Part I: Introduction -- 1 Creativity and the Agile Mind -- Introducing The Agile Mind -- Understanding The Agile Mind: A Journey -- Conceptual Agility in an Abstract Space -- Collecting The Agile Mind: A Bird's Eye View -- Parting Thoughts -- References -- 2 E Unis Pluribum: Using Mental Agility to Achieve Creative Duality in Word, Image and Sound -- Agile Interpretation and Creative Duality -- Agile Imagery -- Agile Sounds -- Agile Words -- CRIME: An Agile Framework for Producers and Consumers -- Conclusions -- References -- Part II: Computers and Creativity -- 3 Computers and Creativity -- Introduction -- What do we mean by 'creativity': Some examples -- Cognitive mechanisms of creativity -- Computational modeling of creativity -- Computer-based creativity-support systems -- Conclusions and future research -- References -- 4 Gravital: natural language processing for computer graphics -- Introduction -- Computer graphics and user interfaces -- Graphics Language Processor -- Perception -- Node-based interface -- Acknowledgements -- References -- 5 Talking Points in Linguistic Creativity -- Introduction -- Related Work and Ideas -- Acquiring Conceptual Talking Points -- Building a Slipnet of Talking Points -- Empirical Evaluation -- Conclusions -- References -- Part III: Verbal Communication -- 6 Creatively Exploiting Linguistic Norms -- Introduction -- What is an exploitation? -- The Creative Continuum -- Are all rhetorical tropes exploitations? -- Summary and Conclusions -- References -- 7 Online semantic creativity in parliamentary debates -- Introduction -- Theoretical background -- Case-study: creativity and perspectivation in interactional discourse -- Conclusions and outlook -- References.

8 Yo, who be the main gangsta in our phat gang? - Linguistic creativity and the construction of hyperpersonal identity -- Introduction -- Three perspectives on relating online -- An example of hyperpersonal communication - Creative gangstas on the net -- Blending Theory and the creation of hyperpersonal identity -- The creation of hyperpersonal identity as a joint process of action layering -- The role of the medium -- Conclusions -- References -- 9 Resonating humour - A corpus-based approach to creative parallelism in dialogue -- Introduction -- Theoretical background -- The dataset: semi-automatic retrieval from the Corinth corpus -- Resonating humour in the Corinth corpus -- Conclusion -- References -- 10 A Cognitive Grammar of Creativity -- Introduction -- Cognitive Linguistics -- Analysing Creativity -- Conclusions -- References -- Part IV: Visual Communication -- 11 Creativity in the forms and functions of spontaneous gestures with speech -- Introduction -- Formal characteristics of creative gestures -- Creativity in the functions of coverbal gestures -- Discussion and Conclusions -- Acknowledgements -- References -- 12 Creative visual duality in comics balloons -- Introduction -- Blending Theory, Emergent Structure, and Creativity -- Blending, Emergent Structure, and Creativity in Comics Balloons -- Blending and Creativity in Balloons: Concluding Remarks -- Acknowledgments -- References -- 13 Creativity in Comics. Exploring the Frontiers of the Medium by Respecting Explicit Self-Imposed Constraints -- Introduction -- Creative constraints -- The creative duality of Oubapo -- Conclusions -- References -- 14 On verbal irony, images and creativity: A corpus-analytic approach -- Introduction -- Method -- Results -- Conclusion and discussion -- References -- Part V: Musical Performance.

15 Multimodal blending and musical creativity. Dualities in the quixotry of Richard Strauss, Jan Sandstrom and Christian Lindberg -- Context and relevance -- Theoretical tenets: integrating multimodality in blending -- Don Quixote as a transformative genre in the literature and music -- Lindberg's quixotry: reinventing the trombone concerto -- Dual conclusions on creativity, multimodality and blending -- References -- 16 The Agile Musical Mind: mapping the musician's act of creation -- Introduction -- The musician's act within the family of creative acts. -- The multiple parameters behind musical creativity -- Family resemblances: the expectation of the unexpected and the blend of the tacit dimensions -- Conclusion -- References -- 17 Timbre Networks: An approach to Composition and Performance in Computer Music -- Introduction -- Timbre Composition -- Going Live -- The computer as music performer -- Conclusion: A journey, and a point of departure -- References -- Index.