| Using the creative process to map n dimensions: quantum information at your fingertips | | BIBAK | Full-Text | 1-2 | |
| JoAnn C. Kuchera-Morin | |||
| In this information rich age where voluminous amounts of data are being
generated, processed, and transformed at ever-increasing rates, how does one
master control of this data as if it were intuitive and second nature? Can one
master control much in the same way that an artist, composer, or musician
creates or performs a work of art, with intuitive precision? In this Keynote I
will discuss the use of the creative process in order to conduct advanced
research in science and the arts. I will describe research underway at the
University of California, Santa Barbara, where a team of artists, scientists
and engineers have found a way to work creatively in consort, mapping very
largescale (n-dimensional) data sets for scientific and artistic data
generation, exploration and transformation. To this end, this author has
created, and implemented an instrument that will allow a team of researchers to
control and interact with n-dimensional data as one large multi-user
instrument. The AlloSphere is a 3-story metal sphere in an echo-free chamber
that is built as a design stage, and is performed as an instrumental ensemble
would compose and perform a piece of music [1] Keywords: creative design, immersive multi-modal systems, multi-modal representation,
scientific visualization | |||
| One person's everyday creativity is another's extraordinary insight | | BIBAK | Full-Text | 3-4 | |
| Jane Prophet | |||
| In collaborative work across disciplines, observing and discussing the
difference between individuals' everyday creativity can provoke insights. What
might a heart surgeon and an artist have in common, how might a biomimetic
engineer and an artist work differently to creatively solve a problem of
structure? This keynote is an illustrated account of two collaborative projects
that seeks to show that there may be an advantage to learning about the
patterns that others' see when engaged in their everyday creativity. Keywords: biomimetics, collaboration, creativity, drawing, imaging,
interdisciplinarity, pattern recognition, rapid prototyping, sculpture,
selective advantage, surgery, taxonomy, video | |||
| The creative person and the creative system | | BIBAK | Full-Text | 5-6 | |
| Mihaly Csikszentmihalyi | |||
| The talk will summarize the Systems Model of Creativity, which views
innovation or creativity as not primarily an individual trait or process, but
as a confluence of processes taking place in three related sub-systems: the
Domain, or the knowledge base in which the innovation/creativity takes place;
the Field, or persons who act as gatekeepers to the Domain; and the Person, who
introduces a change to the Domain that is accepted by the Field.
Characteristics of these elements of the system are discussed, and some
applications of the Model mentioned. Keywords: creativity, individual and systems perspectives, innovation | |||
| Promoting social creativity: a component of a national initiative for social participation | | BIBAK | Full-Text | 7-8 | |
| Ben Shneiderman; Elizabeth Churchill; Gerhard Fischer; Ken Goldberg | |||
| This panel will discuss group processes that promote social creativity in
science, engineering, arts, and humanities. We will offer positive and negative
examples of social creativity projects, while suggesting research directions
for dramatically increased social participation. The goal is to develop
strategies that would expand resources and opportunities for research and
education in social creativity. This requires our community to develop a
unified position, then reach out to national science funding agencies, while
building the case for the importance of this topic beyond our own community.
How can social creativity, collaborative discovery, distributed innovation, and
collective intelligence be framed as an international priority to cope with the
problems of the 21st century and how can we identify a clear set of research
challenges?
The theme of technology-mediated social participation is outlined in the white paper for a National Initiative for Social Participation (http://iparticipate.wikispaces.com). The white paper suggests that successful research challenges should have three key elements: (1) compelling national need (healthcare, national security, community safety, education, innovation, cultural heritage, energy sustainability, environmental protection, etc.), (2) scientific foundation based on established theories and well-defined research questions (privacy, reciprocity, trust, motivation, recognition, etc.), and (3) computer science research challenges (security, privacy protection, scalability, visualization, end-user development, distributed data handling for massive user-generated content, network analysis of community evolution, cross network comparison, etc.). We seek recommendations for ways to increase the resources and attention for this field. We hope to inspire: * universities to change course content, add courses, and offer new degree programs * industry to help researchers on social creativity * government to support these ideas and try them out in government applications * scientists and artists to open themselves to more social/collaborative approaches Keywords: research agenda, social creativity, social participation | |||
| A tale of two online communities: fostering collaboration and creativity in scientists and children | | BIBAK | Full-Text | 9-18 | |
| Cecilia R. Aragon; Sarah S. Poon; Andrés Monroy-Hernández; Diana Aragon | |||
| There has been much recent interest in the development of tools to foster
remote collaboration and shared creative work. An open question is: what are
the guidelines for this process? What are the key socio-technical preconditions
required for a geographically distributed group to collaborate effectively on
creative work, and are they different from the conditions of a decade or two
ago? In an attempt to answer these questions, we conducted empirical studies of
two seemingly very different online communities, both requiring effective
collaboration and creative work: an international collaboration of
astrophysicists studying supernovae to learn more about the expansion rate of
the universe, and a group of children, ages 8-15, from different parts of the
world, creating and sharing animated stories and video games on the Scratch
online community developed at MIT. Both groups produced creative technical work
jointly and were considered successful in their communities. Data included the
analysis of thousands of lines from chat and comment logs over a period of
several months, and interviews with community members. We discovered some
surprising commonalities and some intriguing possibilities, and suggest
guidelines for successful creative collaborations. Specifically, systems that
support social creativity must facilitate sharing and play, and their design
must consider the effects of repurposing, augmentation and behavior adaptation. Keywords: collective creativity, computer-mediated communication, computer-supported
cooperative work, social creativity | |||
| Children's storytelling and programming with robotic characters | | BIBAK | Full-Text | 19-28 | |
| Kimiko Ryokai; Michael Jongseon Lee; Jonathan Micah Breitbart | |||
| We introduce mixed physical and digital authoring environments for children,
which invite them to create stories with enriched drawings that are programmed
to control robotic characters. These characters respond to the children's
drawings as well as to their touch. Children create their stories by drawing
props and programming how the robotic character should respond to those props
and to physical touch. By drawing, programming the robotic character's
behaviors, and organizing and negotiating the order and meanings of the props,
children's story events unfold in creative ways. We present our iterative
design process of developing and evaluating our prototypes with children. We
discuss the role technology can play in supporting children's everyday creative
storytelling. Keywords: children, programming, robotic toys, storytelling, tangible | |||
| Musicomputation: teaching computer science to teenage musicians | | BIBAK | Full-Text | 29-38 | |
| Adam L. Meyers; Marilyn C. Cole; Evan Korth; Sam Pluta | |||
| While algorithms have existed in math, music and other fields for over one
thousand years, the use of algorithms to solve problems has become easier than
ever before due to the advent of the modern computer. This fact, in combination
with advances in signal processing, makes an understanding of computer science
an absolute necessity for future composers of music. This paper describes a
highly successful intensive three week class called Musicomputation, in which
computer science and computer music were taught to eleven 11-17 year old
students with previous expertise in music and mathematics. We discuss details
of the class and the possible implications for education. Keywords: computer music, computer science education, processing | |||
| Geezers, turbines, fantasy personas: making the everyday into the future | | BIBAK | Full-Text | 39-48 | |
| Ann Light; Gini Simpson; Lois Weaver; Patrick G. T. Healey | |||
| This paper describes how a project to challenge digital exclusion resulted
in GeezerPower: an artwork that is both a statement about reusable technologies
and about older people's continuing interest in the world of the future. We use
the story of its production to illustrate and reflect on new methods for
engaging people in decisions about the design of technology. And we explore how
creative practice informed the design of an intervention workshop inspired by
performance art and an exhibition of artists collaborating with older people.
We conclude with some comments on marginalization, engagement and envisioning
futures. Keywords: collaboration, design, digital networks, intervention workshops,
marginalization, performance art | |||
| Computational and cognitive infrastructures of stigma: empowering identity in social computing and gaming | | BIBAK | Full-Text | 49-58 | |
| D. Fox Harrell | |||
| Computing technologies such as games, social networking sites, and virtual
environments often reproduce forms of social stigma encountered in everyday
real life, as well as introducing new forms of stigma. When users represent
themselves via avatars, characters, and profiles, norms for behavior and group
affiliations are established that may introduce prejudices, stereotypes, and
associated social ills found in the real world. To empower users against these
effects, this paper presents technologies designed to: (1) provide dynamic
means of identity representation while avoiding stigmatizing norms, and (2)
provide for critical reflection on stigmatizing identity infrastructures found
in other systems. The theory and technologies developed with these aims is
encapsulated under the rubric of the Advanced Identity Representation (AIR)
Project that initiated in the Imagination, Computation, and Expression
Laboratory (ICE Lab; D. Fox Harrell, Director) at the Georgia Institute of
Technology. This work has a basis in the cognitive science foundations of
categorization and metaphor-based bias, and study of social classification
infrastructures from sociology of science. Using this theoretical framework,
this paper provides a model to reveal a set of inadequacies of many current
identity infrastructures in social computing and gaming systems for supporting
the needs of people in marginalized categories. As results, several social
networking systems and games developed in the ICE Lab to empower users in
creating computational identities and/or critiquing the phenomenon of stigma in
these applications are presented. Keywords: cognitive categorization, empowerment, gaming, social classification, social
identity, social networking, stigma | |||
| A cognitive account of collective emergence in design | | BIBAK | Full-Text | 59-68 | |
| Benjamin G. Shaw | |||
| Design in many settings is an inherently collective and creative
undertaking, with phenomena of emergence at the heart of the activity.
Cognitive accounts of emergence in the context of design have not taken its
collective nature into account. At the same time accounts of collective
emergence do not recognize certain salient attributes of design, including the
importance of visual thinking and various media for external representation.
With reference to two distinct theories of emergence, Oxman's account of design
emergence in terms of visual cognition, and Sawyer's account of collaborative
emergence in conversation and performance, this paper reports results from a
study of a high-performing, technologically mediated concurrent design
practice. Participant observation, interviews, and video interaction analysis
were used to render the creative process of engineering design in fine-grained
detail. The resulting insights support aspects of both theories in that
creative activity appears to proceed substantially through modalities of visual
cognition, while collaborative products are arrived at through an essentially
collective process involving multiple participants and unpredictable
developments. The combined view presents a richer picture than either theory
alone. Keywords: collaboration, design cognition, emergence, interaction analysis,
visualization | |||
| Situated design: toward an understanding of design through social creation and cultural cognition | | BIBAK | Full-Text | 69-78 | |
| Christopher A. Le Dantec | |||
| Video and transcripts of two architectural design meetings are presented in
an analysis of a specific design process. The focus of the analysis presented
here is the social and cultural aspects of cognition in design. The argument
begins with a discussion of the parallels in design studies and cognitive
science as each begun to consider the importance of environmental influences in
how we design and how we think. By applying three situated frameworks to
understand the situated nature of design meetings, the analysis shows that
notions of social creation and cultural cognition are complimentary and
necessary when trying to understand how the design process works. Keywords: collaborative design, empirical study, social design | |||
| Assistive devices: stroke patients' design | | BIBAK | Full-Text | 79-86 | |
| Ana Correia de Barros; Carlos Duarte | |||
| The following paper describes a number of solutions for activities of daily
living created by stroke patients in order to achieve independence in certain
tasks. We interviewed 48 stroke patients in clinics and their private homes and
found that many of them come up with their own personal assistive devices made
at home or adapt existing objects to serve yet another function. We believe
that by researching into these persons' habits designers not only gain new
insights about what it is to actually live with disabilities but also new ideas
for new products and approaches to designing better assistive devices. Keywords: assistive devices, folk creativity, stroke, universal design | |||
| Microsketching: creating components of complex interactive products and systems | | BIBAK | Full-Text | 87-96 | |
| Jodi Forlizzi; Carl DiSalvo | |||
| One of the problems with empathic research methods in interaction design is
that the leap between findings about people and design is often left
undocumented. In this paper, we describe a microsketching, a method for
producing rapid concept sketches that emphasizes creative exploration of the
aesthetic and interactive possibilities of the individual elements of a
technology, rather than seeking to develop a complete product. We discuss the
use of microsketching within the design process, and provide a case study of
its use with an experienced designer and in a design studio course. We discuss
how microsketching can be used to scaffold the leap between data collection and
design, to quickly introduce designers outside of the research team to the
elements of the design problem, and to teach novice interaction designers how
to design the interface and interaction for complex products and systems. Keywords: cultural probes, design, design research, interaction design, sketching | |||
| Creativity in algorithmic art | | BIBAK | Full-Text | 97-106 | |
| Frieder Nake | |||
| Early algorithmic art (also called computer art or digital art) is chosen as
a case to differentiate three aspects of creative behavior: trivial, personal,
and historic creativity. Extending a remark by Marcel Duchamp on the role of
the spectator in fully completing a work of art, one -- perhaps controversial
-- position in the history of art of the 20th century claims that the artist
only generates the material work, whereas society transforms the work into an
accepted work of art. This position leads to differentiation in the concept of
creativity. The paper discusses different shades of creativity. It is of
interest both to digital art, and to creativity research. Keywords: algorithmic art, computer art, digital art, historic creativity, personal
creativity, trivial creativity | |||
| Directed and emergent play | | BIBAK | Full-Text | 107-116 | |
| Brigid M. Costello; Ernest A. Edmonds | |||
| We describe a case study of the audience experience of an interactive
artwork titled Just a Bit of Spin. This study was part of practice-based
research project that aimed to develop strategies for designing for a play
experience. In this paper, we focus on results relating to the two play
characteristics of difficulty and competition. These results lead us to reflect
on the importance of creating a balance between directing the play experience
and providing opportunities for play to emerge through the creative activities
of the player. Keywords: human-computer interaction, interaction design, interactive art, play,
practice-based research, user experience | |||
| An empirical study of cognition and theatrical improvisation | | BIBAK | Full-Text | 117-126 | |
| Brian Magerko; Waleed Manzoul; Mark Riedl; Allan Baumer; Daniel Fuller; Kurt Luther; Celia Pearce | |||
| This paper presents preliminary findings from our empirical study of the
cognition employed by performers in improvisational theatre. Our study has been
conducted in a laboratory setting with local improvisers. Participants
performed predesigned improv "games", which were videotaped and shown to each
individual participant for a retrospective protocol collection. The
participants were then shown the video again as a group to elicit data on group
dynamics, misunderstandings, etc. This paper presents our initial findings that
we have built based on our initial analysis of the data and highlights details
of interest. Keywords: cognition, drama, empirical study, improvisation, narrative, performance | |||
| Creativity factor evaluation: towards a standardized survey metric for creativity support | | BIBAK | Full-Text | 127-136 | |
| Erin A. Carroll; Celine Latulipe; Richard Fung; Michael Terry | |||
| We present a new survey metric, the Creativity Support Index (CSI) that is
designed to help researchers and designers evaluate the level of creativity
support provided by various systems or interfaces. We initially employed a
top-down literature-based approach to develop a beta version of the Creativity
Support Index (Beta CSI). We discuss our usage of the Beta CSI in three
different studies and what we learned from those deployments. We also present
the results from an extensive creativity vocabulary study (n=300), which
revealed a set of orthogonal creativity factors. This led to the current
version of the CSI presented in this paper. Initial results from these
formative evaluations suggest the value of this tool in assessing and comparing
creativity support tools at points in time and longitudinally. Keywords: creativity, creativity support tools, factor validation, standardized survey
metrics | |||
| Random thinking, ordered doing: understanding group creative practice through repertory grid technique | | BIBAK | Full-Text | 137-146 | |
| Shaun McWhinnie; Shaleph J. O'Neill; Louise Valentine | |||
| The aim of our work is to better understand the impact of interactive
technology on the creative process. An important part of beginning this
research is to understand how creative practitioners make sense of their own
creative practice. This paper introduces work carried out using a kit based
Repertory Grid Technique (RGT), to examine the conceptual constructs of a small
group of creative practitioners in a workshop format. The results, although
preliminary, identify a number of shared constructs that help us describe
aspects of creative processes from the practitioners' point of view. This leads
us to hypothesize about potential models of creativity that we can use in
future research. Keywords: creativity, hci, interaction | |||
| Alcohol and creativity: a pilot study | | BIBAK | Full-Text | 147-154 | |
| Jesse C. Smith; Teresa M. Smith; Ellen Yi-Luen Do | |||
| In this paper, we describe the design, execution, and results of a study of
the effects of alcohol consumption on creativity. We are specifically
interested in myths surrounding alcohol and creativity; one's view of self as a
creative being; and the effects of alcohol on inhibition and perception of
creativity. Keywords: alcohol, creativity, design, drawing, interaction, poetry, prose, sculpture,
social | |||
| Understanding productive, structural and longitudinal interactions in the design of tools for creative activities | | BIBAK | Full-Text | 155-164 | |
| Tim Coughlan; Peter Johnson | |||
| A deeper understanding of the interactions between people and artefacts that
characterise creative activities could be valuable in designing the next
generation of creativity support. This paper presents three perspectives on
creative interaction that have emerged from four years of empirical and design
research. We argue that creative interaction can be usefully viewed in terms of
Productive Interaction -- focused engagement on the development of a creative
outcome, Structural Interaction -- the development of the structures in which
production occurs, and Longitudinal Interaction -- the long-term development of
resources and relationships that increase creative potential. An analysis of
each perspective is described, along with the development of an exemplary
prototype. The use of the perspectives as a basis for design is considered,
including the influence of contextual factors on instances of creative
activities. Keywords: creative process, creativity, interaction design | |||
| The efficacy of prototyping under time constraints | | BIBAK | Full-Text | 165-174 | |
| Steven P. Dow; Kate Heddleston; Scott R. Klemmer | |||
| Iterative prototyping helps designers refine their ideas and discover
previously unknown issues and opportunities. However, the time constraints of
production schedules can discourage iteration in favor of realization. Is this
tradeoff prudent? This paper investigates if -- under tight time constraints --
iterating multiple times provides more benefit than a single iteration. A
between-subjects study manipulates participants' ability to iterate on a design
task. Participants in the iteration condition outperformed those in the
non-iteration condition. Participants with prior experience with the task
performed better. Notably, participants in the iteration condition without
prior task experience performed as well as non-iterating participants with
prior task experience. Keywords: empirical studies of design, iteration, prototyping | |||
| Generative walkthroughs: to support creative redesign | | BIBAK | Full-Text | 175-184 | |
| Danielle Lottridge; Wendy E. Mackay | |||
| Generative Walkthoughs support the redesign phase of an iterative design
process, helping designers generate new design alternatives informed by social
science principles. Designers first analyze their own scenarios or storyboards
with respect to concrete examples drawn from five socio-technical principles:
situated action, rhythms & routines, co-adaptive systems, peripheral
awareness and distributed cognition. They then walk through the scenario and
brainstorm new design alternatives that reflect the design principle in
question. This combination of structured walkthroughs with focused
brainstorming helps designers, particularly those with little social science
background, to generate concrete, actionable ideas that reflect key findings
from the social science literature. We taught Generative Walkthroughs in ten
courses with over 220 students and found that technically-trained students not
only learned these socio-technical principles, but were able to apply them in
innovative ways in a variety of design settings. Keywords: creative redesign, generative walkthrough, multi-disciplinary design
methods, socio-technical principles | |||
| Hand e-craft: an investigation into hand use in digital creative practice | | BIBAK | Full-Text | 185-194 | |
| Cathy P. Treadaway | |||
| The hands play a vital role in everyday creativity and are our primary
interface with the world. This paper focuses on hand use in creative practice
and presents case study research that illuminates the ways in which the hands
inform creative processes when working with digital technology. The
investigation documents the development of a body of work by an artist who uses
a hybrid digital practice in which hand craft is combined with digital
processes to create intricate digitally printed paper-cut collages.
Digital technology is shown to support the artist's creative practice by providing access to tools and processes that enable work to be generated that could be made no other way. Interfaces that are used by many artists in everyday computer aided design practice however, are shown to frequently inhibit the expression of emotion and frustrate the user due to their lack of haptic sensitivity. Keywords: craft, creativity, emotion, hand use, haptic, interface design | |||
| Reflections on craft: probing the creative process of everyday knitters | | BIBAK | Full-Text | 195-204 | |
| Daniela K. Rosner; Kimiko Ryokai | |||
| Crafters today blend age-old techniques such as weaving and pottery with new
information and communication technologies such as podcasts, online
instructions, and blogs. This intersection of tradition and modernity provides
an interesting site for understanding the adoption of new technology. We
present a qualitative study of seven knitters introduced to Spyn -- a system
that enables the association of digitally recorded messages with physical
locations on knit fabric. We gave knitters Spyn in order to elicit their
reflections on their craft practices and learn from their interactions with
material, people, and technology. While creating artifacts for friends and
loved ones, knitters expanded the creative and communicative potential of their
craftwork: knitters envisioned travel journals in knitted potholders and sung
lullabies in knitted hats. We describe how these unusual craft activities
provide a useful lens onto contemporary technological appropriation. Keywords: adoption, appropriation, craft, crafters, creativity, design process,
handcraft, knitters, knitting, material, material culture | |||
| RiTa: creativity support for computational literature | | BIBAK | Full-Text | 205-210 | |
| Daniel C. Howe | |||
| The RiTa Toolkit for Computation Literature is a suite of open-source
components, tutorials, and examples, providing support for a range of tasks
related to the practice of creative writing in programmable media. Designed
both as a toolkit for practicing writers and as an end-to-end solution for
digital writing courses (the focus of this paper), RiTa covers a range of
computational tasks related to literary practice, including text analysis,
generation, display and animation, text-to-speech, text-mining, and access to
external resources such as WordNet. In courses taught at Brown University,
students from a wide range of backgrounds (creative writers, digital artists,
media theorists, linguists and programmers, etc.) have been able to quickly
achieve facility with the RiTa components, to gain an understanding of core
language processing tasks, and to quickly progress on to their own creative
language projects. Keywords: computational literature, computer education, creativity support tools,
digital writing, software libraries | |||
| Supporting remote creative collaboration in film scoring | | BIBAK | Full-Text | 211-220 | |
| Julien Phalip; Ernest A. Edmonds; David Jean | |||
| This paper reports on research supporting online and asynchronous
collaboration between stakeholders in the film scoring industry. Here, the
authors present two studies conducted with filmmakers and composers to test the
design principles of a prototype system. Outcomes from this research have
identified a need for establishing a clear scope in creative discussions and
for resolving the ambiguity that occurs in remote collaboration. Feedback from
participants also revealed the complex nature of the composer-filmmaker
relationship and highlighted some interpersonal and coordination issues that
should be addressed when designing systems for distant communication. Keywords: creative collaboration, film scoring, multidisciplinary collaboration,
remote communication | |||
| Cultivating and commodifying everyday creativity in postwar American childhood | | BIBAK | Full-Text | 221-228 | |
| Amy F. Ogata | |||
| In this paper, I explore the construction of the creative child after World
War II and argue that the concept of "everyday creativity" is bound up with a
cultural ideal firmly rooted in postwar circumstances. In addition to goods and
spaces made for children, such as toys, playrooms, and schools, I suggest that
the historiography of the idea of creativity can show how this abstract concept
became so apparently concrete. Keywords: baby boom, childhood, creativity, material culture | |||
| Promoting creativity in education -- from policy to practice: an Australian perspective | | BIBAK | Full-Text | 229-238 | |
| Carly J. Lassig | |||
| In the 21st century, our global community is changing to increasingly value
creativity and innovation as driving forces in our lives. This paper will
investigate how educators need to move beyond the rhetoric to effective
practices for teaching and fostering creativity. First, it will describe the
nature of creativity at different levels, with a focus on personal and everyday
creativity. It will then provide a brief snapshot of creativity in education
through the lens of new policies and initiatives in Queensland, Australia. Next
it will review two significant areas related to enriching and enhancing
students' creative engagement and production: 1) influential social and
environmental factors; and 2) creative self-efficacy. Finally, this paper will
propose that to effectively promote student creativity in schools, we need to
not only emphasise policy, but also focus on establishing a shared discourse
about the nature of creativity, and researching and implementing effective
practices for supporting and fostering creativity. This paper has implications
for educational policy, practice and teacher training that are applicable
internationally. Keywords: Australia, creativity, education, policy, school, self-efficacy, student,
teacher | |||
| Dialogue through design: visual communication across the cultural divide | | BIBAK | Full-Text | 239-244 | |
| Kara Pecknold | |||
| This paper reports on the use of probes in a rural village in Rwanda. They
were employed as a tool for dialogue and collaboration when working with
underserved communities who do not share the same language and lack assumed
technologies. The aim of this project was to invite a participant to engage in
creative activities during the rituals of daily life in order to reveal ideas
about improving the community. These activities were created to help a designer
collaborate through a more democratic process and allow for the creativity of
the underrepresented to surface when dealing with complex issues. The outcomes
address how the probes can be used to sensitize a community for the next stages
of a design process. Keywords: co-design, creativity, democracy, design, governance, human-centered,
participatory, probe, social impact, social innovation, sustainable development | |||
| Local issues, local uses: tools for robotics and sensing in community contexts | | BIBAK | Full-Text | 245-254 | |
| Carl DiSalvo; Marti Louw; Julina Coupland; MaryAnn Steiner | |||
| This paper describes six creativity support tools we developed to foster
community engagement and expression with robotics and sensing, assessing the
benefits and shortcomings of each tool. From the descriptions of these tools
and their uses, we highlight two issues. The first is the challenge of, and a
general strategy for, enabling informed speculation with unfamiliar
technologies. The second issue is that in enabling such speculation, the
research process is opened to significant shifts in trajectory. These shifts
concomitantly serve as markers of technological fluency and challenge the
research project, reinforcing the value of a community co-design approach. Keywords: community co-design, creativity support tools, critical engagements,
participatory design, participatory sensing, robots, technological fluency | |||
| Nature of creative analogies in biologically inspired innovative design | | BIBAK | Full-Text | 255-264 | |
| Swaroop S. Vattam; Michael E. Helms; Ashok K. Goel | |||
| Analogy is a fundamental process of creativity. Biologically inspired design
by definition entails cross-domain analogies, and in practice has led to many
innovative designs. Thus, biological inspired design is an ideal domain for
studying creative analogies. In this paper, we describe an intricate episode of
biologically inspired design that unfolded over an extended period of time. We
then analyze the episode in terms of Why, What, How and When questions of
analogy. This analysis provides a content theory of creative analogies in
biologically inspired design. Keywords: analogy, bioinspiration, biomimetics, cognition, creativity, design,
innovation | |||
| The elusive act of synthesis: creativity in the conceptual design of complex engineering products | | BIBAK | Full-Text | 265-274 | |
| Claudia M. Eckert; David F. Wyatt; P. John Clarkson | |||
| In engineering design it is necessary not only to find creative solutions to
problems, but to be able to do so without introducing unacceptable levels of
risk into the process. This paper studies how engineering firms use creativity
within a Business Process Excellence framework, through a case study of diesel
engine design. Overall it appears that the emphasis on reliable and repeatable
processes causes creativity to be displaced backwards into R&D and forwards
into "emergency innovation" during integration. Keywords: business process excellence, case study, creativity in engineering, diesel
engine, engineering design | |||
| Designing to support reasoned imagination through embodied metaphor | | BIBAK | Full-Text | 275-284 | |
| Alissa N. Antle; Greg Corness; Saskia Bakker; Milena Droumeva; Elise van den Hoven; Allen Bevans | |||
| Supporting users' reasoned imagination in sense making during interaction
with tangible and embedded computation involves supporting the application of
their existing mental schemata in understanding new forms of interaction.
Recent studies that include an embodied metaphor in the interaction model,
which relates action-based inputs to digital outputs, have provided evidence
that this approach is beneficial. Yet the design of such systems has been
difficult and full of setbacks. Wide spread adoption of this approach requires
a better understanding of how to design such embodied metaphor-based
interactional models. We analyze three recent design-based research studies in
which we have been involved in order to derive design knowledge that may inform
others. Following a case study methodology we identify kernels or points in the
design process where discontinuities between predicted and actual interaction
highlight important design knowledge. Keywords: case study, design knowledge, embedded computation, embodied interaction,
image schema, interactive environments, metaphor, reasoned imagination,
tangibles | |||
| Collaboration and framing as dimensions of design innovation | | BIBAK | Full-Text | 285-294 | |
| Vanessa Svihla | |||
| This study of student teams learning to design in an engineering course
reveals that interaction and framing are important dimensions for understanding
innovative design. By employing social network analysis to incorporate
interaction within statistical models, it is apparent that teams viewed early
as having innovative ideas, who score higher on perspective-taking and who have
higher team cohesion, tend to produce more innovative final designs. Case
studies suggest that for iteration to lead to productive design innovation it
should be framed as practical, design activity rather than as scientific or
theoretical activity. Keywords: collaboration, innovation, learning | |||
| Growing and destroying the worth of ideas | | BIBAK | Full-Text | 295-304 | |
| Ricardo Sosa; John S. Gero; Kyle Jennings | |||
| This paper presents a novel computational approach to the study of
creativity. In particular, it discusses a modeling framework that addresses the
worth of ideas ascribed by agents embedded in a social world. The triple
objective of this system is to improve our understanding of how ideas may
emerge from a few individuals, how social interaction may result in the
ascription of value to new ideas, and how culture may evolve through time,
transforming or replacing dominant or consensual ideas. The proposed system
encompasses commonalities in existing theories of creativity, and suggests
future theoretical directions that can be explored via simulation. Keywords: change agents, creative autonomy, creative destruction, multiagent
simulation, social simulation | |||
| Discovery is never by chance: designing for (un)serendipity | | BIBAK | Full-Text | 305-314 | |
| Paul André; m.c. schraefel; Jaime Teevan; Susan T. Dumais | |||
| Serendipity has a long tradition in the history of science as having played
a key role in many significant discoveries. Computer scientists, valuing the
role of serendipity in discovery, have attempted to design systems that
encourage serendipity. However, that research has focused primarily on only one
aspect of serendipity: that of chance encounters. In reality, for serendipity
to be valuable chance encounters must be synthesized into insight. In this
paper we show, through a formal consideration of serendipity and analysis of
how various systems have seized on attributes of interpreting serendipity, that
there is a richer space for design to support serendipitous creativity,
innovation and discovery than has been tapped to date. We discuss how ideas
might be encoded to be shared or discovered by 'association-hunting' agents. We
propose considering not only the inventor's role in perceiving serendipity, but
also how that inventor's perception may be enhanced to increase the opportunity
for serendipity. We explore the role of environment and how we can better
enable serendipitous discoveries to find a home more readily and immediately. Keywords: creativity, design suggestions, insight, serendipity, survey | |||
| Fostering metaphorical creativity using computational metaphor identification | | BIBAK | Full-Text | 315-324 | |
| Eric P. S. Baumer; Bill Tomlinson; Lindsey E. Richland; Janice Hansen | |||
| Metaphor is often seen as a mode of creative thinking or as a means of
fostering creativity. However, little work has studied creative generation of
novel metaphors. This paper explores the use of computational metaphor
identification (CMI) to foster creative generation of novel metaphors. CMI is a
technique for analyzing textual corpora to identify potential conceptual
metaphors. Drawing those metaphors to readers' attention can provide an
opportunity to consider alternatives to current metaphors. This paper describes
results from a study using CMI to foster metaphorical creativity in the context
of science education. The results show that CMI leads to more creative mappings
within metaphors. The key contributions of this paper are a demonstration that
CMI can be used to foster more original metaphorical reasoning, and, more
generally, implications for the study of metaphorical creativity. Keywords: computational metaphor identification, creativity, metaphor, science
education | |||
| Designing collaborative services on the digital platform | | BIBAK | Full-Text | 325-326 | |
| Joon Sang Baek; Ezio Manzini | |||
| This paper is based on an on-going doctoral research on service design for
social innovation and sustainability. It introduces the notion of collaborative
service and discusses its two dimensions in relation to ICT (information
communication technologies). Case studies of collaborative service on the
digital platform were conducted to identify the role of ICT in developing and
diffusing collaborative service and a part of the result is introduced. Keywords: collaboration, ict, p2p, service design, social innovation, social network,
sustainability | |||
| Creativity under constraints: the affect of problem space on design learning among engineering students | | BIBAK | Full-Text | 327-328 | |
| Andrea M. Goncher | |||
| An understanding of the factors that facilitate creativity in the design
process is essential to construct and implement educational engineering design
activities. While experts agree that it is necessary to include design
constraints in learning environments, it is unclear exactly how the constraints
contribute to the decision-making process and final design choice. This study
examines the creative practices among college students engaging in an authentic
engineering project situated within a design based learning environment,
specifically investigating the role of design constraints on creative
processes. The study compares the effects imposed by the design space at two
different levels: (1) goal constraints, where the overall goal of the design is
specified, and (2) task constraints, where the only the task is defined and the
goal is not. One section of student design teams was required to create design
solutions for a specific site utilizing renewable energy sources, implementing
goal constraints; the second grouping of design teams created design solutions
for a broader context only constrained by the utilization of a renewable energy
source. Keywords: constraints, creativity, engineering design | |||
| Assimilate.net: creativity support for situated collaborative storytelling | | BIBAK | Full-Text | 329-330 | |
| Damian Hills | |||
| How we assimilate stories into our common experiences and shape culture is
the field of study known as narrative intelligence. By following this
hypothesis and investigating theories of conversation modeling, this research
outlines a creativity support system for collaborative storytelling that
invites participatory narration and shared understanding in a situated context. Keywords: conversational information system, interactive digital storytelling,
narrative intelligence | |||
| Evaluating machine creativity | | BIBAK | Full-Text | 331-332 | |
| Anna K. Jordanous | |||
| Can a computer be creative? And what can we learn about our own creativity
from studying computational creativity? My research offers a comprehensive and
practically useful investigation into how to evaluate the level of creativity
demonstrated by computational systems. How should something so subjective as
creativity be measured? I argue that it is most productive to treat creativity
as a collection of inter-related factors such as originality, value and
productivity, which are more tightly defined and therefore more amenable to
measurement. Potential factors are being derived from empirical studies
examining a wide variety of our writings on creativity. These will be tested in
a simulation of a creative environment: the best performing factors will be
applied to evaluation of existing creative systems, in comparison to
assessments made by human judges. The aim of this is to identify key components
for creativity, giving insight into how to approach the evaluation and
improvement of computational systems and also towards human creativity as well. Keywords: aspects of creativity, creativity, evaluation | |||
| Flexible environment and creativity: a preliminary case study of interdisciplinary student design teams | | BIBAK | Full-Text | 333-334 | |
| Kahyun Kim | |||
| A case study of five interdisciplinary student design teams was conducted to
inform future research strategies for the next phases. The students conducted a
semester-long design project using a flexible environment, a classroom
featuring movable furniture and wheeled whiteboards. In order to confirm the
positive impact of the flexible environment on creativity, observation,
interviews and surveys were conducted. The findings suggested that team
interactions enhanced creativity, and the students valued the positive
influence of the flexible environment. From the findings and additional
insights gained during the study, research strategies to examine the impact of
physical environment, team interactions, and shared mental models on creativity
are proposed. Keywords: engineering creativity, human factors, organizational design | |||
| Student engineers learning to become designers | | BIBAK | Full-Text | 335-336 | |
| Micah Lande | |||
| My doctoral research explores how student mechanical engineers are taught,
learn, and apply a design thinking process to routinely create and innovate in
the context of training for industry practice. I am interested in the
maturation of master's students with backgrounds in mechanical engineering
adjusting to a project-based learning experience centered on design thinking
methodology and processes. I use a combination of theoretical approaches from
design research, engineering education and the learning sciences. My
methodology draws on field observations in the classroom of a capstone-plus
core mechanical engineer course on design innovation at Stanford University [1]
as well as interviews, document analysis and other qualitative methods. I am
gathering empirical evidence of what design learning looks like and how it
changes over time and how students conceptualize design and engineering.
In order to characterize the transition that students make along the novice to expert design continuum, students' concept maps for their design processes and drawings of their notions of engineers and designers at work were collected. Students were asked to generate a concept map of their "typical design process" and to draw a designer at work and an engineer at work along the lines of the Draw-a-Scientist Test [2]. Initial findings from qualitative content analysis indicate that the concept maps of design process mature over time along a consistent learning trajectory. Students also have distinct but complimentary mental models of the roles of a designer and engineer mainly along two emerging themes: idea generation/implementation and human/tech-centerness. A preliminary framework of "Ways of Thinking" [3] relating design thinking activities to engineering thinking activities and production and future thinking has been developed and is being used to analyze student project team design activity. Students in the design innovation course capture their work regularly on a wiki and in quarterly design documentation reports. By coding and analyzing the reports of each team, their design steps and order they take in their design processes can be noted. Preliminary analysis of project matched pairs shows that the more leaps around in their design process steps and prototyping activities a team makes a more novel project deliverable outcome as well as bettering the students' learning experience. Additional observations of students have been done to capture the barriers and catalysts to them learning along the way. With field observations of regular team meetings, it's apparent students are hindered by a predisposition to plan and calculate repeatedly before taking action and making. The students' learnings are helped by a close proximity to other groups in a shared design space ("situative zeitgeist"), a series of front-loaded prototype milestone assignments ("scaffolded prototyping"), a practice of encouraging reflection on what is gained from prototyping ("cognitive iteration") and repeatedly stepping through the steps of the design process ("cognitive apprenticeship"). Data collection is complete and the analysis is ongoing. Keywords: design and engineering thinking, design learning | |||
| Adolescents' conceptions and experiences of creativity | | BIBAK | Full-Text | 337-338 | |
| Carly J. Lassig | |||
| Creativity is no longer synonymous with genius or giftedness. It is now a
skill required by everyday people, to varying degrees, for successful
participation in current and future societies. An ensuing priority for schools,
therefore, is to effectively nurture students' creative potential and abilities
in a range of domains. The purpose of this research is to describe, analyse and
theorise about: how creativity is conceptualised by adolescents; their creative
products and processes; and significant personal, social and environmental
factors that influence adolescents' creative development and production. The
study employs mixed methods research and uses a case study design. Keywords: adolescent, case study, creativity, education, grounded theory, mixed
methods, school, student, survey | |||
| Learning about creativity from an artificial artist | | BIBAK | Full-Text | 339-340 | |
| David Norton | |||
| Creativity is a nebulous, albeit vital part of every society. Regardless of
whether or not a computer program can actually be creative, much can be learned
in an attempt to emulate creativity. We outline an original computer system
designed to produce artefacts that are perceived as creative, and do so through
arguably creative processes. We show how the computer system, called DARCI
(Digital ARtist Communicating Intention), can augment the study of human
creativity while assisting in the field of artificial intelligence. Keywords: artificial creativity, intention, neuroevolution, visual arts | |||
| A study of lay graphic communication | | BIBAK | Full-Text | 341-342 | |
| Sarah T. Owens | |||
| This PhD thesis aims to describe and analyse lay (non-expert and
non-professional) graphic communication and its relation to professional design
practice. It investigates the ways in which lay designers understand and make
sense of design tasks by examining their practical reasoning and everyday
knowledge about design, and their awareness of graphic rules, principles,
genres and conventions. It furthermore considers the degree to which lay
designers are aided or hindered by technology during the design process. This
project is expected to illuminate the nature of ordinary design ability and
thus contribute to a fuller comprehension and conceptualisation of design
knowledge and expertise. Keywords: design expertise, design knowledge, desktop publishing, ethnography,
ethnomethodology, laypeople | |||
| Exploring illuminative systems in informal networks of adults | | BIBAK | Full-Text | 343-344 | |
| Amy K. Scatliff | |||
| Are 'higher' and hard to define sensations like synchronicity, love,
wholeness, and appreciation part of a pattern or illuminative system that is
connected to a larger ecological network or evolutionary design meant to
establish homeostasis within the planet? Meeting as groups, in person, or
online posting to an interactive website, adults tracked, recorded and
described in their own terms everyday encounters with illumination.
Illumination in this sense could encompass both spiritual and/or secular
significance. Participants built data files of illuminative sensation recorded
in video, text, sound bite, drawing and/or journaling. This spatial and sensory
awareness activity, initiating from an appreciative foundation, eventually
leads to participants conducting informal skillshares in which adults teach one
another the strengths they possess when illuminated. A possible outcome of such
skillshares could be adults collectively designing new courses, programs, and
products for their immediate community. Keywords: adult learning, appreciative inquiry, creativity, design thinking,
generative metaphor, illumination | |||
| Remixing realities: distributed studios for collaborative creativity | | BIBAK | Full-Text | 345-346 | |
| Viveka Weiley | |||
| Collaborative Virtual Environments (CVEs) can support interdisciplinary,
heterogeneous geographically distributed creative teams. However research and
commercial approaches to CVEs to support creative work have focused on
implementation, paying little attention to the design of the virtual place that
the system creates.
Over the last ten years CVEs have moved out of the lab and into mass-market commercial deployment. Significant investment in virtual worlds (perhaps half a billion dollars in 2008 [3]) has seen technical advances, but the design of the virtual places has not advanced in a comparable manner. Just as in 1998, they still default to the Virtual Office, with avatars on chairs facing a virtual presentation screen. I am developing a set of design principles for virtual collaborative place, through a process of iterative design. In this process, five draft principles have been derived from existing theories of collaboration and creative place, and from exploratory ethnographic enquiries into real and virtual creative places [4]. The draft design principles are: 1. Support Reconfiguration, 2. Mix Realities, 3. Control Access, 4. Be A/Synchronous, 5. Transform Space into Inhabited Place. Now I am expressing the principles in prototypes which will be introduced into the environments of working distributed creative teams in a programme of action research. Keywords: creativity support, geographically distributed collaboration, mixed reality,
place, practice-based research | |||
| An ecology of practice: chiptune marching band | | BIBAK | Full-Text | 347-348 | |
| Jamie Allen; Areti Galani; Kazuhiro Jo | |||
| Chiptune Marching Band (CTMB) is a workshop-performance held in diverse
public venues internationally (http://chiptunemarchingband.com/). The CTMB
project proposes a contemporary form of dialogic art -- an inclusive,
participatory event designed to provide direct experience of resource, social
and creative dynamics. In this poster we invoke the phrase "ecology of
practice" to describe CTMB in terms of a number of interrelationships: amongst
skills, with materials, in creativity and between participants. We also present
our evaluative methods for 'participant' feedback within this type of event
that are designed to be congruous with the overall intention. Keywords: art, community, diy, hacking, performance, user studies | |||
| Ideation2.0 project: web2.0 tools to support brainstorming networks and innovation teams | | BIBAK | Full-Text | 349-350 | |
| Oscar Ardaiz Villanueva; Xabier Nicuesa Chacón; Oscar Brene Artazcoz; María Luisa Sanz de Acedo Lizarraga; María Teresa Sanz de Acedo Baquedano | |||
| Ideation2.0 project aims at improving innovation processes with Web2.0 based
tools. These tools we have developed enable the participation of many people in
idea generation and evaluation sessions forming brainstorming networks. They
also allow the formation of innovation development teams based on the affinity
among the participants for their creativity and their interest in implementing
the ideas. Keywords: electronic brainstorming, innovation support systems, social networks, team
formation, wikis | |||
| The usability of creativity: experts v. novices | | BIBAK | Full-Text | 351-352 | |
| Julie L. Baher; Bill Westerman | |||
| In developing software for creative professionals, one goal is to enable new
users to learn to use the product well. In this paper, we describe a study
comparing how novices and experts use Adobe Photoshop. When asked to perform
specific tasks in Photoshop, we found that, contrary to our expectations, the
expert users often took longer at the tasks than the novices. While most
usability practitioners assert that when users take a short time to perform a
task, an application is more usable, when they take longer, it is less usable
[4], based on our study's results, we posit that this is not always true. We
posit that professional designers undertaking a creative task, are less aware
or time, as in a flow state [1, 2, 3] and thus can take longer to perform tasks
than novices. Furthermore, we found that rather than explore the interface for
new features to complete a task, expert users frequently use slower, but more
familiar, approaches. Keywords: creativity, photoshop, software, usability | |||
| Managing information in a creative environment | | BIBAK | Full-Text | 353-354 | |
| Carol J. Bales; Ellen Yi-Luen Do | |||
| Prior knowledge and domain expertise are key to successful design and
creativity. New digital workspaces should support the management of
ever-increasing amounts of digital information and design artifacts as well as
support collaboration during the creative process. In this paper, we present
the findings of an observational study describing how expert designers organize
and utilize information in their design workspaces throughout the initial
creative phases of problem-structuring and high level design. We describe how
these findings could inform further study in mixed reality creative
environments. Keywords: collaboration, creative environment, creativity, design, information access
and management, problem finding | |||
| Navigator: applications and integrations of wave data | | BIBAK | Full-Text | 355-356 | |
| Derek Michael Besant; Paul Connolly | |||
| Navigator is a digitally built image + sound art installation that
juxtaposes two divergent sources of transmitted information from sound
gathering. Our project theoretically formulates an intriguing record of how
different elemental particle data navigates its way towards a conclusion over
time (and space) by means of digital coalescence. We have chosen sources that
are not readily visible to us in everyday encounters, but by way of scientific
equipment, are translated into visible or audible data that is all digital.
From this digital matrix we are able to reconstitute that data into visible art
forms of image and sound that are related. Keywords: codes, progressive, transponder, ultrasound | |||
| Everyday experience as stimuli for technology enhanced creativity workshops | | BIBAK | Full-Text | 357-358 | |
| Angela Carell; Thomas Herrmann | |||
| The design of a creativity workshop is presented which helps to develop new
ideas of how to support elderly people to live in their own home as long as
possible. The participants of the workshops were provided with special stimuli
which are based on everyday experiences with the needs and problems of elder
people. The facilitation of the workshop had to introduce these stimuli and to
combine it with appropriate brainstorming questions, material to work with and
technical support which offers the display of and interaction with information
units on a 4.8m x 1.2m interactive large screen. Various modes of work and
collaboration were combined. The case study is concluded with lessons learned
about how everyday experience can be appropriately introduced into creativity
workshops. Keywords: co-located meeting, collaborative creativity, technology | |||
| STOLEN!: categories of in-context response to unauthorized reuse of user-generated media | | BIBAK | Full-Text | 359-360 | |
| Eric Cook; Ingrid Erickson; Jennifer Thom-Santelli | |||
| In this poster, we describe the current findings of a work-in-progress that
seeks to understand the normative climate that arises within user-generated
media communities when contributions are interpreted as stolen or otherwise
misappropriated. We outline our data collection on the photosharing service
flickr.com and then briefly discuss the emergent categories of user response to
perceived unauthorized reuse that appear within our sample. Keywords: amateur creativity, appropriate use, community standards, intellectual
property, ownership, photography, social norms, user-generated media | |||
| Designing case libraries to encourage creative design | | BIBAK | Full-Text | 361-362 | |
| Chandan Dasgupta; Janet L. Kolodner | |||
| Youngsters engaging in designing meaningful artifacts while browsing a case
library produced creative artifacts. Our pilot study highlighted three factors
that seem to promote creative designs: (1) making the design ideas and
struggles of others available as designers are attempting to achieve personal
design goals, (2) promoting exploration of these ideas, and (3) attaching to
the case library resources to promote understanding of the scientific and
technological concepts behind these ideas. Keywords: case libraries, case-based reasoning, design-based learning | |||
| Increasing and sustaining participation to support and foster social creativity | | BIBAK | Full-Text | 363-364 | |
| Holger Dick; Hal Eden; Gerhard Fischer | |||
| The rise in social computing has facilitated a shift from consumer cultures
to cultures of participation. These developments represent unique and
fundamental opportunities and challenges for social creativity.
The CreativeIT Wiki project represents an effort to explore and build a socio-technical environment for members of the emerging research community interested in creativity and information technology. Keywords: cultures of participation, democratizing creativity, next-generation wikis,
social creativity | |||
| A quantitative analysis of the collective creativity in playing 20-questions games | | BIBAK | Full-Text | 365-366 | |
| Wen Dong; Taemie Kim; Alex Pentland | |||
| Creativity is an important ingredient in problem solving, and problem
solving is an important activity for both individuals and societies. This paper
discusses our novel approach of discovering the structure of problem-solving
creativity with statistical methods, and mapping the interaction patterns of
group processes to their performances through the discovered creativity
structure. Our discussion is based on a lab study data set using the meeting
mediator system through which we collected objective quantitative data. We hope
our findings and quantitative approach could be applied to many other
real-world problem-solving processes and to helping people. Keywords: computer supported/mediated creativity, empirical study | |||
| Towards the ultimate aesthetic experience | | BIBAK | Full-Text | 367-368 | |
| Haakon Faste; Massimo Bergamasco | |||
| Robotic interfaces combined with virtual reality provide an unparalleled
platform for cognition research. Using a combination of design strategy, trend
analysis and immersive virtual reality systems, our intent has been to design
and build the "ultimate" interactive aesthetic experience. This paper discusses
the creative process and the preliminary results of this engineering research. Keywords: 3d environments, aesthetics, creativity, design strategy, multimodal
cognition, perceptual robotics, virtual reality | |||
| Class-wide projects: fostering collaboration and creativity in computer science courses | | BIBAK | Full-Text | 369-370 | |
| Alexandre R. J. François | |||
| This poster reports on the introduction of class-wide projects in computer
science courses at different levels in the curriculum, as a means to fostering
collaborative teamwork and creativity. Keywords: class-wide project, collaboration, creativity | |||
| Destination, imagination & the fires within: design thinking in a middle school classroom | | BIBAK | Full-Text | 371-372 | |
| Shelley Goldman; Maureen Carroll; Adam Royalty | |||
| The purpose of the Taking Design Thinking to Schools Research Project was to
extend the knowledge base that contributes to an improved understanding of the
role of design thinking in K-12 classrooms. The ethnographic qualitative study
focused on the implementation of an interdisciplinary design curriculum by a
team of university instructors in a public charter school. Three questions
framed the study:
* How did students express their understanding of design thinking classroom
activities? * How did affective elements impact design thinking in the classroom environment? * How is design thinking connected to academic standards and content learning in the classroom? Keywords: ethnography, human-centered design, multidisciplinary /interdisciplinary
design | |||
| Design patterns in creative design processes | | BIBAK | Full-Text | 373-374 | |
| Paula Gomez Zamora; Ellen Yi-Luen Do | |||
| The paper presents the analysis of nine architects design processes with
different design experience and expertise levels. The main goal is to visualize
and analyze patterns between their design processes, design phases, design
iterations, and software used to support creative process in every design
phase. This study focused on four major components for analysis: lengths of
design processes, naming of design phases, flows of design directions, and the
number and types of software used in each phase. The future goal is to
investigate whether specific software capabilities would increase or hinder
creative behavior patterns during the design process. Keywords: creativity processes, design flows, design patterns, design phases, design
process, software | |||
| Extending the reggio emilia educational approach to creativity support environments | | BIBAK | Full-Text | 375-376 | |
| Keith Evan Green; Angela Eckhoff; Suzanne Rosenblith; Ian D. Walker | |||
| Intelligent Systems can effectively bridge the wondrous world of childhood
and the adult world of rules, goals and expectations. This paper explores the
possibility of an embodied child-computer interaction that cultivates
creativity -- a core value of the successful adult in an increasingly digital
society. We draw specifically on the Reggio Emilia method of education, not by
adding to it PCs (as has been done, with mixed results), but instead, by
respecting its focus on haptics -- on the handling of physical things as a way
of learning -- embedding computation in the very fabric of the physical
environment. We call this embodied system a Creativity Support Environment to
emphasize the role of the physical environment as, itself, a "teacher" of
creativity. Keywords: architecture, children, computer support tools, creativity, hri, human
factors, intelligent environments | |||
| In search of a perceptual basis for interacting with parametric images | | BIBAK | Full-Text | 377-378 | |
| Daryl H. Hepting; Leila Latifi; Chris Oriet | |||
| Many people appreciate the aesthetics of fractal images, but few are
inclined to engage in the mathematics needed to create them. Finding a
perceptual basis for interacting with parametric images like fractals could
make the parameter space more accessible, which is an important step towards
democratizing this creative activity. This paper discusses an experiment to
gather perceptions of fractal images and compare them with computational
analyses. Keywords: creativity, democratization, design, human factors, perception | |||
| MobileAct: applying mobile design and kinetic art to an interactive visualization tool | | BIBAK | Full-Text | 379-380 | |
| Jee Yeon Hwang | |||
| MobileAct is an interactive visualization tool that enables users to create
their own visualizations and integrate visualized information into their daily
tasks. It provides a novel interaction mechanism in which the mobile, one of
the most well-known kinetic art forms, is used as an interactive visualization.
The mobile structure transparently presents contextually relevant, balanced,
and user-specific information through its key features, connectivity, and
equilibrium. MobileAct's connected frame allows for visualization of
hierarchical or relative information. Users can set structures and balancing
factors of their data components based on their importance or frequency level.
Using its balancing and scalable capabilities, users can obtain reflective
feedback regarding their data patterns. The applications of MobileAct are
designed and presented to describe its implementation details. Lastly, this
paper suggests how MobileAct can be improved and how its design pattern will
benefit future interactive visualizations. Keywords: information awareness, interactive visualization | |||
| The one-week curious 'hood: creative inhabitation as a mode of urban revitalization | | BIBAK | Full-Text | 381-382 | |
| Joanne Jakovich | |||
| This paper explores the methods, observations and outcomes of one-week
intensive site-specific workshops as a means of urban revitalization. Intensive
interaction with local communities facing issues of urban decline, commercial
redevelopment or demographic polarities is the basis for the exploration and
development of a series of operative modalities of creative inhabitation. The
paper poses that through these modalities the intensification of the creative
use and production of urban space can instigate a shift towards revitalization. Keywords: creativity, urban revitalization | |||
| Early results with faceted classification of "alternate uses" test responses | | BIBAK | Full-Text | 383-384 | |
| Kyle E. Jennings | |||
| Generating ideas is central to creativity. To improve understanding of the
idea generation process, measurements are needed that go beyond the typical
indices of fluency, originality, elaboration, and flexibility. Faceted
classification, which puts each idea into several conceptually orthogonal
hierarchies, is suggested as an alternative. A distance metric over faceted
classifications is defined. When applied to adjacent ideas on alternate uses
tests, it correlates highly with time between responses. This demonstrates
faceted classification's promise as a high-resolution (though also time
intensive) way to characterize ideation. Keywords: assessments of creativity, cognition, empirical study | |||
| Relationship between the diversity of information and idea generation | | BIBAK | Full-Text | 385-386 | |
| Sachiko Kiyokawa; Yuichi Washida; Kazuhiro Ueda; Eileen Peng | |||
| We attempted to determine whether the provision of diverse information could
facilitate creative idea generation. For this purpose, we enlisted 35 students
to generate two ideas individually by using the scanning material provided. The
results revealed that the participants tended to select similar articles and to
reduce their diversity even though diverse materials were provided. Further,
the diversity of the materials they used actually was positively correlated
with the quality of the generated ideas. We concluded that the diversity of
materials that were not provided but nevertheless used had an effect on idea
generation. Keywords: diversity of information, idea generation, scanning method | |||
| The effects of computing technology in creative design tasks: a case study of design collaboration | | BIBAK | Full-Text | 387-388 | |
| Seunghyun Lee; Ellen Yi-Luen Do | |||
| We present two empirical studies of two pairs of students collaborating on
two small product design sessions in both face-to-face and distributed settings
while using computer-mediated communication technologies and a collaborative
virtual environment. The study shows that teams spent more time working
together when using programs that support shared sketching capabilities or
shared viewing of 3D objects. Keywords: collaborative design, collaborative virtual environment, computer-mediated
communication, computer-supported collaborative design | |||
| The artist loft effect in the clustering 'creative types': a computer simulation | | BIBAK | Full-Text | 389-390 | |
| Stefan Leijnen; Liane Gabora | |||
| Simulations using a computer model the Evolution Of Culture (EVOC) indicate
that the clustering of creative agents decreases the mean fitness of ideas in
the short term (when imitators have not yet been exposed to them) but increases
idea fitness in the long term (presumably because agents swap partial
solutions). With the steep fitness function used here, clustering decreases
idea diversity. Keywords: agent-based modeling, artist loft effect, clustering, creativity, cultural
evolution, imitation | |||
| Predicting successful completion of online collaborative animation projects | | BIBAK | Full-Text | 391-392 | |
| Kurt Luther; Kevin Ziegler; Kelly E. Caine; Amy Bruckman | |||
| Online creative collaboration projects are started every day, but many fail
to produce new artifacts of value. In this poster, we address the question of
why some of these projects succeed and others fail. Our quantitative analysis
of 892 online collaborative animation projects, or "collabs," indicates that
the early presence of organizational and structural elements, particularly
those of a technical nature, can predict successful completion. Keywords: animation, leadership, online communities, online creative collaboration,
predicting success, social computing | |||
| Cultivating creativity in tangible interaction design | | BIBAK | Full-Text | 393-394 | |
| Fred G. Martin; Karen E. Roehr | |||
| As part of a larger team developing collaborations between computing and the
arts, the co-authors created a general education undergraduate course, Tangible
Interaction Design. We briefly describe the course, "Tiddles" (in-class
exercises that promote creativity), and three exemplar student final projects.
We conclude with observations about creativity in the arts and in engineering. Keywords: arts, computing, creativity, sensors, tangible interaction | |||
| HandJabber: an enactive framework for collaborative creative expression | | BIBAK | Full-Text | 395-396 | |
| Cristóbal Martinez; Jessica Mumford; Stjepan Rajko; Lisa Tolentino; Ellen Campana; Todd Ingalls; Harvey Thornburg | |||
| HandJabber is a movement-based interactive sound installation and research
environment for exploring collaborative creative expression. HandJabber
utilizes the emergence of semantic meanings from gesture and interpersonal
behavior as a single interface for music performance by responding to an
individual participant's hand and arm gestures, and reacting to the non-verbal
interpersonal behavior between two participants. Within this context, we
explore three major areas of non-verbal behavior, (a) metaphoric hand and arm
gesture, (b) interpersonal space, and (c) body orientation. Our poster presents
results from informal user and case studies. Keywords: collaboration, gesture interface, motion capture, multimedia interaction,
music controller | |||
| Notes on the creative process of artist collectives | | BIBAK | Full-Text | 397-398 | |
| Meredith Tromble McDonald | |||
| This paper explores the relationship between the creative process of artist
collectives and emergence, the appearance of "higher order" from the actions of
a group of relatively simple agents following local rules. The author asks if
there are "rules" or "cultures" of collective art activity that are
particularly productive. The paper suggests applications of ideas from biology,
cognitive science, and psychology to creative interaction, using examples from
the collective in which the author participates. Keywords: art, artist, biology, cognitive science, collaboration, collectives,
creative process, emergence, psychology | |||
| Supporting human creative story authoring with asynthetic audience | | BIBAK | Full-Text | 399-400 | |
| Brian O'Neill; Mark Riedl | |||
| Human creativity plays an important role in the production of many of the
media products that permeate our society. However, non-expert creators are
often limited by a lack of technical ability, as opposed to creative ability.
This is especially true for story authoring. We present an approach to
supporting creativity using synthetic audience -- an intelligent agent that
acts as (a) a surrogate story recipient and (b) critic capable of providing
constructive feedback. We describe initial efforts based on computational
modeling of cognitive processes and creativity. Keywords: audience modeling, creativity support, story authoring | |||
| Visualization and empowerment | | BIBAK | Full-Text | 401-402 | |
| Indhira Rojas; Wendy Ju | |||
| Data visualization, commonly used to make large sets of numerical data more
legible, also has enormous potential as a storytelling tool to elicit insights
on long-standing social problems. It can help to synthesize diverse personal
narratives about history, causes and impacts, and thereby give a voice to
populations seeking to create change.
In this work, we explore the potential for using data visualization as a vehicle for social change through creative engagement. Our intent is to design and deploy an interactive visualization of development in the Dominican Republic which brings empathy to the society's cultural psychology, helps frame limitations and challenges, and highlights opportunities for progress. Some of the major challenges in designing this work lie in layering both the "big picture" perspective -- historical events and statistical trends -- with personal narratives -- vivid stories that illuminate the current state of the society. We discuss how this work can foster conversations and promote creative thought, motivating actions that can transform the current state of the country. Keywords: design, interaction, participatory, perception, reflection, social
interfaces, visualization | |||
| Big lampan lamps: designing for DIY | | BIBAK | Full-Text | 403-404 | |
| Daniel Saakes | |||
| I present a design of repurposed IKEA lamp that was shared on a DIY website
and became popular. Based on the considerations that went into the design and
the online discussion on the community website, I discuss requirements for
"designing for DIY" as a new design approach to serve the tip of the long tail
of design. Keywords: diy, dodecahedron, ikea | |||
| Enhancing the creativity of engineers by idea drawing | | BIBAK | Full-Text | 405-406 | |
| Yoshifumi Tanaka; Sumio Nakamura; Kazuya Takemata | |||
| Externalizing ideas in universally understandable diagrams may enhance
communication and contribute to creative design. "Idea drawing" is a freehand
drawing method developed to express accurately how an object looks based on
elemental geometry and perspective. To examine whether idea drawing could
contribute to the product design process, we held a course for engineers
involved in manufacturing a product. An interview of a participant suggested
that idea drawing may enhance communication between the engineers and thus help
substantially in the creative design process. Keywords: communication, education, freehand drawing, product design | |||
| Affective support for the creative user | | BIBAK | Full-Text | 407-408 | |
| Priyamvada Tripathi; Winslow Burleson | |||
| The relationship between affect and creativity represents an intriguing
opportunity for creativity support tools. A fine grain model that links affect
with creativity can lead to development of feedback environments that maximize
a user's effectiveness and creative output. In this paper, we present an
empirical study that will lead us to formulation of such environments for
affective support of the user. Five members in a research group reported their
daily affect and creativity using an online social science survey. In addition,
they used a PDA liken social sensing device called socioscopes that captured
their affective and social behavior patterns. The results show that creativity
is positively correlated with positive affect. Furthermore, person's speech and
movement profiles are also significantly correlated with creativity. More
studies are planned for future that will refine these results. Based on these
empirical investigations, we propose that creativity support tools will benefit
by actively considering the impact of affect on the creative process.
Physiological and behavioral sensors can serve an important role in providing
this measurement. The proposed research lays the foundation for future work in
development of such affect driven real time measurement and modulation systems
for creativity support. Keywords: affective computing, creativity, creativity support tools, social sensing | |||
| A sub-symbolic model of the cognitive processes of re-representation and insight | | BIBAK | Full-Text | 409-410 | |
| Dan Ventura | |||
| We present a sub-symbolic computational model for effecting knowledge
re-representation and insight. Given a set of data, manifold learning is used
to automatically organize the data into one or more representational
transformations, which are then learned with a set of neural networks. The
result is a set of neural filters that can be applied to new data as
re-representation operators. Keywords: cognitive model, insight, re-representation | |||
| Improvisation: the neural foundation for creativity | | BIBAK | Full-Text | 411-412 | |
| Morten Friis-Olivarius; Mikkel Wallentin; Peter Vuust | |||
| Nearly all neuroimaging studies of creative behavior investigate verbal
associations. These studies find an involvement of the left dorsolateral
prefrontal cortex (DLPFC). In contrast, two recent studies of pianists found
the right DLPFC to be linked with non-verbal creative behavior. Musicians,
however, often communicate on stage through their playing. But does this
improvised interaction involve left- or right-lateralized prefrontal brain
regions? To investigate this, we conducted a functional magnetic resonance
imaging (fMRI) experiment where participants had to improvise a musical answer
to a given musical rhythmic phrase. We found that only the left DLPFC was
activated during response creation compared to control, indicating that musical
communication resembles that of linguistic behavior rather than strictly
non-linguistic behavior. Keywords: creativity, improvisation, music creation | |||
| The creative footprint: the impact of physical space on workplace creativity | | BIBAK | Full-Text | 413-414 | |
| Alison Williams | |||
| This poster puts forward the concept of a physical creative footprint which
is specific and necessary to individuals' and groups' creativity in the
workplace. The impact of physical space on people's ability to be creative in
the workplace has been largely neglected by the creativity research community.
This poster, based on doctoral research findings, goes some way towards
redressing the balance. The poster posits that identifying one's own creative
footprint and that of others is an essential part of optimum workplace
creativity. The necessary elements are explored and an approach to identifying
one's unique creative footprint is set out. Keywords: creative footprint, creativity, physical press, workplace creativity | |||
| Locomotion storytelling: kinesthetic intelligence and tangible objects in storytelling creativity | | BIBAK | Full-Text | 415-416 | |
| Jasmine Williams; Ellen Li-Luen Do | |||
| This project studied the influence of kinesthetic intelligences on
creativity in young children. To understand this relationship preschoolers were
observed in their daycare setting during story-time over a period of four
sessions. During the sessions observations focused on the children's ability to
propose narratives when the teacher used different storytelling methods. The
children's responses were videotaped and coded later for analysis. The coding
was used to calculate the baseline Ideational Fluency of the children. Total
fluency was calculated by adding the number of popular and original responses.
Behavior patterns also emerged from the study. Children generated not only more
responses, but a greater variation in narratives when they were allowed to
interact with tangible characters and act out behaviors. Also, children
generated more responses when they were given 3D stimuli than when given 2D
stimuli. The degree of familiarity with the scenario also influenced the number
of responses. The more familiar the children were with the scenario, their
ability to contribute to the narrative improved. Keywords: children, creativity, interactive environments for children, narratives,
storytelling | |||
| VIP: a creative drawing system for the visual imagination puzzle | | BIBAK | Full-Text | 417-418 | |
| Eun Joo Youk; Doo Young Kwon | |||
| In this poster, we propose a creative drawing system called the VIP (Visual
Imagination Puzzle). The VIP enables users to visually think their own concrete
image from the abstract image and to draw the emergent shapes in different
layers. The VIP supports a collaborative work by allowing two or more users to
think and draw together. Using the VIP, users can be visually inspired from the
natural or artificial images and they can express their own visual ideas and
share with others. Keywords: drawing, picture puzzle, visual imagination | |||
| In translation: a visualization of language | | BIBAK | Full-Text | 419-420 | |
| Linda Becker | |||
| In Translation is an interactive application that takes an alternative
visual approach to translating languages using colors and shapes. The visual
output reveals aspects of everyday language that most of the time go unnoticed
but are intrinsic to language and meaning. In Translation combines concepts
from both traditional InfoViz research and the Visual Arts to create an
audience-focused, interactive learning experience. It is a computer-based
application that viewers can use to generate and compare visualizations of
chosen texts from 9 different languages that use the Roman alphabet. Keywords: info graphics, information visualization, interactive application,
linguistics, translation | |||
| Our house | | BIBAK | Full-Text | 421-422 | |
| Julia Burns; Ardrian Hardjono; Alla Bekker; Doreen Ee | |||
| Accepted concepts of privacy and public access to the private sphere are
shifting dramatically in the face of technological and cultural changes online.
[Rosen 2000] Social-networking and micro-blogging sites, in particular, invite
users to publish excerpts and photos from their own private lives for an
internet-based viewing public. This paper discusses an interactive new media
artwork, "Our House" that addresses these issues and demonstrates aspects of
this phenomenon in both the real and internet-based spheres.
The artwork features an interactive sculpture, paired with an on-line micro-blogging simulation. Interactions with the sculpture generate tweets (text-based posts of up to 140 characters) and video on the screen-based simulation. The proximity of the real and the virtual worlds come together, prompting debate on the psychological and dangerous aspects of indiscriminate publishing to the web. Keywords: interactive art, micro-blogging, privacy, social-networking, twitter | |||
| BodyDaemon | | BIBAK | Full-Text | 423-424 | |
| Carlos Castellanos; Thecla Schiphorst | |||
| This paper describes BodyDaemon a techno-conceptual art project that
includes a server that is powered and configured by a participant's
physiological states and a protocol for exchanging bio/server data across the
Internet. Keywords: biofeedback, body, diy, embodiment, first-person methodologies, interactive
art, network, physiological monitoring, protocol, xml | |||
| Sim-Suite | | BIBAK | Full-Text | 425-426 | |
| Manuela Jungmann; Geraldine Fitzpatrick | |||
| In this paper, we describe the installation Sim-Suite which engages members
of the public through interactive experiences based on everyday play strategies
and basic full-body human movement. The underlying concept of Sim-Suite
explores a recombinant approach to cultural understandings in regards to the
social practice of play and embodiment. Our approach deploys digital
technologies to facilitate human-to-human tangible interaction using common
materials and objects. In this context, the experience of the physical world is
expanded and reconfigured together with the transient virtual space of play and
digital media. Keywords: creative digital media, embodied interaction, games, interaction design,
interactive art, tangible interaction | |||
| ToneZone: image exploration with spatial memory cues | | BIBAK | Full-Text | 427-428 | |
| Celine Latulipe; Michael Youngblood; Ian Bell; Carissa Orlando | |||
| We present two versions of the ToneZone tool, which allows users to explore
image tone ranges. The original ToneZone tool is a dual-mouse, dual-cursor
tool, while a modified version requires only a single mouse and cursor. Both
tools are designed to encourage non-experts to explore the powerful interaction
of tone range manipulation. Keywords: bimanual interaction, image exploration, levels, photo editing, refinding,
tone mapping | |||
| Subliminal wiretapping | | BIBAK | Full-Text | 429-430 | |
| Shawn Lawson | |||
| Subliminal Wiretapping is a subtly interactive artwork that utilizes random
number generation modified through mind-matter effects to supply a continuous
stream of words. Frequent, personal connections emerge from participants
interpreting the stream as the words appear. Keywords: automatic writing, interactive, listen, mind-matter, ouija, psyleron, random
event generator, random number generator, reg, rng, subtle, wiretap | |||
| Designing space for socially meaningful creativity enhanced by new technologies | | BIBAK | Full-Text | 431-432 | |
| Yoshiro Miyata; Nobuyuki Ueda; Keiko Onishi; Tomoyuki Sowa; Yasushi Harada; Kazuzi Mogi; Chihiro Tetsuka; Masaki Inoue | |||
| We will demonstrate some workshop space that we have designed for creating
and sharing socially meaningful activities that transcend differences in
culture and age. We argue for the importance of: 1. Sharing at multiple levels:
bodily/sensory, emotional, intellectual, and social levels. 2. Connecting these
levels by introducing technologies in response to socially shared meanings. In
our demonstration, we will show some activities incorporating Scratch/Cricket
technologies to enhance sharing and connecting these levels. Keywords: collaborative creativity, lifelong creativity, scratch/cricket,
trans-cultural learning, workshops | |||
| A surfaceless pen-based interface | | BIBAK | Full-Text | 433-434 | |
| Joshua M. Peschel; Brandon Paulson; Tracy Hammond | |||
| Freehand drawing on a computer screen allows users to provide input through
a natural mode of human interaction. With this freedom of expression, however,
there exists a paradoxical limitation: the user is bound through the existing
interface to the fixed drawing surface. In this work, we overcome this
limitation by presenting a surfaceless pen-based interface with an application
in the field of sketch recognition. A pilot study was conducted to examine the
usability of the surfaceless pen-based interface. Results indicated that
learning to use the device is relatively straightforward, but that interaction
difficulty increases in a directly proportionally manner with drawing
complexity. Keywords: pen-based technology, surfaceless user interface | |||
| 2DEQ: an intuitive audio equalizer | | BIBAK | Full-Text | 435-436 | |
| Andrew T. Sabin; Bryan Pardo | |||
| The complexity of music production tools can be a significant bottleneck in
the creative process. Here we describe the development of a simple, intuitive
audio equalizer with the idea that our approach could also be applied to other
types of music production tools. First, users generate a large set of
equalization curves representative of the most common types of modifications.
Next, we represent the entire set of curves in 2-dimensional space and
determine the spatial location of common auditory adjectives. Finally we create
an interface, called 2DEQ, where the user can drag a single dot to control
equalization in this adjective-labeled space. Keywords: adaptive filters, music, user interfaces | |||
| Fun with blow painting!: making leaf collages by blowing at toy windmill | | BIBAK | Full-Text | 437-438 | |
| Yang-Ting Shen; Ellen Yi-Luen Do | |||
| Blow Painting is a novel play interaction that enables children to blow at a
toy windmill to create collage paintings of leaves on a digital canvas. The
windmill is embedded with a microphone (to detect the blowing action) and a
rotation sensor (to detect the blowing direction). Four kinds of leaves (Red
Maple, Sugar Maple, Hickory and White Oak) are embedded inside transparent RFID
sheets that can be placed under the windmill to provide different leaf
"stencils" for the Blow Paining game. Keywords: blowing, children, collage, daily experience, game, interactive play, leaf
stencil, painting, rfid, tangible object | |||
| Exploring architectural robotics with the human hive | | BIBAK | Full-Text | 439-440 | |
| Michael Philetus Weller; Ellen Yi-Luen Do | |||
| We present an activity we developed to demonstrate bottom-up form
construction, the human hive. Participants team up to construct a hive
structure from large interlocking cardboard blocks. Each participant is given a
visual rule that describes where new cells should be added to the hive. The
design of these rules guides the form of the structure that emerges from this
uncoordinated activity. Bottom-up, distributed methods for specifying physical
forms and behaviors are central to the emerging field of architectural robotics
that deals with designing objects composed of self-reconfiguring materials. Keywords: distributed algorithms, education, stigmergy | |||
| Alchemy: experiments in interactive drawing, creativity, & serendipity | | BIBAK | Full-Text | 441-442 | |
| Karl D. D. Willis; Jacob Hina | |||
| This paper presents an overview of Alchemy, an experimental drawing
application aimed at exploring how we can sketch, draw, and create on computers
in new ways. Alchemy focuses on the absolute initial stage of the creative
process, to provide an expanded range of possibilities for serendipitous
sketching and shape creation. The main aim of Alchemy is to explore how
computer based forms of drawing can extend the early stage idea creation
process. Keywords: alchemy, art, concept art, creative process, creativity, creativity support
tools, design, draw, serendipity, sketch | |||
| A collaborative interface for managing design alternatives | | BIBAK | Full-Text | 443-444 | |
| Anbang Xu; Brittany Smith; Brian Bailey | |||
| Generating and managing multiple ideas is a fundamental part of the creative
process for both individual and teams of designers. To be useful for early
design, computer tools must effectively support this common practice. This
paper proposes a demonstration of a new collaborative interface for managing
ideas in computer-based design tools. The core of the interface provides
interactive spatial maps for creating, organizing, and reflecting on ideas. The
interface was also substantially revised in response to lessons learned from a
study comparing its use to the use of other tools for managing multiple ideas
during early design work. The revised interface allows designers to tag and
filter the idea space, arrange ideas in three distinct views, and efficiently
compose and decompose content from multiple ideas. Keywords: creativity, design, management, multiple ideas | |||
| Toward entertainment blimps for everyone by everyone | | BIBAK | Full-Text | 445-446 | |
| Hideki Yoshimoto; Kazuhiro Jo; Koichi Hori | |||
| This paper describes our vision and approach toward "entertainment blimps
for everyone by everyone" through DIY prototyping. Our vision of "entertainment
blimps for everyone" is that operators, who control the blimps, and spectators,
who observe the blimps, could share and enjoy the activities together. Our
vision of "entertainment blimps by everyone" is that both of developers, who
are skilled in electronics or computer programming, and users, who are not,
could reproduce and modify their own entertainment blimp projects. Keywords: air ship, blimp, diy, open source, performance, spectators, visual
programming | |||
| Call for bags | | BIBAK | Full-Text | 447-448 | |
| Sarah Atkinson | |||
| Inspired by the theme of Everyday Creativity, we asked people across the
world to post their old conference bag(s) to us so that they could be recycled
into one-of-a-kind reusable conference bags. Each bag sent was then hand
crafted and sculpted by up-and-coming British designer Sarah Atkinson. Unlike
many consumer products that we buy today, each bag has its previous history
attached. Keywords: bag, everyday creativity, history, recycled | |||
| Inescapable | | BIBAK | Full-Text | 449-450 | |
| A Amuse-Bouche | |||
| The illusive Amuse Bouche provide you with a glimpse into the flow of the
peripheral imperceptible and inescapable unknown. Keywords: imperceptible, inescapable, interactive art, peripheral | |||
| The sheep market | | BIBAK | Full-Text | 451-452 | |
| Aaron Michael Koblin | |||
| The Sheep Market, is a web-based artwork that appropriates Amazon's
Mechanical Turk system to implicate thousands of workers in the creation of a
massive database of drawings. From one simple request, submitted to the MTurk
system as a 'HIT' or Human Intelligence Task, workers create their version of
"a sheep facing to the left" using simple drawing tools. The artist responsible
for each drawing receives a payment of two cents for their labor.
The inspiration for The Sheep Market project stems from the urge to cast a light on the human role of creativity expressed by workers in the system, while explicitly calling attention to the massive and insignificant role each plays as part of a whole. The project will be presented at the Creativity and Cognition Conference as a large projection of each sheep's animated creation process as drawn by the original artist. Keywords: art, crowdsourcing, data visualization, design, drawing, media art | |||
| Swab drawings | | BIBAK | Full-Text | 453-454 | |
| Jane Prophet | |||
| Video artwork presented on DVD. Keywords: collaboration, drawing, surgery | |||
| (in)box with Malcom | | BIBAK | Full-Text | 455-456 | |
| Evan Barba; Blair MacIntyre; Rebecca Rouse; Jay Bolter | |||
| This paper describes an interactive Augmented Reality (AR) art installation
based on, and in, an ISO (International Organization for Standardization)
shipping container. The work was inspired by the book, "The Box" [1] written by
Marc Levinson, and the theatrical work of Petr Sourek [2] which explores the
persona of Malcom McLean, inventor of the shipping container as we know it
today. Keywords: art installation, augmented reality, box, interactive media | |||
| Where i come from...: an art exhibition highlighting how digital tools are helping at-risk youth make meaning of their world | | BIBAK | Full-Text | 457-458 | |
| Angela E. Brown; Joseph Alter | |||
| In this paper, we describe how we used digital media tools to engage at-risk
students in the creative process. Through allowing these students to make their
own, "Where I Come From..." mini-video poems, they were given the chance to
learn how to use digital media tools to express the meaning of their lives. And
in some cases, the students evolved their poems beyond self and ventured into
the realm of addressing more global issues. This allowed them to build personal
strength and courage in themselves, while sharing a bit of themselves to the
world. Keywords: adobe youth voices, at-risk youth, creative process, digital media,
engagement, media-making, poetry | |||
| Material inspiration: the practice-led research of a craft artist | | BIBAK | Full-Text | 459-460 | |
| Nithikul Nimkulrat | |||
| A tangible material is a primary element in the everyday creative practice
of any craft artist. Although craft artists implicitly understand the
expressive aspects of the tangible material they use to create their artworks,
they rarely discuss or give a written account of them. In this paper, I present
a way in which my practice-led research on the expressivity and materiality of
a fiber material can shape the total artistic process as well as the resulting
artworks and their meanings. The research generates the conception of
materialness in fiber art, which can assist fiber artists and other craft
artists in creating aesthetic and meaningful artworks. Keywords: expressivity, fiber art, materiality, practice-led research, reflective
practice | |||
| Uberobjects: père Ubu installation | | BIBAK | Full-Text | 461-462 | |
| Carla Diana | |||
| This paper describes a proposal for an installation entitled "Uberobjects:
Père Ubu" which features one of a series of dynamic virtual objects.
Borrowing from the most seductive formal qualities of today's slick consumer
gadgets, the piece consists of a photorealistic, elegantly formed, reactive
"virtual object" rendered as an oversized projected image and exhibiting
unexpected behaviors in response to visitors' actions. Appearing as a
larger-than-life modern device, the Uberobject will glow, hum, unfold, depress,
expand or otherwise morph in reaction to the viewer's movements in order to
exhibit seemingly life-like behaviors (e.g. recoiling, hiding, blossoming). The
installation encourages a dynamic relationship with the viewer based on a
predetermined narrative. Keywords: 3d animation, art, design, interactivity, product design, three dimensional
interfaces | |||
| Stratification: embodied poetry works by high school students | | BIBAK | Full-Text | 463-464 | |
| Sarah Hatton; Ellen Campana; Andreea Danielescu; David Birchfield | |||
| In this art submission we describe a collection of twelve multimedia art
works that combine sound, images and animation. These works are the result of
collaborative creative practice between media artists and students in the
context of two high school Language Arts classes for non-Native English
speakers. The works were created, in part, by the students physically acting
out aspects of the composition within SMALLab, a mixed reality environment for
multimodal composition. We call the works "Embodied Poetry" because of this
physical action aspect. The title of the collection, Stratification, refers to
the layers of meaning within human language. The theme of the collection is
English Idioms and the works incorporate both literal and figurative meanings.
Examples of idioms include "bringing home the bacon," "fighting a losing
battle", and "cutting through red tape." These works were created in an
everyday educational setting, with the goal of improving student learning.
Nevertheless, they should be viewed as works of art. For us, the artistic
contribution of this work includes the pieces themselves and also the guided
creative process by which they were created. Thus, for the exhibit we will
showcase the works themselves and a documentary describing the process. Keywords: digital media, embodiment, gesture, hybrid spaces, metaphor, mixed-reality,
multimedia | |||
| Vehicle #3: heliotropic furniture -- an autonomous installation | | BIBAK | Full-Text | 465-466 | |
| Matthew G. Hebert | |||
| My objective is to exhibit a group of furniture pieces titled Vehicle #3:
Heliotropic Furniture. With the help of funding from San Diego State
University, I have been engaged in the research, development, and construction
of a body of work that features solar-powered electromechanical furniture
objects that respond to changes in their immediate environment. These benches
will move within an environment based on their own logic. Together they will
create a autonomous interactive via photovoltaics. To work with the limited
energy generated by the photovoltaic panels, I have incorporated composite
materials, known for their incredible strength-to-weight ratio, to create
ultra-light structures. I intend to exhibit Vehicle #3: Heliotropic Furniture
as an interior installation allowing the furniture to roam within a delimited
space. Keywords: art, embodied interaction, reflection, sensing technologies | |||
| Paruresis | | BIBAK | Full-Text | 467-468 | |
| Luke Moloney; Jan Rod; Marc Tuters; Miyuru Dayarathna; Adrian David Cheok | |||
| Paruresis is an object critical design that addresses the phobia of an
inability to urinate in the presence of others. It combines machine vision and
sensors with a camera recording the gaze triggered for playback by urination. Keywords: art, computer vision, feminism, gaze, gender, paruresis, phallocentrism,
queer theory, shy bladder, surveillance, toilet, urinal | |||
| Glowdoodle: a medium for expressive inquiry | | BIBAK | Full-Text | 469-470 | |
| Eric Rosenbaum | |||
| Expressive inquiry is a process of exploration and discovery within an
artistic medium that supports both intuitive play and iterative
experimentation. Glowdoodle is a system that enables people to paint with light
using objects in their environment, see the results as they paint, and share
their creations on the web. I describe properties of systems that support
expressive inquiry, illustrate them with glowdoodle as an example, and describe
diverse examples of glowdoodle creations. Keywords: expressivity, inquiry, light-painting | |||
| Telematic timelapse: surveillance suite | | BIBAK | Full-Text | 471-472 | |
| Joshua Pablo Rosenstock | |||
| Interactive installation comprising a suite of musical video compositions.
Footage is harvested from public surveillance cameras; a synchronized musical
score accompanies the micro-narratives. Time-lapse videos are presented
alongside live networked camera feeds. Keywords: digital art, electronic music, found materials, interactive media,
multimedia, music video, networked art, quotidian, remix, sampling,
soundtracks, surveillance, telematic, time-lapse, video, webcam | |||
| Two generative pieces: port hacking and DC_release | | BIBAK | Full-Text | 473-474 | |
| Ernest Edmonds; Mark Fell | |||
| Edmonds and Fell collaborate on generative performances in which sound and
image are integrated. The idea is to operate with structures that can mediate
between sound and vision, so that a unified work can be produced that
integrates both. Thus a single generative abstract structure is mapped into
sound and image to produce the integrated work. Each work has its own
generative process that develops over time, but during the performance Edmonds
and Fell manipulate the rules being used and so modify the generative
processes. The works are abstract and minimal in their aesthetic. Visually,
they are concerned with colour and change over time. A very restricted range of
forms hold a carefully selected closely connected colours, with the exception
of one outlier. The sounds are similarly minimal. Two pieces will be performed.
Port Hacking, was first performed in Sydney in 2003. DC_Release was first
performed in Washington DC in 2007 as part of ColorField Remix, a celebration
of the Washington color field painters. Both works have been performed in
various UK venues. The basic structure of each work remains the same but as
each performance is undertaken they develop as Edmonds and Fell explore
different aspects of their audio-visual landscape. Keywords: generative art, performance | |||
| Addressing the unexpected | | BIBAK | Full-Text | 475-476 | |
| Di Mainstone | |||
| My research strives to examine clothing as an instrument for creative social
encounters. It is my strong belief that the natural tactility of a wearable
structure and its' proximity to the body hold great possibility for intuitive
play. A hands-on choreography of fashion, technology, and performance, my work
aims to explore this theory, through the pro-active assembly of body-centric
modules and the physical exploration of textiles.
Utilizing the body as a tangible landscape, I employ both manual and electronic devices designed to unleash curiosity in the wearer and those around them. Using combinations of tailoring, upholstery, origami and electronics, I create tactile interfaces that reveal hidden narratives through the exploration of the wearer. Rarely viewed solely on the body, the work is often found hidden in portable boxes, concealed in urban cupboards, or merged with the city's landscape. Ripe for discovery, it must be exposed, unpacked, assembled, and then mastered. To become a virtuoso of each wearable device, we must be social, inquisitive, playful, and intrepid. I use digital fabrication methods such as the laser cutter and 3d printers alongside traditional fashion and upholstery techniques to create reconfigurable body-centric landscapes. Blending soft malleable textiles with robust industrial materials more associated with architecture and furniture design, I create ambiguous structures that are both foreign and familiar to their inquisitors. Through cross-disciplinary collaboration, I connect with musicians, dancers, filmmakers, architects and scientists. Diving beyond my own pool of expertise allows the work to grow through the sharing and harvesting of new skills, knowledge and working methodologies. A recent example of my approach is 'Sharewear', a project implemented at the V2 Institute in Rotterdam, which explores openings for playful connectivity within the public realm. The work comprises of a pair of reconfigurable, electronic dresses that are housed in wooden boxes, and left in public space to be unpacked and assembled. On discovering these containers, inquisitive pioneers are invited to construct their own portable space around the body by manipulating a series of soft, upholstered modules. Unleashing potential for intimate chance encounters, these squashy components can physically slot together to activate pools of light. Through this interaction, they invite participants to get close, lean on one another, morph space and cast long shadows. This research focus is being further developed with a project entitled 'Municipal Instruments', implemented as part of my residency at Eyebeam Art and Technology Center in New York City. The project aims to remix the behavior of urban inhabitants through a series of wearable musical devices intended to be found, assembled, worn, and shared within public space. Their curvilinear structures, which naturally conform to the body, aim to entice experimental play. The output of this interaction will be an urban symphony, composed from the orchestral reverberations of the city and its inhabitants. Through these and other material explorations, I have become focused on the links between hands-on assembly, creative movement, and communal experience, via the malleable landscape of textiles and technology. Throughout this process, it is my aim to unleash an unexpected sequence of events for those who choose to observe, discover, play, and connect. Keywords: fashion, interactive, performance, wearable technology | |||
| I seek the nerves under your skin | | BIBAK | Full-Text | 477-478 | |
| Joe Marshall | |||
| I Seek the Nerves Under Your Skin is a wearable audio performance which uses
the intense physical activity of sprinting to alter the state of mind of a
person listening to a poem. Running hard causes their state of mind to echo the
intense emotions of the poet who is performing the poem. Keywords: art, interaction, poetry, running, wearable | |||
| Graffiti dance: interaction of light, information, and environment | | BIBAK | Full-Text | 479-480 | |
| David A. Shamma; Jürgen Scheible; Renata M. Sheppard | |||
| Graffiti Dance creates a collaborative space for the voice of a local
community to express a statement about the world around them. Several
participants become graffiti artists, painting with an arsenal of lights via
virtual graffiti mechanisms. Colors, images, and terms from popular sources
(syndicated news Images & Twitter) and local influences (from mobile
uploads) are suggested for use in the graffiti. Participants and viewers watch
the graffiti's creation and receive feedback provided by a set of dancers who
interact with the virtual (light) and physical space. Graffiti Dance presents a
holistic experience using a plurality of sources that reflects our
understanding of the world around us, how we speak out in public forums, and
how we interpret the creative act. Keywords: art, community, dance, graffiti, network, projection | |||
| Chiptune marching band: a public workshop and performance | | BIBAK | Full-Text | 481-482 | |
| Kazuhiro Jo; Jamie Allen; Areti Galani | |||
| This paper proposes a public workshop and performance, "Chiptune Marching
Band", where participants make a sensor-reactive sound instrument, powered by a
localized power resource, and perform with their instrument as a band. Keywords: diy workshop, participation, sound performance | |||
| Nature as interface: MacGyver'ing and Martha-Stewart'ing interactivity with trees, pencils, grandpa, even the kitchen sink | | BIBAK | Full-Text | 483-484 | |
| Jay S. Silver | |||
| What do you get when you cross MacGyver with Martha Stewart? Inventions made
of magic markers, chewed bubble gum, flowers, friends, and rainwater! More
importantly, you get a person who knows how to work with her environment. In
this paper I'll introduce an experimental framing for a new class of interfaces
which consist of Nature itself. I'll call people interconnectors instead of
"users/producers," and I'll call the things they make interducts instead of
"products." Then, I'll talk concretely about Drawdio and Twinkle: two working
prototypes (which I created) that let interconnectors create musical inventions
by improvising with Nature. Finally, I'll propose some future work and describe
the performance I will give (live at Creativity and Cognition) which
demonstrates all these ideas. Keywords: constructionism, drawdio, interconnector, interduct, interface, modern
nature, nature | |||
| Ghost scraper: urban sonic activation on wheels | | BIBAK | Full-Text | 485-486 | |
| Eva Sjuve | |||
| In this paper Ghost Scraper is described, a solar powered, networked sonic
activator on wheels. Ghost Scraper is an urban device used to enhance the way
we think about invisible sonic layers embedded in urban space's materiality and
making these layers auditory. Ghost Scraper is a custom made interactive
apparatus, using embedded computing, networks, solar panels, real-time audio
processing, on wheels, to engage the audience into participation and reflection
of sonic evidence in the city, weather it is invisible layers of imaginary
memories, or the electronic presence of ghosts in the city's material. Keywords: alternative energy, creativity, embedded computing, interaction design,
music technology, networks, situated art, sonic art, trans-disciplinary
research, urban space | |||
| Creativity and cognition in engineering design: theoretical and pedagogical issues | | BIBAK | Full-Text | 487-488 | |
| Aditya Johri; Helen L. Chen; Micah Lande | |||
| This workshop will bring together researchers from the engineering design,
engineering learning, and creativity communities to explore emerging
theoretical and pedagogical issues related to creativity and cognition in
engineering design. The need to produce a creative engineering workforce for
the 21st century is well recognized. This workshop will help bridge the study
of creativity (what is creativity in an engineering context) and cognition (how
do engineering students become or act creatively). This workshop will lead to a
framework for future research and strategies to prepare creative engineers. Keywords: cognition, creativity, design learning, engineering design | |||
| Design of a learning place for collaborative creation by the mode of Byo-bu (Japanese folding screen) | | BIBAK | Full-Text | 489-490 | |
| Chihiro Tetsuka; Kazuzi Mogi; Yoshiro Miyata; Nobuyuki Ueda; Yasushi Harada; Tomoyuki Sowa; Keiko Onishi; Masaki Inoue | |||
| This workshop aims increase understanding through experience the style of a
traditional Japanese art. The idea is to develop growing "images" from the
impressions gotten from the paintings on the "Byo-bu (Folding screen)", and
then to re-create with the others a "New story" coming from these "images".
Thus, we would like to think about a collaborative creation based on individual
or common ideas and the process of creative thinking that were raised by
Byo-bu. Keywords: collaborative creation, collaborative learning, Japanese art, Japanese
traditional culture | |||
| Understanding the creative conversation: modeling to engagement | | BIBAK | Full-Text | 491-492 | |
| David A. Shamma; Dan Perkel; Kurt Luther | |||
| This workshop is aimed at describing the elusive creative process:
addressing models and of creative practice, from art to craft, from dance to
education. In particular, we wish to discuss creative models that are
conversational: connect the creator and the consumer via the creative act or
artifact. The goal is to foster creative collaboration across domains and
address the practice and design of the creative act to bring new ideas for
researchers and practitioners alike. Keywords: creativity, design, process, theory | |||
| Designing for a sustainable future | | BIBAK | Full-Text | 493-494 | |
| Daniela K. Busse; Eli Blevis; Catherine Howard; Brinda Dalal; David Fore; Lara Lee | |||
| In 1987 Brundtland defined sustainable development as "development that
meets the needs of the present without compromising the ability of future
generations to meet their own needs." [1] The simplicity of this statement is
seductive -- but what really constitutes sustainable development, and defines
the role of user experience research and design within it, is at best elusive.
This workshop aims at bringing together experts and researchers in User
Experience and related disciplines for a hands-on discussion of questions,
insights, and approaches in designing for a sustainable future. Keywords: design, research, sustainability | |||
| Using user research in creativity: informing systems, service and product experience design | | BIBAK | Full-Text | 495-496 | |
| Catriona Macaulay; Daniela Busse | |||
| Within the context of everyday creativity, there is a growing demand for new
systems, products and services that mediate such activity. Some of these tools
are emerging from commercial design worlds (iPhone apps, sound and image
production software, etc.) and some from creative communities/academia
(interactive storytelling tools, new programming tools for interactive
artworks, physical computing devices, etc.). Across the design disciplines, and
from academia to industry, practicing user research is becoming an increasingly
important activity informing the design and development of any product, system
or service. Whilst our understanding of the methods and techniques available
for generating user research is maturing, the understanding of how to leverage
its insights effectively is less well developed. Does user research within the
design process in itself incubate or quash creativity and innovation? Is there
such a thing as 'too data-driven design'? Can researchers (or those practicing
research) be educated for depth of insight, not just method? By the same token,
how can we be sure that the user research is actionable? What is the best way
to communicate user research? Or is co-development and integrated user research
the way to go anyway? What role does user research play in the overall
development process? Is user research something best gathered from users or
generated with users? Do different communities (e.g. academia and industry)
define 'valid user research' in the same ways? Keywords: user research | |||
| Understanding and evaluating creativity | | BIBAK | Full-Text | 497-498 | |
| Linda Candy; Zafer Bilda | |||
| This tutorial presents different perspectives on creativity based on
knowledge from research and practice. The aim is to provide an understanding of
creativity and how to evaluate it in terms of the ways audiences respond, how
we assess the creative works themselves and the role of the expertise and
skills of those who make works. Participants will be introduced to tools for
analyzing and evaluating creative engagement and creativity support through
group work. It is intended for people who would like to learn ways of
demystifying the creative activities and practitioners who would like to create
more intriguing audience/user experiences and better understand their creative
processes. Keywords: artifacts, audience, creativity, creators, design, evaluation | |||