Archive for the ‘Creativity’ Category

The Intern Menace

Thursday, 19 January, 2012

Spent a fun lunchtime today with our group of a dozen or so summer interns at work, helping Andrew S. show them how to swede a movie. We’re running a short film competition for the interns, with fabulous prizes for the best film. The idea is to get them to use cool Canon equipment and have some fun.

So today we gave them a lesson in how to make a short film. And to do so, we recreated Star Wars Episode I: The Phantom Menace. From the collective memory of the interns (without help from Andrew and me, and without any reference to a script or other material). And we shot the whole thing in one lunchtime.

We did a total of 16 scenes. Jar Jar died in the third scene. Palpatine became President of the Galaxy by winning a “Ben Hur” race, when Qui-Gon and Obi-Wan’s ship crashed into R2-D2 just before the finish line. But the people weren’t happy and attacked Palpatine in a mass fight scene. And in the final scene, Jar Jar came back to life, but Qui-Gon and Mace Windu killed him again.

We filmed it on the lawn in front of our building. Several onlookers were eating lunch nearby – I hope we kept them entertained!

Imagination in adults

Wednesday, 11 January, 2012

I recently read this question and answers in “The Last Word” column in New Scientist. I had to type it out and share it. This is a selected extract of the answers, with my emphasis added.

Question: Why are adults and teenagers less imaginative than children?

Answer 1:
I’m assuming that by “imaginative”, the questioner is thinking of such things as “if you plant budgie seed, do budgies grow?” If an extra-terrestrial asked such a question, you wouldn’t think they were imaginative, you would think they had limited understanding and experience of life on Earth, or perhaps the strangeness of the English language.
If imagination is what produces inventive, speculative fiction, and then turns that fiction into a reality, then it is a quality that is not lost as people get older.

Answer 2:
The answer is that they are not. Children are happy to imagine a fat gentleman can make a single sledge pulled by reindeer fly and become capable of delivering presents to half the world’s children, that the said gentleman is capable of stuffing himself and these presents down chimneys far too restrictive to accommodate either him or the presents, and all this in the space of 24 hours. Adults can still imagine this, but are more sceptical.
Children show no inhibition in putting their imagination into words because even if their propositions are outrageous, they will be indulged by adults. Adults keep theirs to themselves because they know they will be either exploited, challenged, laughed at, or arrested.

Answer 3:
Many young children’s imaginative observations and questions are to do with not understanding how such things as behaviours, objects, and processes are categorised. As we grow we learn a staggering array of social and physical facts: trees cannot walk, fish do not arrange birthday parties, and so on.
Asking “imaginative” questions that are across categories is critical for learning about how the world works and is, fortunately, seen as charming in small children. However, in older children similar observations may be seen as “proof” that basic understanding about how objects, animals, or processes work or are categorised hasn’t been learned. As a result, the child may be teased or told off for being babyish or silly.
Our socio-cultural system values logical, rational, linear thinking higher than intuitive, divergent, imaginative thinking – unless someone has made a lot of money from being imaginative with a novel, film, or invention. People who think “sideways” or in imaginative ways are frequently dismissed or admonished by peers, parents, and teachers for trivialising, daydreaming, or messing about. They are not being s sensible, serious, or responsible grown-up. As no-one likes to be a social outcast, most people censor and inhibit their “silly” or imaginative thoughts.
Imaginative thinking like any other kind of thinking is a skill and it atrophies with lack of use. This is why so many adolescents and adults are perceived as being less imaginative than children.
Those of us who continue to work with imaginative thinking throughout our lives can comfortably give 5-year-olds a run for their money. Real creative thinking – whether in art, literatures, science, or engineering – demands we play with and deliberately mix up categories and types to come up with new ways of seeing existing situations or problems.

To this I add:
Revel in your imagination. Revel in the fact that it is more mature and knowledgeable than the imagination of a child, and thus can come up with far more interesting flights of fancy and can lead to creative output of high quality. Exercise it. Imagine something weird, strange, or amazing every day.

And, at least occasionally, do something with those imaginings. Turn them into projects, or artworks, or writing.

You don’t have the excuse that you’re not as imaginative as a child.

CiSRA Puzzle Comp 2011

Monday, 25 July, 2011

The fruits of many days of labour by me and my friends at work are now available to the public in the 5th annual Cisra Puzzle Competition! The first group of 4 puzzles were released today, and four more groups are released in the week beginning Monday 8 August. Australian students (if there are any reading this) can win prizes of digital cameras, but anyone can enter. If you enjoy a good puzzle, please check it out!

Science and Imagination

Thursday, 19 May, 2011

The perception of truth is almost as simple a feeling as the perception of beauty; and the genius of Newton, of Shakespeare, of Michael Angelo, and of Handel, are not very remote in character from each other. Imagination, as well as the reason, is necessary to perfection in the philosophic mind. A rapidity of combination, a power of perceiving analogies, and of comparing them by facts, is the creative source of discovery. Discrimination and delicacy of sensation, so important in physical research, are other words for taste; and love of nature is the same passion, as the love of the magnificent, the sublime, and the beautiful.

- Humphry Davy, chemist and poet, 1807.

Retro Digital Photography

Thursday, 23 September, 2010

I was discussing photography with friends at lunch today, specifically this article about attaching a 102-year-old movie camera lens to a Canon 5D Mark II digital SLR. The sample photos on there are very cool looking.

We talked about the trend for photographer to try to emulate the look and feel of old-time film photography. You can of course create some of the old-time photo effects on a digital image with Photoshop. Some people actually go out now and buy cheap and crappy film cameras and take photos with them, and scan them in to share online. That’s cool and good and all. But we pondered reproducing the experience of film photography with a digital camera.

Consider a Canon 5D Mark II. If you shoot in RAW mode (as I do with mine), each image file is about 20 megabytes. You find you need multi-gigabyte memory cards to hold a decent number of photos. But maybe you have an old 512 MB card lying around from an earlier camera. That will hold… 25 photos, give or take a couple depending on what you’re shooting and the file compression ratios. A common number of exposures on a roll of film was 24 (and you could usually squeeze a 25th shot in).

And so was born the idea. Take your fancy-shmancy digital camera and a memory card just big enough to hold roughly 24 photos. Go out shooting, without any other memory cards. Do not delete any shots you take until you get home. Post all the shots from your “roll of film” to your photo sharing site.

This puts you into the mindset of film photography. You only have 24 shots, and you better try to make each one count.

And then we went a step further. For a real challenge, find a 32 MB card (or appropriate size for your camera), which will hold only one photo (in RAW format). Go out shooting without any other memory cards. This time, you’re allowed to delete any photos you take. But you only get to come home with one shot. If you think you can improve on the shot on your card, you can erase it and take another photo. if you think you’ve got the best shot of the day, keep it until you go home.

If you try either of these ideas, please point me at the results.

Ma Mignonne

Monday, 19 July, 2010

I’ve begun reading Douglas Hofstadter’s book Le Ton Beau de Marot. I’m barely one chapter in, and I’m starkly reminded of just how much hard work it was to read through his earlier book, Gödel, Escher, Bach. That book required a clear state of mind, full concentration, and a considerable amount of cogitation and effort to read, to absorb, and to appreciate.

This new book is about translation between languages and the intricate interplay of semantic and structural difficulties that this problem brings to anyone who tries to do it. The book is framed around a French poem, Ma Mignonne, by the 16th century poet Clément Marot. Without having “cheated” by glancing past the first chapter, I understand that the book will present dozens of different translations into English of this one short poem, accompanied by discussions of the issues involved and the adjustments that need to be made to make one language conform to both the shape and the meaning of another.

So at the end of Chapter One, which presents a brief outline of Marot’s life, Hofstadter presents the original Ma Mignonne in French, then a handful of translations into English. These translations are more or less literal, conveying much of the meaning of the poem but failing to reproduce its structure. The chapter ends with a request to the reader to attempt your own translation of the poem into English, assuring you that you already know enough to make a first attempt. Yes, just like GEB, this book asks you to do homework. And in all fairness to the book and to Professor Hofstadter, I feel compelled to complete the homework before continuing to Chapter Two.

So I’m about to present my translation of Ma Mignonne. But first, the original poem for anyone who has never seen it:

A une Damoyselle Malade

Ma mignonne,
Je vous donne
Le bon jour;
Le séjour
C’est prison.
Guérison
Recouvrez,
Puis ouvrez
Votre porte
Et qu’on sorte
Vitement,
Car Clément
Le vous mande.
Va, friande
De ta bouche,
Qui se couche
En danger
Pour manger
Confitures;
Si tu dures
Trop malade,
Couleur fade
Tu prendras,
Et perdras
L’embonpoint.
Dieu te doint
Santé bonne,
Ma mignonne.

Here is the basic, literal translation that Hofstadter provides to get you started in understanding what this poem says:

To a Sick Damsel

My sweet
I bid you
A good day;
The stay
Is prison.
Health
Recover,
Then open
Your door,
And go out
Quickly,
For Clément
Tells you to.
Go, indulger
Of thy mouth,
Lying abed
In danger,
Off to eat
Fruit preserves;
If thou stay’st
Too sick,
Pale shade
Thou wilt acquire,
And wilt lose
Thy plump form.
God grant thee
Good health,
My sweet.

Hofstadter explicitly points out the following points of structure for this poem in Chapter One:

  • The poem is 28 lines long.
  • Each line consists of three syllables.
  • Each line’s main stress falls on its final syllable.
  • The poem is a string of rhyming couplets: AA, BB, CC, …
  • The semantic couplets are out of phase with the rhyming couplets: A, AB, BC, …
  • Midway, the tone changes from formal (“vous”) to in­for­mal (“tu”).
  • The poem’s opening line is echoed precisely at the very bottom.
  • The poet puts his own name directly into his poem.

His literal translation clearly violates most of these. He does not ask that translators adhere strictly to all of these points, but wants to make sure you’re aware of them so that if you break one, you’re doing it knowingly.

I now offer my own translation, in which I have attempted to satisfy as many of the structural elements as I can, but sacrificing some slight changes in exact semantic meaning to achieve this. This is entirely my own work. I have not yet read beyond Chapter One of Le Ton Beau de Marot, nor have I sought or seen any other attempted translations of this poem online yet – though I have no doubt at all that hundreds of them must exist as other readers attempt this task and share their efforts. So it is a wholly original composition, but I would not be surprised if some lines echo lines in other people’s versions. Without further ado:

To A Sick Girl

My dear child,
Such a mild
Day outside:
Time you bide
Is duress.
I do bless
Your swift cure,
Then the lure
Of fresh air
Shows you where
You should be;
David’s plea
Is just this.
Go, young miss
Of sweet tooth,
Ill in truth,
Under threat,
Off to get
Marmalade;
A pale shade
You will gain,
If your pain
Lasts too long,
And your strong
Form will flee.
God’s grace be
On you smiled,
My dear child.

Right. Homework completed. On the Chapter Two!

Fan vitriol

Tuesday, 1 June, 2010

Being one of the creators of Darths & Droids, I take some time every now and then to trawl forums and blogs for new comments and reviews of the comic. The comments are generally good, although there are the odd few people who say, “I looked at it, it sucks.” But we can live with those.

One interesting trend I’ve noticed is just how much people seem to hate the Star Wars prequels. I mean not just dislike but actively hate. As in they think George Lucas went back in time and raped their childhood and shot their dog and the prequel films should be burnt, stabbed through the heart with a stake, and buried at a crossroads.

The slightly disturbing thing about this (besides that these people should try directing their passion into something positive for a change) is that it’s instantly leapt to when Darths & Droids is mentioned. A typical mention goes something like this:

Hey, check out this webcomic. It’s hilarious and it actually makes the prequels entertaining. This is the only possible justification for the existence of the prequels. Ha ha! look at the fun they’re poking of the stupid prequels! Hilarious!

Now, while it’s nice to have a reason why people like our comic, this actually worries me a bit. Because another thing that many of these posts seem to do is assume that we’re making fun of the prequels. As in just the prequels. I fear that many people haven’t read the FAQ, in which we state that we have a storyline plotted for all six movies.

What’s going to happen when we reach the end of Episode III, and start on Episode IV? Are people suddenly going to think we’ve stopped poking fun at the hated prequels and are now desecrating the original classics? I don’t know.

I’m not poking fun at the prequels because I hate them. They’re not masterpieces, and there are certainly groanworthy moments that are difficult to watch, but they’re still fun if you don’t treat them like they’re supposed to be the ultimate expression of cinema. I prefer the original trilogy, but I wonder how much of that is just nostalgia. There are also cringeworthy moments in those films.

As a resource for making the comics, we drew up a list of “Stupid things we need to explain” for each movie. People seem to think it’s hilarious when we point out how stupid something is in one of the prequels. Plot holes, bizarre character actions, ridiculous technology that defies physics and/or common sense, and so on. But you know what? We have lists of pretty much the same length of things just as stupid in each of the original trilogy films. When we use these to point out something silly in the original films and make jokes about it, what are the readers going to think?

Honestly, I wouldn’t be at all surprised if our readership dropped by half or more when we move from the prequels to the original trilogy. I hope it doesn’t, and that the story we are telling keeps readers hooked, and that the majority of people approach it with the same view of affectionate parody that we’re actually aiming for in the prequels, and stay to enjoy it. But I’m not sure that will happen. We’ll just have to wait and see.

Relaxing

Tuesday, 25 May, 2010

I was just thinking when was the last time I got home from work and did nothing but slump on the lounge and watch TV all night. Or at least the equivalent – just relaxing and essentially doing nothing but passive activities. And I can’t recall the last time that happened.

I’m always buzzing around, doing stuff. Making comics, or writing annotations, or composing puzzles, or tinkering away with code, or doing some 3D rendering – or writing blog posts. Occasionally I’ll do some housework or home maintenance stuff, or if I get really wacky I’ll start pulling out ingredients and make a batch of cookies or something. If I really don’t feel like doing any of those, and it comes down to the last resort, I go through my collection of unprocessed photos and play with them in Photoshop and post some to my Flickr page.

I don’t just kick back and say, “What’s on TV?” I watch some TV, when I know there’s something on that I want to watch. But I never channel surf. I’ve always got half a dozen more interesting things to do.

I’m beginning to think that for me, noodling around, playing with ideas, making things, doing creative activities – is relaxing. Sitting in front of a TV isn’t.

100 ideas in 100 days

Wednesday, 28 April, 2010

I’ve said before that not everyone can make a webcomic. Oh, plenty of people say they could make one if they wanted to. They say they’ve got loads of ideas, and all they have to do is put them together and post them. Only they don’t actually put them together and post them. Because that’s the hard part – actually doing the work. Coming up with the ideas is the easy bit.

This is not to denigrate the generation of ideas. That can be tricky if you’re not used to how your own creative juices flow and to capturing those fleeting thoughts we all have dozens of times a day. There is a skill involved in that. But the point is that if you’re tuned in to your idea generation engine (i.e. your imagination), then you can generate lots of ideas pretty easily.

Olaf Solstrand is in the middle of posting 100 ideas in 100 days on his blog. Not any old ideas. Ideas for webcomics. A hundred different ideas for webcomics. Some of them are so good that I want to run out and do them. Except I don’t have the time.

If you’re sitting there thinking you could do a webcomic, grab one of Olaf’s ideas and run with it. No, seriously. I’d like to see some of those turned into comics. There are ideas in abundance. What we lack is the time and resources needed to make them into finished products.

This is the lament of creative people.

Vetting Ideas

Sunday, 25 April, 2010

At my work recently we had a staff competition to design creative new features for digital cameras. I briefly thought of entering, but didn’t in the end. This resulted in me being approached to act as one of the judges (of five).

The judging process was interesting. One overriding criterion was that the ideas had to be novel. We work for Canon, an electronic imaging company, so the competition was strongly aligned to our corporate strength, and the goal was to encourage new ideas that could potentially be converted into real, new products. So the novelty criterion was primary. Anything that other camera companies had done was out. Anything that someone had patented already was out. Anything that had been described in a scientific paper, or advertising, or even on someone’s blog, was out. The ideas had to be something that, as far as we could discover, nobody had ever presented before.

Once we’d eliminated anything that we could find prior presentations for, we had to decide the ranking of ideas in order of various creativity and practicality criteria. And this is where the arguments started. (Well, there was no shouting or anything, it was more like spirited discussion. The whole judging process was handled well by all involved.) The disagreements centred on whether people thought certain ideas were “cool” or “I’d never use that feature” or “this would actually be annoying if my camera did this”.

There were a couple of ideas that two of the judges thought were really creative and clever and that people would love, but which other judges just thought were ridiculous and that nobody would ever want such a feature on a camera. The point here, as we more or less agreed after some discussion, was that the market for cameras is huge, and is extremely diverse. What a serious amateur wants on a camera to take artistic photos is very different from what a teenager wants on a camera to take snapshots to post on Facebook. One idea in particular, a couple of judges were naysaying, claiming that such a feature would just annoy the user and nobody would ever buy a camera with that on it. I and another judge countered that teenagers and kids would positively love it, and would actively seek such cameras.

Bringing this back to my topic, in general ideas aren’t universally good or bad. Just because someone doesn’t like your idea doesn’t mean it’s a bad idea. People like finding faults in things, they like deconstructing them and picking all the bits that don’t appeal to them. This is not to say that your idea is brilliant – it might actually be a bad idea – but just that you shouldn’t dismiss it on the opinion of one person. There may well be an audience out there for it somewhere. If you think it’s worth pursuing, then that’s one person who appreciates it. And where there’s one, there can be more.