Development Of Creative fields over time
A field as defined here is a domain for human activity and engagement, including for example
standard academic fields as well as practical fields like law, medicine, design, and fields of
technology. In the model in this paper, the field is defined in terms of the body of knowledge
and elements or products that have been created in the field up to that point. The field begins
from an initial state and grows as individuals enter the field and make new contributions; its
basic structure resembles a lattice. New elements are created via combining preexisting
elements, based on specific rules for combinations; thus I follow much of the creativity
literature in defining creativity as creating novel conceptual combinations. The heart of the
model is a rational, optimizing model of individual creative development, in which individuals
have as their aim maximizing the expected value of their contribution to the field. An individual
selects an initial set of elements in the field to learn, then gains intuitive signals about
potentially fruitful new combinations based on this learning set, selects additional elements to
learn, and finally chooses a potential new element to attempt to make. If the element is viable,
it is added to the field, together with any sub bundle elements co-created with it. The
simulation analysis reveals a rich set of empirical predictions about the development of fields
through this process. A first striking find is the diversity of possible paths of development
starting from a given initial state. The intuitive signals individuals receive are an important
factor in generating this diversity, as signals lead individuals to attempt to make elements they
might otherwise not pursue, thus shaping the development of the field in important ways. The
results also reveal a high degree of path dependence, generated as individuals build on the
work of their predecessors, and interesting temporal patterns for how output in one period is
linked with what occurred in the previous period.
Introduction
In this paper, I present a model of the creative development of a field. The field is defined as an
explicit knowledge structure that starts from a simple initial state, then develops through the
series of creative contributions made by successive individuals who enter the field. New
elements are added by combining preexisting elements in new combinations. The heart of the
model is a rational, optimizing model of individual creative development. Individuals have initial
“seed” learning, then gain intuitive signals about potentially fruitful new combinations of
elements or sub-topics in the field; their signals guide them as they choose further elements to
learn and then a new element to attempt to make, basing their choices on expected value
calculations. When an individual is successful in his project, the new element he creates is
added to the field. The field thus grows over time.
I present an analysis of the model’s implications based on extensive simulations. A striking
finding is the diversity of possible paths of development starting from a given initial state, in
simulations hundreds of paths even for very simple initial conditions. In addition, the results
show very substantial path dependence in how a field develops, as individuals build on the
work of their predecessors. The results demonstrate the importance of intuitive signals that
guide individuals in generating this diversity of paths, for many paths are generated in the full
model with signals that are not created in a null “clean” model in which there are no signals.
The model predicts distributions for output and the number of elements created over time. I
also explore the dynamics of growth, including how expected output in a period depends on
the choices and outcome of the preceding period, generating implications about the time series
properties of output in the development of a creative field.
(Feinstein 2011), although focus more on the creative process and less on resource limits on
the development of new ideas.
It is a model of a field so that new ideas are generated in the context of the field (for a recent
different formal model of the development of a field see Bramoullé and Saint-Paul 2010). In
turn, this allows a representation of how knowledge in a field grows over time, and reveals the
structure of the field in terms of how new ideas are generated based on and in relation to older
ideas.
The definition of creativity as novel conceptual combinations is at the core of
many definitions of creativity. In the psychology literature on creativity, it is
the essential idea in the principle of spreading mental activation generating
novel creative ideas by linking elements that are not typically associated in
ordinary, narrower trains of thought. Kenett et al. (2014) show that
individuals who are rated as more creative generate word associations that
produce wider lateral neural networks as opposed to individuals rated less
creative who generate narrower more rigid networks. Lindell (2011) reviews
the literature on network activation and argues the evidence shows that more
creative thinking is associated both with the right hemisphere—typically
associated with wider, less analytic processing, and with networks that cross
the two hemispheres (right and left) thus are quite wide.
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Evaluation of Interior Designing
A theme, or style, is an idea that is consistently utilized throughout
the whole room, creating the feeling of unity. A design idea
includes substantially more profound knowledge of the customer’s
socio-cultural and the architectural context. These design ideas
will generally follow a specific period style. In the previous fifty
years, interior design and home decor theme have changed
massively. With the presentation of new technology, textures and
items, it is just common that designs will develop with the
utilization of these new materials.
Rococo
Renaissance
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