The New Writing Environment 1996
DOI: 10.1007/978-1-4471-1482-6_9
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Designs for New Writing Environments

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Cited by 5 publications
(4 citation statements)
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“…The first question that comes to mind on examining the results is on how these pre-adolescents and adolescents could produce such a scathing critique of the Anthropocene. The mandate given in the book authoring program which provided the boundaries for their creative endeavour (Sharples, 1996) was broad i.e. the books had to be around Tamil Nadu/ Chennai and rooted in their nature experiences.…”
Section: Discussionmentioning
confidence: 99%
“…The first question that comes to mind on examining the results is on how these pre-adolescents and adolescents could produce such a scathing critique of the Anthropocene. The mandate given in the book authoring program which provided the boundaries for their creative endeavour (Sharples, 1996) was broad i.e. the books had to be around Tamil Nadu/ Chennai and rooted in their nature experiences.…”
Section: Discussionmentioning
confidence: 99%
“…The need for quantitative validation of factors like originality, versatility, and impact is evident (Dwivedi et al, 2023). Sharples (1996) highlighted the significance of an unrestricted environment that fosters unconstrained thinking, promoting creative writing. This assertion was subsequently explored by Zedelius et al (2021), who arrived at parallel conclusions with Sharples (1996).…”
Section: Hypothesis Developmentmentioning
confidence: 99%
“…Sharples (1996) highlighted the significance of an unrestricted environment that fosters unconstrained thinking, promoting creative writing. This assertion was subsequently explored by Zedelius et al (2021), who arrived at parallel conclusions with Sharples (1996). They underscored the adverse impact of constraining free thought by furnishing predefined content, as it could potentially introduce bias and hinder the creative thinking process.…”
Section: Hypothesis Developmentmentioning
confidence: 99%
“…A conceptual space can be explored by testing the sounds by the existing constraints. Sharples (1996) In this way of constructing a city space for musical execution, the co-creators soon learned how in different ways make use of the space for exploring and designing their sound scape (Figure 6).…”
Section: Sentence No: 29mentioning
confidence: 99%