Creative technology is being defined as the blending of knowledge across multiple disciplines to create new experiences or products that meet end-user or organizational needs. The central characteristic is identified as an ability to do things better. It would not be far from this established definition to say that central to creative technology is increased efficiency and possibilities without conceivable boundaries. Key excerpts from the above definition of creative technology would give a steering insight into how creative societies are birthed.
The blending of knowledge speaks of a multifaceted functioning, meaning that an intersection is made between the seeming divergent arts and sciences. The pre-existent dichotomies that bedeviled previous societal thinking and ideologies are easily done away with in this blend of knowledge. Hence, the virtual realist finds use in the performing arts just as the social platform application developer finds use in the legal system.
New experiences speak of thrill and ease of performance as well as the satisfaction end users of such technologies experience by adopting these advancements to their daily work, religious, and family life. These new experiences lend further credence to the notion of greater efficiency.
“Meet end-user and organizational needs” speaks of the satisfaction of key measurable indices in the experiences that each person, individual or corporate derives from the adoption of these technologies. Succinctly put, its central character is an ability to do things better. Pockets of communities created within the society as well as the overall virtual global community seem to be in an endless rush towards whatever saves cost and improves efficiency.
It is therefore little surprise that companies who can advance to create these critical technologies end up having huge financial war chests. Simply put, the value creator takes home the greatest portion of the circulating financial pie. Cost to the end-users who acquire these technologies seems to mean nothing provided that value, the real value is created. Amazingly, these technologies come at the fraction of a cost due to their massive economies of scale.
In real-time we see how segments of the society are being transformed by creative technologies. The first case in point is the tourism industry where the use of virtual reality and augmented reality have created awe and combined simplicity. Individuals have the opportunity to see beautiful cities, ancient heritages, and safaris all from simulations without the need to break a bank to visit these places in real-time.
Schools have adopted these technologies to take students on excursions without boarding a bus. The world comes within view from the comfort of the home. Similarly, gaming experiences for game enthusiasts have become fashioned to include combats between human and unreal animates through these
virtual realities. I might have started with the mundane, but this is in a bid to buttress how integrated life has become in creative societies with these creative technologies.
The judiciary and medical sciences which seemed somewhat rooted in unwavering traditions have seen transformations no matter how marginal they seem. Expert witnesses and cross-examinations, as well as court verdicts, have been delivered via video conferencing platforms obviating the need for witnesses to travel long distances for the sake of making their testimony. The very sensitive medical profession has seen remote consultation taking center stage. Surgeons across continents can have virtual meetings and as well participate collectively in highly specialized surgeries by the use of telemedicine.
Emergency rooms have been created outside the hospitals with Doctors sitting behind large monitors to see and guide not too experienced on-site personnel in remote hospitals helping them to provide care to those who need them before something definite can be arranged for. Employment and the labor markets within these creative societies have transited beyond the brick and mortar constructs to the gig economy. Herein creating a talent pool that is not
overly dependent on the government for the provision of a viable means of livelihood.
Individuals now explore their core competencies in providing the needed solutions globally. Security systems and outfits are not left out. Closed-circuit television (CCTV) systems, vehicular plate number tracking, fingerprint scanning, and detection have helped bring law violators to book quickly. Even without direct human surveillance, individuals have high tech houses that run on integrated circuit systems with the internet of things (IoT) helping to
coordinate and as well detect by setting off a chain of responses with any breach to brick and mortar integrity. In essence, we have created an inanimate that has the power of sensing and feeling.
Creative developments in the area of 3D printing have made the laborious and costly process of manufacturing a thing to reconsider. State and non-state actors have access to 3D printed guns. Musicians have access to 3D printed guitars, the automobile industry has access to 3D printed car parts and even the construction work in real estate now has access to cheap buildings made of 3D printed parts. The seeming permanence to things is gradually being done away with by the ability to destroy and make anew at the snap of a finger.
Nevertheless, creativity doesn't seem to be an exclusive reserve of the geniuses.
With the knowledge of a few technologies, a new hybrid can be formed. As much as these technologies have seen varying rates of adoptions in varying societies, the sheer beauty in those who have done so leaves us with the question of “when” for those who haven’t. Life has become so intertwined and seamless that nothing except those who remain transfixed on old patterns seem to be lost. Creative societies are in themself not hard to spot, they reek massive wealth and abundance because in their advancement with these creative technologies they have been able to save time. Time is what life is measured in, and time, as we say, is money.
Bibliography:
i. Connor, Andy M.; Marks, Stefan (2016). Creative Technologies for Multidisciplinary
Applications. Hershey, PA: IGI Global. Retrieved on 25 th June 2020 from
https://en.m.wikipedia.org/wiki/Creative_technology
ii. Cozzens, Susan E.; Healey, Peter; Rip, Arie; Ziman, John (1990). The Research System
in Transition. Dordrecht: Springer Science & Business Media. Retrieved on 25 th June
2020 from https://en.m.wikipedia.org/wiki/Creative_technology.
Written by Ibeleme Okezie, a creative writer with TYLC Africa
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