Surprise and design creativity: investigating the drivers of unexpectedness

Becattini, Niccolò; Borgianni, Yuri; Cascini, Gaetano; Rotini, Federico

doi:10.1080/21650349.2015.1090913

Cited by 19 publications

(22 citation statements)

References 32 publications

(34 reference statements)

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“… Visual aspects play a role in people's behaviour and products' acceptance, as stressed particularly by Haug (2016).  A consumer's purchase decision is affected by the psychological response induced by a product's aesthetics (Chen and Chang, 2016), which may give rise to different perceptions according to the way a product is observed and experienced.…”

Section: Literature Gap and Importance To Address Itmentioning

confidence: 99%

“…Evaluations are valuable especially if designs exhibit remarkably unusual features or structural elements. Those are indeed featured by the chance to conflict with habits (Becattini et al, 2017) and give rise to bewilderment. In this context, the importance of designs' evaluation is stressed by Arrighi et al (2015), who hypothesize that it is possible to improve designs and save resources with an earlier involvement of the user in the design process.…”

Section: Introductionmentioning

confidence: 99%

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An Eye-Tracking Supported Investigation Into the Role of Forms of Representation on Design Evaluations and Affordances of Original Product Features

Berni

Maccioni

2020

Proc. Des. Soc.: Des. Conf.

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The paper investigates the relationship between the forms through which products are represented and the outcomes of evaluations made by observers. In particular, the study focuses on perceived affordances of creative designs, meant as the capability of capturing original elements and corresponding functions, for products presented through static images or videos. Also thanks to the use of Eye Tracking, the experimental results show how dynamic effects that involve salient aspects of products, as well as creative features, are critical to observers’ capability of capturing design intentions.

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Section: Literature Gap and Importance To Address Itmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

An Eye-Tracking Supported Investigation Into the Role of Forms of Representation on Design Evaluations and Affordances of Original Product Features

Berni

Maccioni

2020

Proc. Des. Soc.: Des. Conf.

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“….) (Wiggins, 2006;Macedo et al, 2009;Thagard and Stewart, 2011;Becattini et al, 2017) as well as the reception of the artistic output (e.g., awe, being moved, thrills) (Konečni, 2005;Schubert, 2009Schubert, -2010Schubert et al, 2016). Fortunately, there is a straightforward theory about the underlying mental mechanism of positive affect that has been applied to the spreading activation model.…”

Section: The Dilemma Of Usefulness In Creativitymentioning

confidence: 99%

“…There is a growing body of evidence that the mental processing and outcomes of creativity generate positive affect ( Russ, 1999 ; Henderson, 2004 ; Amabile et al, 2005 ; Bledow et al, 2013 ; Tavares, 2016 ; Gu et al, 2018 ). Positive affect is a broader concept than satisfaction, incorporating experiences reported as a result of the creative process (such as “aha,” “wow,” surprise, …) ( Wiggins, 2006 ; Macedo et al, 2009 ; Thagard and Stewart, 2011 ; Becattini et al, 2017 ) as well as the reception of the artistic output (e.g., awe, being moved, thrills) ( Konečni, 2005 ; Schubert, 2009-2010 ; Schubert et al, 2016 ). Fortunately, there is a straightforward theory about the underlying mental mechanism of positive affect that has been applied to the spreading activation model.…”

Section: The Dilemma Of Usefulness In Creativitymentioning

confidence: 99%

Creativity Is Optimal Novelty and Maximal Positive Affect: A New Definition Based on the Spreading Activation Model

Schubert

2021

Front. Neurosci.

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Creativity is commonly defined as a process that leads to a novel and useful outcome (an idea, product, or expression). However, two dilemmas about this definition remain unresolved: (1) A strict application of usefulness is difficult to apply to artistic works: who decides what artwork is useful, and how it is useful? (2) The implied boundary conditions of novelty are problematic: The default perspective is that novelty has a monotonic increasing relationship with creativity, or it is categorical—i.e., novel or not. To address these dilemmas, this paper proposes a spreading activation model of creativity (SAMOC), a model built on a brain-architecture-inspired vast interconnected network of nodes, each node representing information, and assigned meanings through interaction with the environment. Nodes are linked to each other according to principles of temporal contiguity (linking objects/events in time) and similarity (linking objects/events by shared features). A node activated by attention spreads through the network through previously linked nodes. Nodes that are well connected activate each other easily, while those that are weakly connected do not. Net total activation corresponds to positive affect (e.g., pleasure), and this is proposed as an essential criteria for a creative work of art, instead of usefulness. SAMOC also predicts that creativity will be optimized at an intermediate, not extreme, level of novelty. Too much activation will occur with the activation of preexisting ideas (hence reproduction rather than creativity), and too much novelty will not produce spread of activation. The two functions (spreading activation and the novelty curve) are superposed to demonstrate this optimal novelty hypothesis. Early evidence of the hypothesis comes from the data that some great works of art were critically rejected at premiers (suggesting excessive novelty), but after sufficient repetition (and therefore linking) became suitably associated and commenced generating activation. The hypothesis has important implications for future empirical research programs on creativity, and for the definition of creativity itself.

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“…Sarkar & Chakrabarti (2011) proposed a first scale to evaluate the level of novelty of a product based on different combinations of the previous factors and later, Jagtap (2016) proposed a modification to that scale to incorporate more levels. In terms of surprise, Becattini et al (2017) have proposed the most complete classification to date, of factors affecting the surprise triggered by products. They propose 3 main categories:…”

Section: Novelty Of Tangible Productsmentioning

confidence: 99%

On the Novelty of Software Products

Beghelli¹,

Jones²

2020

Proceedings of the Sixth International Conference on Design Creativity (ICDC 2020)

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The identification of the key factors that make a tangible product creative has been the focus of significant research in the area of design. However, the same effort for software products is almost non-existent. With the ever-increasing importance of software applications in day-to-day life, such endeavour becomes more necessary. In this paper we report on preliminary results that build on our understanding of how we evaluate the creativity of tangible products, to identify key criteria that can be used in assessing the creativity of intangible software products. We argue that this provides a basis for designers to work together with software developers in pushing the boundaries of software innovation.

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Surprise and design creativity: investigating the drivers of unexpectedness

Cited by 19 publications

References 32 publications

An Eye-Tracking Supported Investigation Into the Role of Forms of Representation on Design Evaluations and Affordances of Original Product Features

An Eye-Tracking Supported Investigation Into the Role of Forms of Representation on Design Evaluations and Affordances of Original Product Features

Creativity Is Optimal Novelty and Maximal Positive Affect: A New Definition Based on the Spreading Activation Model

On the Novelty of Software Products

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