This is our Final Poster about Fairy Tale.
Sunday, September 19, 2010
MIND MAP
This is our second mind map. After consultation with our lecturer, he suggest us to more specified with the content witch means he want us focus on one main subject only.
FINAL PROJECT : REPORT
CREATIVE MULTIMEDIA
Creativity refers to the phenomenon whereby something new is created which has some kind of value. What counts as "new" may be in reference to the individual creator, or to the society or domain within which the novelty occurs. What counts as "valuable" is similarly defined in a variety of ways.
Scholarly interest in creativity ranges widely: the mental and neurological processes associated with creative activity; the relationship between personality type and creative ability; the relationship between creativity and intelligence, learning and mental health; and ways of fostering creativity through training and technology.
Creativity and creative acts are therefore studied across several disciplines - psychology, cognitive science, education, philosophy (particularly philosophy of science), theology, sociology, linguistics, business studies, and economics. As a result there is a multitude of definitions and approaches. Multimedia is media and content that uses a mixture of different content methods. The term can be used as a noun (a medium with multiple content forms) or as an adjective re-counting a medium as having various content forms. The term is used in distinction to media which only use traditional forms of printed or hand-produced material. Multimedia includes a combination of text, audio, still images, animation, video, and interactivity content forms.
Creativity is also seen as being increasingly important in a variety of other professions. Architecture and industrial design are the fields most often associated with creativity, and more generally the fields of design and design research. These fields explicitly value creativity, and journals such as Design Studies have published many studies on creativity and creative problem solving.
Fields such as science and engineering have, by contrast, experienced a less explicit relation to creativity. Simonton shows how some of the major scientific advances of the 20th century can be attributed to the creativity of individuals. This ability will also be seen as increasingly important for engineers in years to come.
Accounting has also been associated with creativity with the popular euphemism creative accounting. Although this term often implies unethical practices, Amabile has suggested that even this profession can benefit from the (ethical) application of creative thinking.
In a recent global survey of approximately 1600 CEO's, the leadership trait that was considered to be most crucial for success was creativity. This suggests that the world of business is beginning to accept that creativity is essential for all employees in all industries, rather than being simply the preserve of the creative industries.
Multimedia is usually recorded and played, displayed or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia (as an adjective) also describes electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; by including audio, for example, it has a broader scope. The term "rich media" is synonymous for interactive multimedia. Hypermedia can be considered one particular multimedia application.
Multimedia may be broadly divided into linear and non-linear categories. Linear active content progresses without any navigational control for the viewer such as a cinema presentation. Non-linear content offers user interactivity to control progress as used with a computer game or used in self-paced computer based training. Hypermedia is an example of non-linear content.
Multimedia presentations can be live or recorded. A recorded presentation may allow interactivity via a navigation system. A live multimedia presentation may allow interactivity via an interaction with the presenter or performer.
FAIRY TALES
Fairy tale is an English language term for a type of short narrative corresponding to the French phrase conte de fée, the German term Märchen, the Italian fiaba, the Polish baśń or the Swedish saga. Only a small number of the stories thus designated explicitly refer to fairies. Nonetheless, the stories may be distinguished from other folk narratives such as legends and traditions (which generally involve belief in the veracity of the events described) and explicitly moral tales, including beast fables. Fairy tales typically feature such folkloric characters as fairies, goblins, elves, troll, giants or gnomes, and usually magic or enchantments. Often the story will involve a far-fetched sequence of events.
In less technical contexts, the term is also used to describe something blessed with unusual happiness, as in "fairy tale ending" (a happy ending or "fairy tale romance" (though not all fairy tales end happily). Colloquially, a "fairy tale" or "fairy story" can also mean any far-fetched story or tall tale.
In cultures where demons and witches are perceived as real, fairy tales may merge into legends, where the narrative is perceived both by teller and hearers as being grounded in historical truth. However, unlike legends and epics, they usually do not contain more than superficial references to religion and actual places, people, and events; they take place once upon a time rather than in actual times.
Fairy tales are found in oral and in literary form. The history of the fairy tale is particularly difficult to trace, because only the literary forms can survive. Still, the evidence of literary works at least indicates that fairy tales have existed for thousands of years, although not perhaps recognized as a genre; the name "fairy tale" was first ascribed to them by Madame d'Aulnoy. Many of today's fairy tales have evolved from centuries-old stories that have appeared, with variations, in multiple cultures around the world. Fairy tales, and works derived from fairy tales, are still written today.
The older fairy tales were intended for an audience of adults as well as children, but they were associated with children as early as the writings of the preciouses; the Brothers Grimm titled their collection Children's and Household Tales, the link with children has only grown stronger with time.
Folklorists have classified fairy tales in various ways. Among the most notable are the Aarne-Thompson classification system and the morphological analysis of Vladimir Propp. Other folklorists have interpreted the tales' significance, but no school has been definitively established for the meaning of the tales.
The fairy tale, told orally, is a sub-class of the folktale. Many writers have written in the form of the fairy tale. These are the literary fairy tales, or Kunstmärchen. The oldest forms, from Panchatantra to the Pentamerone, show considerable reworking from the oral form. The Brothers Grimm were among the first to try to preserve the features of oral tales. Yet the stories printed under the Grimm name have been considerably reworked to fit the written form.
Literary fairy tales and oral fairy tales freely exchanged plots, motifs, and elements with one another and with the tales of foreign lands. Many 18th-century folklorists attempted to recover the "pure" folktale, uncontaminated by literary versions. Yet while oral fairy tales likely existed for thousands of years before the literary forms, there is no pure folktale. And each literary fairy tale draws on folk traditions, if only in parody. This makes it impossible to trace forms of transmission of a fairy tale. Oral story-tellers have been known to read literary fairy tales to increase their own stock of stories and treatments.
Creativity refers to the phenomenon whereby something new is created which has some kind of value. What counts as "new" may be in reference to the individual creator, or to the society or domain within which the novelty occurs. What counts as "valuable" is similarly defined in a variety of ways.
Scholarly interest in creativity ranges widely: the mental and neurological processes associated with creative activity; the relationship between personality type and creative ability; the relationship between creativity and intelligence, learning and mental health; and ways of fostering creativity through training and technology.
Creativity and creative acts are therefore studied across several disciplines - psychology, cognitive science, education, philosophy (particularly philosophy of science), theology, sociology, linguistics, business studies, and economics. As a result there is a multitude of definitions and approaches. Multimedia is media and content that uses a mixture of different content methods. The term can be used as a noun (a medium with multiple content forms) or as an adjective re-counting a medium as having various content forms. The term is used in distinction to media which only use traditional forms of printed or hand-produced material. Multimedia includes a combination of text, audio, still images, animation, video, and interactivity content forms.
Creativity is also seen as being increasingly important in a variety of other professions. Architecture and industrial design are the fields most often associated with creativity, and more generally the fields of design and design research. These fields explicitly value creativity, and journals such as Design Studies have published many studies on creativity and creative problem solving.
Fields such as science and engineering have, by contrast, experienced a less explicit relation to creativity. Simonton shows how some of the major scientific advances of the 20th century can be attributed to the creativity of individuals. This ability will also be seen as increasingly important for engineers in years to come.
Accounting has also been associated with creativity with the popular euphemism creative accounting. Although this term often implies unethical practices, Amabile has suggested that even this profession can benefit from the (ethical) application of creative thinking.
In a recent global survey of approximately 1600 CEO's, the leadership trait that was considered to be most crucial for success was creativity. This suggests that the world of business is beginning to accept that creativity is essential for all employees in all industries, rather than being simply the preserve of the creative industries.
Multimedia is usually recorded and played, displayed or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia (as an adjective) also describes electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; by including audio, for example, it has a broader scope. The term "rich media" is synonymous for interactive multimedia. Hypermedia can be considered one particular multimedia application.
Multimedia may be broadly divided into linear and non-linear categories. Linear active content progresses without any navigational control for the viewer such as a cinema presentation. Non-linear content offers user interactivity to control progress as used with a computer game or used in self-paced computer based training. Hypermedia is an example of non-linear content.
Multimedia presentations can be live or recorded. A recorded presentation may allow interactivity via a navigation system. A live multimedia presentation may allow interactivity via an interaction with the presenter or performer.
FAIRY TALES
Fairy tale is an English language term for a type of short narrative corresponding to the French phrase conte de fée, the German term Märchen, the Italian fiaba, the Polish baśń or the Swedish saga. Only a small number of the stories thus designated explicitly refer to fairies. Nonetheless, the stories may be distinguished from other folk narratives such as legends and traditions (which generally involve belief in the veracity of the events described) and explicitly moral tales, including beast fables. Fairy tales typically feature such folkloric characters as fairies, goblins, elves, troll, giants or gnomes, and usually magic or enchantments. Often the story will involve a far-fetched sequence of events.
In less technical contexts, the term is also used to describe something blessed with unusual happiness, as in "fairy tale ending" (a happy ending or "fairy tale romance" (though not all fairy tales end happily). Colloquially, a "fairy tale" or "fairy story" can also mean any far-fetched story or tall tale.
In cultures where demons and witches are perceived as real, fairy tales may merge into legends, where the narrative is perceived both by teller and hearers as being grounded in historical truth. However, unlike legends and epics, they usually do not contain more than superficial references to religion and actual places, people, and events; they take place once upon a time rather than in actual times.
Fairy tales are found in oral and in literary form. The history of the fairy tale is particularly difficult to trace, because only the literary forms can survive. Still, the evidence of literary works at least indicates that fairy tales have existed for thousands of years, although not perhaps recognized as a genre; the name "fairy tale" was first ascribed to them by Madame d'Aulnoy. Many of today's fairy tales have evolved from centuries-old stories that have appeared, with variations, in multiple cultures around the world. Fairy tales, and works derived from fairy tales, are still written today.
The older fairy tales were intended for an audience of adults as well as children, but they were associated with children as early as the writings of the preciouses; the Brothers Grimm titled their collection Children's and Household Tales, the link with children has only grown stronger with time.
Folklorists have classified fairy tales in various ways. Among the most notable are the Aarne-Thompson classification system and the morphological analysis of Vladimir Propp. Other folklorists have interpreted the tales' significance, but no school has been definitively established for the meaning of the tales.
The fairy tale, told orally, is a sub-class of the folktale. Many writers have written in the form of the fairy tale. These are the literary fairy tales, or Kunstmärchen. The oldest forms, from Panchatantra to the Pentamerone, show considerable reworking from the oral form. The Brothers Grimm were among the first to try to preserve the features of oral tales. Yet the stories printed under the Grimm name have been considerably reworked to fit the written form.
Literary fairy tales and oral fairy tales freely exchanged plots, motifs, and elements with one another and with the tales of foreign lands. Many 18th-century folklorists attempted to recover the "pure" folktale, uncontaminated by literary versions. Yet while oral fairy tales likely existed for thousands of years before the literary forms, there is no pure folktale. And each literary fairy tale draws on folk traditions, if only in parody. This makes it impossible to trace forms of transmission of a fairy tale. Oral story-tellers have been known to read literary fairy tales to increase their own stock of stories and treatments.
Thursday, August 12, 2010
juxtapose
Definition: Simply stated, juxtaposition means placing things side-by-side. In art this usually is done with the intention of bringing out a specific quality or creating an effect, particularly when two contrasting or opposing elements are used. The viewer's attention is drawn to the similarities or differences between the elements.
Pronunciation: jucks-ta-pose, jucks-ta-pos-i-shun
Also Known As: collocation, juxtaposing, juxtapose
Random juxtaposition refers to the stimulation of creativity in problem solving, design or other creative pursuit by confronting two unrelated concepts or objects, usually the goal or problem to be solved on the one hand and a randomly selected object or concept on the other. Similar to an oxymoron.
Pronunciation: jucks-ta-pose, jucks-ta-pos-i-shun
Also Known As: collocation, juxtaposing, juxtapose
Random juxtaposition refers to the stimulation of creativity in problem solving, design or other creative pursuit by confronting two unrelated concepts or objects, usually the goal or problem to be solved on the one hand and a randomly selected object or concept on the other. Similar to an oxymoron.
How to use the Random Picture technique
This method is very similar to the random word technique and many of its working principles are explained in that section, so please read that first if you haven't already. You should also read the section on methods of using a stimulus for new ideas.
The first thing you need for this technique is, fairly obviously, a random picture. This is then used as a prompt to come up with new ideas and solutions. You can get such an image from brainstorming software or you can select it at random yourself from a magazine, encyclopedia or picture book. You can also use a picture from a website (see the Random Website technique).
You should look at the picture, extract a concept or idea from it and use this idea to stimulate a possible solution to your problem. Try to see anything in the picture which reminds you of your problem and how it might be solved. What activities are going on? What situations are being faced? Why are the people doing what they are doing? What principles are being used?
With a picture in front of you, extract an idea from it, or imagine a similar theme/person/action happening within your own situation.
Next think of how you can use that new situation/object/attitude in your own situation. It does not immediately have to be a positive solution but you may later be able to move from it to a good solution.
http://www.brainstorming.co.uk/tutorials/randompicturetutorial.html
The first thing you need for this technique is, fairly obviously, a random picture. This is then used as a prompt to come up with new ideas and solutions. You can get such an image from brainstorming software or you can select it at random yourself from a magazine, encyclopedia or picture book. You can also use a picture from a website (see the Random Website technique).
You should look at the picture, extract a concept or idea from it and use this idea to stimulate a possible solution to your problem. Try to see anything in the picture which reminds you of your problem and how it might be solved. What activities are going on? What situations are being faced? Why are the people doing what they are doing? What principles are being used?
With a picture in front of you, extract an idea from it, or imagine a similar theme/person/action happening within your own situation.
Next think of how you can use that new situation/object/attitude in your own situation. It does not immediately have to be a positive solution but you may later be able to move from it to a good solution.
http://www.brainstorming.co.uk/tutorials/randompicturetutorial.html
Monday, August 9, 2010
Logical Mind Map - Lesson 3
mind mapping is pouring your thought into a piece of paper, it might sound similar to brainstorming, but mind mapping is different, because you have to put a connection between everything that you write/draw and the main concept / topic that you are mind mapping about. here's an example of what i mean by "connection"
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WEEK 2 - Creativity, novelty, innovation
Novelty can be defined as the quality of being new. It can be something new and unusual that we haven’t seen before, or something makes us feel fresh and special. Novelty is very important in design and art. It needs creativity when applying in every design.
Innovation is the introduction of something new, a change effected by innovating or a change in customs. Innovation also can be defined as a new way of doing something or “new stuff that is made useful”. It may refer to incremental and emergent or radical and revolutionary changes in thinking, products, processes, or organizations. (sources from Wikipedia.com)
Arts, economics, government policy and many other fields, something new, fresh or special must be substantially different to be innovative. The purpose of innovation is positive to become different, to make someone or something better. Innovation is very important in design and art too.
Invention is the act of inventing, or to make up, think of and produce for the first time. An invention is a new composition, device, or a highly creative process. It may be obtained from a pre-existing model, idea or concept. Inventive thinking has always played a greatest importance role in the creative process, so that the inventors should think outside of the box to create and invent a new thing.
Sources from Wikipedia.com and Google.com
Innovation is the introduction of something new, a change effected by innovating or a change in customs. Innovation also can be defined as a new way of doing something or “new stuff that is made useful”. It may refer to incremental and emergent or radical and revolutionary changes in thinking, products, processes, or organizations. (sources from Wikipedia.com)
Arts, economics, government policy and many other fields, something new, fresh or special must be substantially different to be innovative. The purpose of innovation is positive to become different, to make someone or something better. Innovation is very important in design and art too.
Invention is the act of inventing, or to make up, think of and produce for the first time. An invention is a new composition, device, or a highly creative process. It may be obtained from a pre-existing model, idea or concept. Inventive thinking has always played a greatest importance role in the creative process, so that the inventors should think outside of the box to create and invent a new thing.
Sources from Wikipedia.com and Google.com
Creativity, novelty, innovation
Creative problem solving is the mental process of creating a solution to a problem. It is a special form of problem solving in which the solution is independently created rather than learned with assistance.
Creative problem solving always involves creativity. However, creativity often does not involve creative problem solving, especially in fields such as music, poetry, and art. Creativity requires newness or novelty as a characteristic of what is created, but creativity does not necessarily imply that what is created has value or is appreciated by other people.
To qualify as creative problem solving the solution must either have value, clearly solve the stated problem, or be appreciated by someone for whom the situation improves.
The situation prior to the solution does not need to be labeled as a problem. Alternate labels include a challenge, an opportunity, or a situation in which there is room for improvement.
Solving school-assigned homework problems does not usually involve creative problem solving because such problems typically have well-known solutions.
If a created solution becomes widely used, the solution becomes an innovation and the word innovation also refers to the process of creating that innovation. A widespread and long-lived innovation typically becomes a new tradition. "All innovations [begin] as creative solutions, but not all creative solutions become innovations." Some innovations also qualify as inventions.
Inventing is a special kind of creative problem solving in which the created solution qualifies as an invention because it is a useful new object, substance, process, software, or other kind of marketable entity.
Novelty (derived from Latin word novus for "new") is the quality of being new. Although it may be said to have an objective dimension (e.g. a new style of art coming into being, such as abstract art or impressionism) it essentially exists in the subjective perceptions of individuals.
It also refers to something novel; that which is striking, original or unusual. The term can have pejorative sense and refer to a mere innovation.
Week2
Creative problem solving always involves creativity. However, creativity often does not involve creative problem solving, especially in fields such as music, poetry, and art. Creativity requires newness or novelty as a characteristic of what is created, but creativity does not necessarily imply that what is created has value or is appreciated by other people.
To qualify as creative problem solving the solution must either have value, clearly solve the stated problem, or be appreciated by someone for whom the situation improves.
The situation prior to the solution does not need to be labeled as a problem. Alternate labels include a challenge, an opportunity, or a situation in which there is room for improvement.
Solving school-assigned homework problems does not usually involve creative problem solving because such problems typically have well-known solutions.
If a created solution becomes widely used, the solution becomes an innovation and the word innovation also refers to the process of creating that innovation. A widespread and long-lived innovation typically becomes a new tradition. "All innovations [begin] as creative solutions, but not all creative solutions become innovations." Some innovations also qualify as inventions.
Inventing is a special kind of creative problem solving in which the created solution qualifies as an invention because it is a useful new object, substance, process, software, or other kind of marketable entity.
Novelty (derived from Latin word novus for "new") is the quality of being new. Although it may be said to have an objective dimension (e.g. a new style of art coming into being, such as abstract art or impressionism) it essentially exists in the subjective perceptions of individuals.
It also refers to something novel; that which is striking, original or unusual. The term can have pejorative sense and refer to a mere innovation.
Week2
WeeK 1 - what is Creativity
Creativity is the ability to generate innovative ideas and manifest them from thought into reality. The process involves original thinking and then producing.
The process of creation was historically reserved for deities creating "from nothing" in Creationism and other creation myths. Over time, the term creativity came to include human innovation, especially in art and science and led to the emergence of the creative class.
Creativity comes from the Latin term creō "to create, make". The ways in which societies have perceived the concept of creativity have changed throughout history, as has the term itself. Originally in the Christian period: "creatio" came to designate God's act of Ex nihilo, "creation from nothing." "Creatio" thus had a different meaning than "facere" ("to make") and did not apply to human functions. The ancient view that art is not a domain of creativity persisted in this period.
Main article: History of the concept of creativity
A shift occurred in modern times. Renaissance men had a sense of their own independence, freedom and creativity, and sought to give voice to this sense. The first to actually apply the word "creativity" was the Polish poet Maciej Kazimierz Sarbiewski, who applied it exclusively to poetry. For over a century and a half, the idea of human creativity met with resistance, due to the fact that the term "creation" was reserved for creation "from nothing." Baltasar Gracián (1601–58) would only venture to write: "Art is the completion of nature, as if it were a second Creator..."
The ancient Greek concept of art (in Greek, τέχνη, téchnē—the root of "technique" and "technology"), with the exception of poetry, involved not freedom of action but subjection to rules. In Rome, this Greek concept was partly shaken, and visual artists were viewed as sharing, with poets, imagination and inspiration.
Although neither the Greeks nor the Romans had a word that directly corresponded to the word "creativity," their art, architecture, music, inventions and discoveries provide numerous examples of what today would be described as creative works. The Greek scientist of Syracuse, Archimedes experienced the creative moment in his Eureka experience, finding the answer to a problem he had been wrestling with for a long time. At the time, the concept of "genius" probably came closest to describing the creative talents that brought forth such works.
By the 18th century and the Age of Enlightenment, the concept of creativity was appearing more often in art theory, and was linked with the concept of imagination.
The Western view of creativity can be contrasted with the Eastern view. For Hindus, Confucianists, Taoists and Buddhists, creation was at most a kind of discovery or mimicry, and the idea of creation "from nothing" had no place in these philosophies and religions.
In the West, by the 19th century, not only had art come to be regarded as creativity, but it alone was so regarded. When later, at the turn of the 20th century, there began to be discussion of creativity in the sciences (e.g., Jan Łukasiewicz, 1878–1956) and in nature (e.g., Henri Bergson), this was generally taken as the transference, to the sciences, of concepts that were proper to art.
The process of creation was historically reserved for deities creating "from nothing" in Creationism and other creation myths. Over time, the term creativity came to include human innovation, especially in art and science and led to the emergence of the creative class.
Creativity comes from the Latin term creō "to create, make". The ways in which societies have perceived the concept of creativity have changed throughout history, as has the term itself. Originally in the Christian period: "creatio" came to designate God's act of Ex nihilo, "creation from nothing." "Creatio" thus had a different meaning than "facere" ("to make") and did not apply to human functions. The ancient view that art is not a domain of creativity persisted in this period.
Main article: History of the concept of creativity
A shift occurred in modern times. Renaissance men had a sense of their own independence, freedom and creativity, and sought to give voice to this sense. The first to actually apply the word "creativity" was the Polish poet Maciej Kazimierz Sarbiewski, who applied it exclusively to poetry. For over a century and a half, the idea of human creativity met with resistance, due to the fact that the term "creation" was reserved for creation "from nothing." Baltasar Gracián (1601–58) would only venture to write: "Art is the completion of nature, as if it were a second Creator..."
The ancient Greek concept of art (in Greek, τέχνη, téchnē—the root of "technique" and "technology"), with the exception of poetry, involved not freedom of action but subjection to rules. In Rome, this Greek concept was partly shaken, and visual artists were viewed as sharing, with poets, imagination and inspiration.
Although neither the Greeks nor the Romans had a word that directly corresponded to the word "creativity," their art, architecture, music, inventions and discoveries provide numerous examples of what today would be described as creative works. The Greek scientist of Syracuse, Archimedes experienced the creative moment in his Eureka experience, finding the answer to a problem he had been wrestling with for a long time. At the time, the concept of "genius" probably came closest to describing the creative talents that brought forth such works.
By the 18th century and the Age of Enlightenment, the concept of creativity was appearing more often in art theory, and was linked with the concept of imagination.
The Western view of creativity can be contrasted with the Eastern view. For Hindus, Confucianists, Taoists and Buddhists, creation was at most a kind of discovery or mimicry, and the idea of creation "from nothing" had no place in these philosophies and religions.
In the West, by the 19th century, not only had art come to be regarded as creativity, but it alone was so regarded. When later, at the turn of the 20th century, there began to be discussion of creativity in the sciences (e.g., Jan Łukasiewicz, 1878–1956) and in nature (e.g., Henri Bergson), this was generally taken as the transference, to the sciences, of concepts that were proper to art.
Saturday, July 17, 2010
Creative Enough??
The M200G "personal recreation craft" is a vertical-takeoff-and-landing aircraft (VTOL).
It uses a propulsion system to lift and stabilize itself in the air. There are eight small directional ducted fans each powered by a rotary engine.
Using multiple inertial sensors and accelerometers, a computer monitors and adjusts thrust in each fan as often as 400 times per second to maintain stability and flight.
The craft is limited to flying below 10 feet to eliminate the need for pilot certification.
Source: moller.com
Not Bad - Interesting Site
“Inspired by MoGraph’s new MoDynamics and the excellent possibilities offered by CINEMA 4D’s XPresso and C.O.F.F.E.E. for creating complex setups we created the film ‘No Key-frames’, which is based entirely on automated setups. Each scene represents a specific functionality, which in itself generates interesting effects. The film shows spheres as they travel through various environments, interacting with elements in these
environments and causing different reactions in each of them. Contrary to the approach taken in classic key-frame animation it was important to us to create self-sustaining models whose behavior was controlled by the rules of physics, similar to a real-world physical environment. The results often surprised even us. This film includes a wide spectrum of CINEMA 4D features, which are combined to make the resulting effects even more complex and interesting.”
Monday, June 28, 2010
PUBLIC FIGURE: KIMORA LEE
Kimora Lee Hounsou (born Kimora Lee Perkins on May 4, 1975) is an American fashion model, author, and the president and Creative Director for Phat Fashions. Formerly the Creative Director of Baby Phat, Simmons became CEO of Phat Fashions. In 2007 she produces a reality television show, Kimora: Life in the Fab Lane focuses on her life as a mother and CEO of Phat Fashions. She has also appeared in music videos and was a judge on the first season of America's Next Top Model.
Unfortunately all her triumph didn’t come running to her. It certainly shows that all her hard work, sweat, and blood were not in vain. Her ‘fabulosity’ today mirrors the pain and stumbling block she went through in the past. Now she is deliberated as a fashion setup machine 24/7. She had always been a dominant role model to everyone all over the world; ever seem she became a business magnate or perfectly saying ‘an entrepreneur’.
Personally for me; I think she is a very creative person because she ‘sets the trend and not follow the trend’. Besides, she has her own clothing, jewel, and ext. brands furthermore, she’s a brand herself. I personally think that she has all the quality and personality which a creative person should have. She have always want thing to be different and over the top then everyone else. If we follow the radical growth of her; we are able to notice that she always thinks out of the box and sets the fashion trends for others. She would be the first one who implements new stuff. Whatever she does will definitely be extra-ordinary rather than just ordinary.
Her creativity can be easily seen when she’s at the Red Carpet or Vanity Fair or more obvious at her own fashion runway shows. She rapidly turns-up with such a gouges outfit, which is mind-blowing and simply effortless. Her brain can be renamed as a creative detector; where she’s able to see different things, do things differently than others, getting things done her way and whole lot more you can say. For a mogul like Kimora; every solitary thing is possible. There’s no such thing as impossible in her dictionary.
‘Words are more than just words’. Kimora Lee Kounsou is equals to Novelty, Creativity, Innovative and Inventions.
Sunday, June 27, 2010
Creative Thinking With Leonardo da Vinci
Leonardo's Legacy
Leonardo Da Vinci left us a code of four principles to stimulate and encourage creative genius:
1. Study the science of art.
2. Study the art of science.
3. Develop all your senses especially your ability to see.
4. Study all the above in the light of the idea that everything connects, in some way, to everything else.
Leonardo Da Vinci left us a code of four principles to stimulate and encourage creative genius:
1. Study the science of art.
2. Study the art of science.
3. Develop all your senses especially your ability to see.
4. Study all the above in the light of the idea that everything connects, in some way, to everything else.
Creative Ability
Creative people are typically at least above average in intelligence, but not necessarily extraordinarily so; other factors are as important as their IQ—especially the ability to visualize, imagine, and make mental transformations. A creative person looks at one thing, and sees modifications, new combination, or new applications. For example, a creative product developer for a candy company, wandering through a supermarket's fruit aisle, will visualize new candy flavors, sizes, shapes and even audiences. A designer of educational software strolling through a video arcade might imagine combining two or three games into an effective drill-and-practice spelling game.
Analogical thinking is central to creativity. The creative person "makes connections" between one situation and another, between the problem at hand and similar situations.
Another important talent for creative problem solving is the ability to think logically while evaluating facts and implementing decisions. Sometimes it is even necessary to “find order in chaos.” For example, a creative supervisor grappling with high absenteeism and turnover might go beyond employees' superficial excuses to discover that the true problem is repetitious, meaningless work, and that the best cure is job rotations, modest profit-sharing, or giving workers a greater understanding of how the task fits into the company and the community.
By,
Dr. Davis, professor of educational psychology at the University of Wisconsin-Madison, is author of Creativity is Forever (3rd ed., 1992), Kendall/Hunt Publishers, Dubuque, Iowa.
Analogical thinking is central to creativity. The creative person "makes connections" between one situation and another, between the problem at hand and similar situations.
Another important talent for creative problem solving is the ability to think logically while evaluating facts and implementing decisions. Sometimes it is even necessary to “find order in chaos.” For example, a creative supervisor grappling with high absenteeism and turnover might go beyond employees' superficial excuses to discover that the true problem is repetitious, meaningless work, and that the best cure is job rotations, modest profit-sharing, or giving workers a greater understanding of how the task fits into the company and the community.
By,
Dr. Davis, professor of educational psychology at the University of Wisconsin-Madison, is author of Creativity is Forever (3rd ed., 1992), Kendall/Hunt Publishers, Dubuque, Iowa.
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