Creative Commons and Appropriation: Implicit Collaboration in Digital Works

Skains, R. Lyle

doi:10.3390/publications4010007

Cited by 3 publications

(5 citation statements)

References 18 publications

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“…This method is applied to original investigations seeking new knowledge through practice and its outcomes and forms the foundation of the method used for this article. This method is detailed more thoroughly in Skains 2016a.…”

Section: Methodsmentioning

confidence: 99%

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The materiality of the intangible: Literary metaphor in multimodal texts

Skains

2017

Convergence: The International Journal of Research into New Med

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Based on a larger practice-based research project in digital writing, this article examines how the materiality of digital media contributes to a layered metaphor that delivers meaning, reflects on the cognitive processes (the writer's and the reader's) of navigation and generates a dynamic narrative structure through multimodality, unnatural narration and user interaction. Many writers and artists engage with their chosen medium through an instinctive understanding of the materials at hand, gained through experience; the explicit study of a medium's materiality is not always required for artistic success, however, that may be judged. This article offers insights into the creative process of creating digital, multimodal fiction, based on a practice-based research project designed to explore the effects of digital media on author and text, and argues that digital media have a significant effect on the outcome of the artefact itself. Awareness of these effects, their variations according to hardware and software, and the affordances of these various materials offer the digital writer greater insight and capability to craft his/her texts for the desired metaphorical meaning.

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Section: Methodsmentioning

confidence: 99%

“… 5. These cognitive effects on the writer’s practice have been described in more detail in Skains, 2016b and 2017a. The process of writing through Inform7 is explored in Skains (2016a). …”

mentioning

confidence: 99%

The materiality of the intangible: Literary metaphor in multimodal texts

Skains

2017

Convergence: The International Journal of Research into New Med

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“…Empirical studies on these cognitive processes have been conducted by [73,74]. In relation to authoring see for example [75]. Finally, both creator and receiver do not exist in a vacuum but share a social environment which adds extra structures to the narration process.…”

Section: Narrative and Narrationmentioning

confidence: 99%

Interactive digital narrative (IDN)—a complexity case

Nack

2022

New Review of Hypermedia and Multimedia

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Any form of design 1 is a creative process considering goals and constraints that result in a product, which addresses aesthetic, functional, economic, or socio-political considerations that are established by the stakeholders involved. A design can follow two main development paradigms, namely a rational or action-centric model [1]. The rational model is plan-driven, where the plan is executed in terms of a discrete sequence of stages, such as pre-production (i.e. design brief, analysis of design goals, requirement specification, conceptualising solutions), production (i.e. development and testing), and post production (i.e. introducing the solution into the environment, evaluation and conclusion). This procedural view 2 allows for the repetition of stages at any time before, during, or after production based on accompanying best practices [2][3][4][5][6][7]. The rational paradigm understands design as informed by research and knowledge in a predictable and controlled manner. The action-centric paradigm apprehends design also as informed by research and knowledge but considers the design process as improvised, where the sequences of analysis, design and implementation are undistinguishably connected [8][9][10][11][12][13]. Within action-centric design designers conceptualise a problem (framing) by defining goals and objectives and then construct tentatively the object to be designed (move). The design process here asks the designer to simultaneously refine the mental image of the design object based on the actual perception of the context in and for which it needs to be designed (sensemaking-coevolution-implementation framework [11]). The expression of the idea through suitable design tools facilitates the critical rethinking of the perceived idea, which results in a new design cycle. The essential element in action-centric design, actually the development of any design idea, is the means of expression and perception to facilitate a space for inspiration, ideation, and implementation through which the designer refines ideas and explores new directions [12]. This way of looking at design is known as design thinking [13]. Both paradigms are essentially human-centred, in the way that they see human needs, competences (cognitive as well as knowledge) and behaviour as the basis of the investigation and only then design to accommodate those [4]. At its core, all design is experiential and that is why all design addresses fundamental concepts, such as affordance, mapping, feedback, conceptual models, and system image. Affordance refers to the relationship between the properties of an item and the capabilities of an agent that establish how that item can be used or understood. Mapping represents the relationship between the elements of two sets of items (i.e. the layout of controls and the devices being controlled). Mappings represent analogies, which can be spatial, biological, cultural, or follow principles of perception (such as Gestalt psychology) to facilitate grouping through proximity. Feedback communicates the r...

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“…For instance, a wholly serendipitous connection necessitated a significant refinement to my research question, presenting a previously unconsidered angle -How does appropriation affect narrative? -as I discovered that appropriating the digital resources available online significantly affected my creative artefacts, and determined to dig deeper into what those effects were (Skains 2016a). Again, the need to remain open to these serendipitous connections throughout the practice-based project is essential, as is the habit of recording even the mildest of these mental connections so they may be examined in more depth later.…”

Section: Form Argument Leading To Exegesismentioning

confidence: 99%

“…S. Makri & Ann Blandford (2012a;2012b) outline a model identifying this cognitive process as something more than luck; rather, it is the convergence of the knowledge and experience to make the mental connection and to recognise the significance of that connection, with the skills necessary to exploit the connection and produce a worthwhile outcome or artefact. Serendipity is likely behind the advent of many narrative evolutions, such as the combination of genres into new forms (technoir, space opera); the concept also enabled me to analyse the effects of digital appropriation in my multimodal fiction, digging deeply into how an idea developed and evolved through the processes of creation (Skains 2016a).…”

mentioning

confidence: 99%

Creative Practice as Research: Discourse on Methodology

Skains

2018

Media Practice and Education

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In recent years artistic practice has developed into a major focus of research activity, both as process and product, and discourse in various disciplines have made a strong case for its validity as a method of studying art and the practice of art. This paper presents a methodological approach to creative practice as research, and includes an overview of the different types of practice-related research currently undertaken across a variety of disciplines; discussion of the purposes and applications of creative practice research; and the Practitioner Model of Creative Cognition sample methodology I developed through my own creative practice research. The online version of this paper 1 is a living discussion of practice-based methodologies in creative practice research, included as part of the special issue The Disrupted Journal of Media Practice, and invites reader contributions and discussion for future revisions.

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Creative Commons and Appropriation: Implicit Collaboration in Digital Works

Cited by 3 publications

References 18 publications

The materiality of the intangible: Literary metaphor in multimodal texts

The materiality of the intangible: Literary metaphor in multimodal texts

Interactive digital narrative (IDN)—a complexity case

Creative Practice as Research: Discourse on Methodology

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