld and Nicolson.
A Framework Supporting Creativity in the Design.. - Arnellos, Spyrou.. (2005) (Correct)
No context found.
Boden, M. (1990). The creative mind. Sphere Books, London.
Categorising Creative Systems - Wiggins (Correct)
No context found.
M. Boden. The Creative Mind. Abacus, 1990.
A System to Support Idea-generation in - Information Management Activities (2003) (Correct)
No context found.
Boden, M.: The creative mind, Basic Books, 1991.
Visual Re-Representation in Creative Analogies - Davies, Goel, Nersessian (2003) (Correct)
No context found.
Margaret A. Boden. The Creative Mind. Basic Books, 1990.
Assessing Creativity - Ritchie (2001) (2 citations) (Correct)
No context found.
Margaret A. Boden. The Creative Mind. Abacus, London, 1992.
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