Figure *- The legs are eliminated but their function is still present

Creativity in Advertising

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Figure *- The legs are eliminated but their function is still present

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Table 2: Idea Ratings for the Four SourcesCreativity Ratings Mean S.D.Winning Ads 3.26 .49Magazine Ads 2.88 .55Routine-Generated Ads 2.89 .48Laymen-Generated Ads 2.22 .43

Originality Ratings Mean S.D.Winning Ads 3.33 .55Magazine Ads 2.85 .58Routine-Generated Ads 2.89 .54Laymen-Generated Ads 2.22 .46

Table 3: Idea Ratings Based on Template UtilizationCreativity Ratings Mean S.D.Non-Template Ads 2.63 .62Routine-Generated Ads 2.89 .48Other Template-Based Ads 3.34 .35 Originality Ratings Mean S.D.Non-Template Ads 2.66 .70Routine-Generated Ads 2.89 .54Other Template-Based Ads 3.28 .43

Examples of Replacement computer produced ideas

Image of Apple Computer Terminal/ handing of Flowers (for advertising Apple computers friendliness)

Texture of Tennis Ball / Temple Mountain Mosque (for advertising World Cup Tennis Tournament in Jerusalem).

Shape of Plane/ Coo-coo in Coo-coo Clock (for advertising the time accuracy of a flight company).

Picture of Jeeps/ Speaking in Sign Language (for silent car engine) shape of car/ bullet (for fast car).

Templates

VInteractiveexperiment

Activation

Imaginaryexperiment

IVCompetition

Attribute incompetition

Worth incompetition

Uncommonuse

IPictorialanalogy

Replacement

Extremeanalogy

IIIConsequences

Extremeconsequences

Invertedconsequences

IIExtremeSituation

Extremeattribute

Extremeworth

Absurdalternatives

VIDimensionality

Alteration

Newparameterconnection

Multiplication

Division

Time leap

0

10

20

30

40

50

60

70

1 2 3 4 5 6 7

Nu

mb

er o

f A

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Pictorial analogy

Consequence No Creativity templates

Extreme situation

Competition Dimensionality alteration

Interactive experiment

Distribution of Templates by Ad Quality Group

Highly Contest Non evaluated winning winning

ads ads ads

Template Group 1(Study 1)

Group 2(Study 2)

Group 3(Study 2)

Pictorial Analogy (I) 68 40 2

Replacement 44 26 1

Extreme analogy 24 14 1

Extreme Situation (II) 24 17 1

Absurd alternatives 7 3 0

Extreme attribute 10 11 0

Extreme worth 7 3 1

Consequences (III) 37 24 0

Extreme consequences 17 19 0

Inverted extreme consequences 20 5 0

Competition (IV) 19 24 2

Attribute in competition 5 19 1

Worth in competition 10 3 1

Uncommon use 4 2 0

Interactive Experiment (V) 11 3 0

Activation 8 3 0

Imaginary experiment 3 0 0

Dimensionality alteration (VI) 19 15 0

New parameter connection 4 4 0

Multiplication 6 5 0

Division 5 5 0

Time leap 4 1 0

No creativity template 22 99 195

Total

200

200

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Mean Judgments: Experiment 3

Extreme Situation Template (Anti-Dandruff Shampoo)

Creativity Brandattitude

Humor Emotion Annoyance

TRAINING TYPE

No training 2.80 2.62(1)** 2.40 1.83 1.57

Free association 2.08 2.28 1.45 1.62 1.63

Template training 4.02(2)** 4.13(2)** 3.57(2)** 1.79 1.60

Interactive Experiment Template (Diet)


Humor

Emotion Annoyance

TRAINING TYPE

No training 2.57(1)** 2.38(1)** 1.90 1.90 2.07(1)**


Template training 3.82(2)** 3.97(2)** 1.85 1.30(2)** 1.60

Pictorial Analogy Template (Sneakers)


Humor Emotion Annoyance

TRAINING TYPE

No training 2.24(1)** 2.49(1)** 1.32(1)* 1.46 1.68(1)**


Template training 3.60(2)** 3.50(2)** 2.18(2)** 1.77 1.13

- Microscopic Drivers and Macroscopic JamsMICRO - carsINTER - go ahead/give way at intersections.MACRO - traffic flow, jamming.

Microscopic Einsteins and Macroscopic Proofs?MICRO - links, letters, geometrical elements.INTER - simplexes, words, postulates, Alexander moves.MACRO - global topology, statements, theorems.

Dramas - mathematical categories endowed with dynamics.MICRO - categoriesINTER - relations, composition lawsMACRO - (stories) dramas

Microscopic Concepts and Macroscopic Ideas.MICRO - elementary conceptsINTER - archetypical structures and thought proceduresMACRO - creative ideas and archetypes

- Microscopic Seers and Macroscopic Sight.MICRO - line elements, points in 2 Dimensions..INTER - time and space data integration.MACRO - 3 Dimensional global motion.

- Microscopic Picassos and Macroscopic Drawings.MICRO - line curvature, speed, discrete mental events.INTER - continuity, kinematics, breaks, (mind) changes.MACRO - shapes , representational meaning.

- Microscopic Wealth and Macroscopic Power Laws.MICRO - investors, sharesINTER - sell/buy ordersMACRO - market price (cycles, crushes, booms, stabilization by noise)

We are discerning 3 main complexity cases:

-In very simple cases the pattern of complexity is reducible (may be by an iterative multiscale procedure) and the MCA's capturing this reducible complexity are an efficient computational and conceptual tool.

-In the general case one has to put an exponential computational effort to fully "understand" the structure of the system.

-In some cases the system contains certain macros which are "irreducibly complex". Yet the interactions between these macros are tractable by MCA or other algorithms. In these cases, MCA can help reduce the "less complex" part of the dynamics leaving the "irreducible core" for a separate treatment.

-Recognizing the "irreducibly complex" parts of a complex system (rather than trying vainly to solve them by multiscale means) might be a very important aspect both conceptually and computationally.

STRUCTURE OF MICREP-MULTISCALE PARADIGM 205Irreducible Complexity and Multiscale Reductionism 206Reducible vs. Irreducible Complexity211Semiotics Sidenotes 214Is Discretization and Multiscale Intrinsic to Understanding ? 214Discretization as THE Creative Act 219Other Template Dynamics Projects 222Cabala Dynamics vs. Cognitive Development 223Idea Explicitation and Expression 227Emotions Dynamics 227

Cabala Templates Research Directions 229

Reactions and Responses to the article Creative Sparks appeared in Science of Sept 3 1999 245No reappraisal of creativity is necessary245Creative vs. Correct Ideas; Facts and Paradoxes 248Understanding our own nature 250Creativity - a subjective view 251The Force of Natural Selection 253Meme's the Word 254Templates are central to creativity 256Human creativity as individual and non-reproducible process

I. The Pictorial Analogy Template: The Replacement Version

II. The Extreme Situation Template: The Absurd Alternative version

Example Examples and detailed formulation of the scheme underlying the replacement version of the pictorial analogy template (composed of a symbols set, a product space and a linking operator) are presented in the Introduction in elaborating the notion of creativity templates (see Figures 1-3).

The commercial for locks showing an old lady scaring away burglars by barking at them (Suissa Miller Advertising Company, U.S.A., 1993, Cannes contest award) conveys the message that a safe and peaceful evening can be achieved either by buying a certain lock or by barking.

Description Note description in the introduction. The idea of this version is to present a tongue in cheek suggestion to the viewer: "You don't have to buy our product. There are alternative options for achieving the same results, such as..." The alternative option is presented in a seemingly serious manner but, contrary to the declared position of the advertiser, the viewer will draw the conclusion that such an alternative is absurd and ridiculous.The following elements typically appear in this version:

1.An unexpected shift in the consumer’s frame of mind into an imaginary status or into a different product category (but unlikely, to a competitive brand). 2.The absurdity and extreme unrealism of the alternative option are obvious and recognizable by the consumer: Any attempt to make the alternative more realistic would only weaken the claim of the ad.

The specific scheme of the lock commercial mentioned in the text consists of two sets: A set of alternative options and a set of situations. An alternative option is an object or an action (a dog, in this case) which can be used to achieve the product’s attribute (safety). The alternative option does not have to be realistic although it is assumed that the target audience will be familiar with it. A situation is a common use scenario of the product in time and place (in our case a peaceful evening in the home of an old lady). The linking operator links one element from the situation space (the lady) with one element in the alternative space (barking).

Specific Scheme Note scheme in the introduction.

General Scheme

Specific Scheme

General Scheme

Specific Scheme

When performing the diagonal analysis on “The Story of the Lost Princess.” 18 diagonal links were found. Two examples are presented in Table 2. Our assumption was that diagonal links indicate key-events in the story and in order to check if the events associated with these 18 diagonal links were to be considered important events, we went through 21 authors who commentated “The Story of the Lost Princess.” We looked at the 29 events they referred to and ranked them according to the number of writers referring to them. When comparing the events pointed by the diagonal links, we found that they matched quite fully the top part of the list: The .rst event that was not pointed by a diagonal link was number 14 in the ranked list and only one of these events matched a low-ranked event (number 22). The detailed analysis of this study will be published elsewhere. For the purpose of this paper it is enough that appearance of a diagonal link indicates a crucially signi.cant point in the story.

This story is clearly a parallel to Rabbi Nachman’s “The story of The Lost Princess” although they are not identical. S. Pitrushka claims that neither of the two stories is the source of the other but they both share a common source in the Polish story “A Diverting Story about the Virtuous Princess Banialuce from an Eastern Land” by Hieronim Morsztyn (died in 1655). Although Rabbi Nachman did not know the Polish language, Pitrushka quotes the Polish historian A. Brinker who proved that “Princess Banialuce” was translated to the Ukrainian language. Finding a parallel story was indeed intriguing in light of the fact that Rabbi Nachman did refer to the relations between his stories and other folk tales. Rabbi Nachman’s tales were edited by his main disciple Rabbi Nathan Sternhartz of Nemirow.

In his .rst introduction Rabbi Nathan tells14: “Before [the Rebbe (Hassidic sage)] began telling the .rst story in this book, he declared, “Many hidden meanings and lofty concepts are contained in the stories the world tell. These stories, however, are de.cient: They contain many omissions. They are also confused, and people do not tell them in the correct order . . .”.” The Rebbe spoke about this. Then he began to tell the story on the following page. He said, “I told this story while on a journey . . . .” In contemporary words, Rabbi Nachman claims that folk tales need to be upgraded and is moving to give an example how he does it. Therefore it was especially interesting to perform a diagonal analysis on “The Raven.”16

In the analysis, we found 12 diagonal links in “The Raven.” Further examination showed that out of the 18 diagonal links of “The Lost Princess” only nine were present in “The Raven.” In eight out of the nine missing appearances, the event itself was present in “The Raven” but its description lacked the diagonal link. On the other hand, in all three diagonal links that appeared in “The Raven” and did not appear in “The Lost Princess,” the event itself was not part of the story. Two of these are placed in the last part of the story, the part that Rabbi Nachman did not tell. When calculating the density of diagonal links’ appearances according to the number of words, we found that in “The Raven” there were 12 diagonal links in 1652 words, which is a density of 0.7%. In “The Lost Princess” there were 18 diagonal links in 1312 words, which is a density of 1.4%.

III. The Consequences Template: The Extreme Consequences Version

IV. The Competition Template: The Uncommon Use Version

Example A commercial for car loudspeakers showing a bridge on the verge of collapse when the loudspeakers of the car parked on it are turned on at high volume. The message is that the music can be played so loud that even the sturdy foundations of the bridge are threatened by its impact (BBD, Los Angeles, 1994, Cleo award winner).

A commercial for jeans showing a couple in a broken-down car being towed by a pair of jeans tied to the rescuing car.

Description The idea of this version is to present an extreme consequence of an emphasized product attribute. The absurdity of the consequence, even though presented in a serious manner, is eminently obvious to the viewer. Therefore, even a negative result (the collapse of a bridge) is conceptualized as an indication of the quality of the product. The following elements usually appear in this version:

1.Consequences based on a true fact: The extreme situation is created by taking a key attribute of the product to the extreme (e.g., the sound emitted by the loudspeakers causes objects -- even a sturdy bridge -- to vibrate). 2.The absurdity and extreme unrealism of the consequences are obvious and recognizable by the viewer.

The idea of this template is to emphasize a product attribute by applying it to solve a problem in a context totally different to its intended use. The following elements typically appear in this version:

1.A problematic scenario or issue. 2.Ambiguity as to the product to be the subject of the ad when the problem or dilemma is presented.

Formulation

The specific scheme of the loudspeaker commercial consists of two sets: a set of situations and a set of consequences. A consequence is a phenomenon, action or behavior which results from the product attribute appearing in the message. The consequence has to appear familiar and not unreasonable to the target audience (e.g. vibrations). It does not have to be absurd or extreme. The linking operator acts on the product and a selected item in the consequences set by taking the consequence to an extreme.

The specific scheme of the jeans commercial consists of two sets: a set of situations and a set of problems. The problem suspends the natural flow of events in the situation. The situation in our example is a couple driving a car. The problem is the breakdown of the car. The viewer expects to see “how it is going to continue from here”. The problem will be solved by using the product; it is therefore important to invent the problem by thinking “backwards” so that the product attribute contained in the message will provide its solution. The link is the use of the product as a solution by exploiting the attribute (the strength of the jeans).

V. The Interactive Experiment Template: The Activation Version

VI. The Dimensionality Alteration Template: The Time Leap Version

Example An example of the activation version is an ad containing a large black patch. When the viewer performs the action suggested in the ad, he/she would become aware of the necessity of an anti-dandruff shampoo (DDB, Needham San-Paulo, 1995).

A commercial for life insurance showing a wife arguing with her husband for canceling his life insurance. The whole scene takes place after he dies, and portrays the wife communicating with her late husband in the setting of a seance (a Cannes award winner in 1993).

Description The consumer is required to perform a task or experiment in order to receive the message conveyed by the ad. The message is contained in the compelling result. Most of the ads in this category convey a message emphasizing a need or a problem that can be resolved if the product is used. The following elements typically appear in the activation version:

1.An experiment requiring physical action. 2.The experiment is executable on the spot.

The experiment's results highlight a general need rather than a unique quality of the specific brand.

The idea of this template is to present an ordinary situation (in this example, an argument about whether to continue investing in the product). The entertaining effect is achieved by shifting the scenario to the past or the future.

Formulation

The specific scheme of the anti-dandruff shampoo ad consists of two different sets: the senses set and the experiment set. The relevant senses set is drawn from the list of the five senses. The experiment set consists of test scenarios to ascertain need for the product. The linking operator requirement is that the experiment represented in the experiment space will be performed physically by interacting with the media (newspaper, radio etc.).

The specific scheme of the life insurance ad consists of two sets: a set of episodes introducing the message claim (e.g. EP2 - a wife arguing with her husband) and a times set (past, future). First, the episode space is selected (e.g. wife, husband). Then an operator links an element from the time set and an element drawn from the episode space (e.g. the husband’s life status is transferred into the future). Note that the invented situation in the different time frame has to be relevant to the product and its attributes and, therefore, in this case, the future is more appropriate.

Symbols set:

Fireman-sheet Air-bagSprings

Nike - Air Protection

Product space

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Foot

Sneaker a sneaker-shaped fireman-sheet

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Figure 2a: Specific scheme underlying the French Open Tennis Championship ad

Symbols set:Louvre Eiffel TowerCroissant

Tennistournament

Location -France

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Court

Player

Ball a croissant-shaped ball

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Figure 2b: General scheme underlying the replacement version of the pictorial analogy template

Symbols set

Symbol 1 Symbol 2 Symbol 3

Product Message

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P3 Matching by a linking operator

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Documents

Figure *- The legs are eliminated but their function is still present