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Proceedings of the 2013 ACM Conference on Creativity and Cognition

Fullname:Proceedings of the 9th ACM Conference on Creativity & Cognition
Editors:Yukari Nagai; Sam Ferguson
Location:Sydney, Australia
Dates:2013-Jun-17 to 2013-Jun-20
Publisher:ACM
Standard No:ISBN: 978-1-4503-2150-1; ACM DL: Table of Contents; hcibib: CC13
Papers:79
Pages:433
Links:Conference Website
  1. Keynote papers
  2. Dimensions of creative work
  3. Creativity support tools for reflection and exploration
  4. Creativity in special populations
  5. Physical engagement in creativity
  6. Creativity in the performing arts
  7. Community behaviour, engagement, and assessment
  8. Explorations in design and creative thought
  9. Posters
  10. Demonstrations
  11. Art, music & creativity
  12. Workshops

Keynote papers

The value of research in creativity and the arts BIBAFull-Text 1-10
  Celine Latulipe
Scientists and technologists conducting research in creativity and engaging with artists face political pressure to justify their work via economic arguments. These arguments often stress how the work can lead to innovation and economic growth. This has the negative side-effect of dismissing the intrinsic value of the arts for society. The implication is that arts and creativity work that does not have economic merit is not valuable and not worthy of public funding. A case study of the NSF-funded Dance.Draw project is used to illustrate these points. I argue that a shift in dialogue is needed to focus more on the qualitative value of this work to society and less on the economic value.
The challenge of interdisciplinary research BIBAFull-Text 11-11
  Ken Friedman
This keynote presentation will explore the challenges of interdisciplinary research. In an era when universities and research authorities call on us to work across and among disciplines for research and publishing, we suffer from institutional structures, funding patterns, and journal policies that make this nearly impossible. The presentation will propose ways in which individuals and local communities of practice can meet the challenges of interdisciplinary research in fruitful ways. It will also ask whether we can develop similar initiatives as a scale large enough to transform the institutional and programmatic systems that work against us.
   Several examples of humble theory will illustrate this talk. In one case, a dog fails to solve the theory of the doorknob while shedding light on interdisciplinary research. In another case, a dog develops a workaround for opposable thumbs while learning to harvest raspberries.

Dimensions of creative work

Toward a cognitive theory of creativity support BIBAFull-Text 13-22
  Nicholas Davis; Holger Winnemöller; Mira Dontcheva; Ellen Yi-Luen Do
We present the beginnings of a Cognitive Theory of Creativity Support aimed specifically at understanding novices and their needs. Our theory identifies unique difficulties novices face and reasons that may keep them from engaging in creative endeavors, such as fear of failure, time commitment, and lack of skill. To test our theory, we use it to analyze existing creativity support tools from multiple domains. We also describe the design and initial implementation of a creativity support tool based on our theory. The creativity support tool, called StorySketch, is designed to empower storytellers without graphical skills to engage in visual storytelling.
Improvising consciousness BIBAFull-Text 24-31
  Josephine Anstey; Neil Coletta; Dave Pape; Courtney Hatten; Min Young Kim; Debra Burhans; Devin Wilson
Improvising Consciousness is an experimental work of intermedia performance: a cognitive science fiction which addresses questions of situated consciousness, pre- & post-human identity, and creativity. The core of the Improvising Consciousness project is a performative lecture on the history and future of the human mind. The lecture is typically accompanied by participatory activities, these have included: work-shopping of alter-egos; improvisation in a multiple personality melodrama; an interactive visual short story; play sessions with a mixed-reality alien intelligence; and a physical game dealing with pre-historic cognition. The creative team include researchers in interactive drama, virtual and mixed reality, visual novels, AI, robotics and performance. They are members of a group which has a track record of producing innovative syntheses of computer-based technology and live performance.
Cultivating creativity in diverse teams BIBAFull-Text 32-41
  Julia Katherine Haines
Diverse groups of individuals, with their confluence of ideas and perspectives, hold great potential for creativity. But cultural differences often create problems that make it difficult for such groups to work together on a creative task. Little is understood about how to harness this creative potential. I conducted a laboratory study with 14 groups comprised of individuals from various nationalities to investigate the roles of cultural dimensions and diversity along those dimensions in the creative process and on the product. While overall diversity had a negative net effect on outcomes, I found a significant relationship between a task-orientation that embraces conflict and a positive product outcome. There were also several areas in which diversity was problematic due to diverse processes and work styles. I highlight some of the ways teams can be constructed and managed to promote good conflict and embrace diverse perspectives while limiting other issues created by diversity.
A classification of argument types for product aesthetics BIBAFull-Text 42-52
  Anders Haug; Mia Borch Münster
This paper focuses on the creative process of designing products with aesthetic qualities. Within this creative process, the paper focuses on the kinds of argumentation that designers use to justify aesthetic qualities of design objects. A distinctive feature of such arguments is the highly subjective nature of aesthetic preferences. Therefore, instead of actual observable phenomena, the focus is always on someone's subjective opinion. To address this issue, a basis is taken in established argumentation models, which are transformed into the described context. The proposed classification's fit with the reality of industrial designers was investigated through a series of interviews with industrial designers. The studies illustrated that all the eight developed argument types are, in fact, applied in practice.

Creativity support tools for reflection and exploration

Promoting reflection and interpretation in education: curating rich bookmarks as information composition BIBAFull-Text 53-62
  Andrew M. Webb; Rhema Linder; Andruid Kerne; Nic Lupfer; Yin Qu; Bryant Poffenberger; Colton Revia
Reflection, interpretation, and curation play key roles in learning, creativity, and problem solving. Reflection means looking back and forward among building blocks constituting a space of ideas, contextualizing with processes including tasks, activities, and one's internal thinking and meditating, and deriving new understandings, known as interpretations. Curation, in the digital age, means searching, gathering, collecting, organizing, designing, reflecting on, and interpreting information.
   We introduce rich bookmarks, representations of key ideas from documents as navigable links that integrate visual clippings and rich semantic metadata. We support curating rich bookmarks as information composition. In this holistic visual form, curators express relationships among curated elements through implicit visual features, such as spatial position, color, and translucence.
   We investigated the situated context of a university course, engaging educators in iterative co-design. Rich bookmarks emerged in the process, motivating changes in pedagogy and software. Changes provoked students to collect more novel and varied ideas. They reported that curating rich bookmarks as information composition helped them reflect, transforming prior ideas into new ones. The visual component of rich bookmarks was found to support multiple interpretations; the semantic to support associational exploration of related ideas.
Paperbox: a toolkit for exploring tangible interaction on interactive surfaces BIBAFull-Text 64-73
  Alexander Wiethoff; Hanna Schneider; Julia Küfner; Michael Rohs; Andreas Butz; Saul Greenberg
There is a well-established culture of early prototyping when designing digital interactive systems, such as paper prototyping and wireframe methods. The culture of designing physical objects is somewhat different: early explorations of form is still prototyped via 2D sketches or renderings, but -- mostly because of the construction effort involved -- prototyping of actual physical objects is deferred to later stages. A problem occurs when designing mixed physical-digital systems, such as tangible user interfaces (TUIs) on interactive surfaces: the high degree of interactivity means that early prototyping is vital, yet there is no viable process for prototyping both the physical and digital aspects simultaneously on a low-fidelity (low-fi) level. Our solution is Paperbox, a toolkit for exploring design ideas for tangible interaction on interactive surfaces. It supports the early exploration of different form factors and immediately provides digital interactivity for the low-fidelity TUI prototypes built with it. We observed our toolkit in use in various settings: as a brainstorming tool by junior designers; in the development of a consumer electronics product in a large industrial company by senior designers; and in a usability study comparing the effect of different levels of fidelity on the outcome. The lessons learnt will enable others to replicate and extend our approach.
Indirect control and making actions explicit in 3D drawing BIBAFull-Text 74-82
  Baris Serim
This paper aims to broaden the understanding of computer mediated creativity from a material perspective, by emphasizing the qualities of resistance and making users' actions explicit in the design process. Resistance of material refers to the challenging nature of realizing one's intention through material during the design process. Materials are also instrumental in making user actions of creating artifacts explicit through temporary structures, residues and tools. By drawing on the accounts of craft work and design, the paper discusses how these two qualities can be deliberately addressed in the design of tools to support creative activity. The design approach is operationalized in a 3D drawing tool with the use of indirect control to control curves. The prototype was evaluated with industrial design students and practitioners in two stages, in recorded sessions and through self-documentation. The participant responses give insights into the concept of materiality in creativity support tools and in which cases these features were embraced or dismissed.
ReflectionSpace: an interactive visualization tool for supporting reflection-on-action in design BIBAFull-Text 83-92
  Moushumi Sharmin; Brian P. Bailey
Reflection-in- and -on-action are key elements of creative design. While reflection-in-action has been often studied, reflection-on-action has received less attention. In this paper, we fill this gap by first reporting results from in-depth interviews (N=12) with practicing designers aimed at understanding activities related to reflection-on-action. We found that activities related to reflection-on-action are intentional, repetitive and frequent, design materials are the primary aids for reflective activities, and there is a strong need for better reflection support tools. To address this need, we designed, implemented and evaluated a novel interactive visualization tool -- ReflectionSpace. The tool uses file meta-data and naming conventions to map design materials to the appropriate design phase and context of use and places corresponding representations in a time- and activity-centric visualization that can be navigated at different levels of detail. User feedback from a comparative study reveals that such a representation of design process is more beneficial and preferred relative to the traditional file-centric approach for fostering reflection-on-action.

Creativity in special populations

The effects of physicality on the child's imagination BIBAFull-Text 93-102
  Sharon Lynn Chu; Francis Quek; Luke Gusukuma; Joshua Tanenbaum
This paper investigates the effects of physical objects as support for imagination in the context of enactive storytelling. More specifically, we target nine-year-old children because of their general disengagement from creative activity, a phenomenon known as the Fourth-grade Slump that arises from a demotivational spiral brought on by social awareness. We study how enactment using physical objects may allow the child to better engage in story imagination. Our study compares the richness of the imagination under three main enactment conditions with objects that have varying degrees of fidelity to referent objects: Cultural objects (physical visual resemblance); Physical objects (similar physical affordances); Arbitrary objects (minimal physical and visual affordances). We employ a mixed-methods analysis to gauge the child's level of broader imagination from three data sources: Enactment videos, drawings and interviews with the children. We found that the object types significantly differ in their support of the imagination, with the object of highest specificity being most effective. Our findings can inform the design of embodied creativity-support systems for children.
What motivates children to become creators of digital enriched artifacts? BIBAFull-Text 104-113
  Michail N. Giannakos; Letizia Jaccheri
The advent of programming languages for children (i.e., Scratch) combined with accessible programmable hardware platforms (i.e., Arduino) makes it possible for teenagers to engage in creative development of digital enriched artifacts, like robots and interactive installations. But what are the important factors that characterize these development activities? And more specifically, what motivates children to participate in such software and hardware intensive activities? In this paper we present the results of an empirical investigation regarding the key aspects of a creative learning context. The goal is to understand what motivates children to participate in these development activities. In our empirical evaluation, a group of researchers and artists designed, implemented, and evaluated three workshop programs of 66 children total, with the final goal of exploring children's attitudes software and hardware-intensive activities. The workshops were based on the Reggio Emilia education principles, open source software Scratch and Arduino and were conducted in centers that use recycled materials for creative purposes. For the first phase of the evaluation, qualitative data was collected from 11 interviews and was analyzed using content analysis. For the second phase, we designed a survey grounded in motivational factors for technology. 37 survey responses were collected. For both evaluation phases, photos and observations were recorded and used to triangulate our data. The results showed that: (a) software and hardware intensive activities raise awareness of technology, intensify the experience, and invite students to explore boundaries and increase collaboration and the exchange of views and ideas, and (b) the activity's easiness and usefulness significantly affect children's intention to participate. These results have implications for those programming languages and hardware platforms for children, as well as for those setting up creative learning frameworks around such technology.
Participatory design with older adults: an analysis of creativity in the design of mobile healthcare applications BIBAFull-Text 114-123
  Jennifer L. Davidson; Carlos Jensen
Researchers often use participatory design -- involving endusers in technology ideation -- as this is found to lead to more useful and relevant products. Researchers have sought to involve older adults in the design of emerging technologies like smartphones, with which older adults often have little experience. Therefore, their effectiveness as co-designers could be questioned. We examine whether older adults can create novel design ideas, and whether critiquing existing applications prior to ideation helps or hinders creativity. Panelists from industry and academia evaluated design ideas generated by focus groups of older adults. Out of five groups, the most creative design idea came from one with no smartphone experience or critique exposure. We found that while only some designs scored high on the novelty dimension of creativity, participants were enthusiastic about participating and adapted quickly. We found evidence that critiquing existing applications prior to ideation did more harm than good, potentially due to design fixation. We recommend continuing to involve older adults in the technology design ideation phase.
A software app to support creativity in dementia care BIBAFull-Text 124-133
  Kos Zachos; Neil Maiden; Kristine Pitts; Sara Jones; Ian Turner; Malcolm Rose; Kevin Pudney; Julie MacManus
This paper reports a new mobile software app to support creative thinking by carers for people with dementia. The design of the app was informed by both pre-studies that demonstrated the potential of investigating challenging behaviors in non-care domains to improve person-centered care, and a model of creative problem solving adapted to dementia care. The resulting app implements different versions of the Other Worlds creativity technique to generate then reflect on ideas to improve resident care. An evaluation of the app in one residential home revealed that carers were able to use the app as described in the model, and deliver novel care to one resident in the home.

Physical engagement in creativity

Not what we think: sensate machines for rewiring BIBAFull-Text 135-144
  Dagmar Reinhardt; Lian Loke
The design of programmed spatio-material environments can be conceptualized as providing new stimuli with which to rewire the human brain in the context of architectural design. The plasticity of the brain is now recognised by neuroscience -- the brain can be teased to inform, continually learn and restructure itself. As a driver for stimuli that rewire behavioural and cognitive patterns, a cognitive architecture 4EA approach is employed ('embodied, embedded, enacted, extended, affected') to inform the design of digitally manufactured and interactive prototype environments that become sensate machines. We introduce a 4EA design framework, combining approaches from computational architectural design, human-computer interaction and choreography, for the design of environments in which novel cognitive experiences arise from interaction between network components. A series of creative works from the Black Project is presented as case studies exemplifying our 4EA design framework, furthering investigations into how to collaboratively design, manufacture and choreograph sensate machines for rewiring cognition through creative engagement by performers and audience alike.
Priming creativity through improvisation on an adaptive musical instrument BIBAFull-Text 146-155
  Garth Griffin; Robert Jacob
Creativity is a crucial skill in today's knowledge economy, and creativity support tools are a valuable and important area of human-computer interaction research. Passive affective priming has been shown to be an effective means for enhancing creativity. Based on music cognition research, we propose music improvisation as an active and participatory cognitive prime for boosting creative ability. To make music improvisation accessible to all individuals regardless of music expertise, we present a novel instrument with an adaptive interface that facilitates music creation. We demonstrate that improvising music with our adaptive instrument provides an immediate boost to creative ability, even for people without musical training. We quantify the efficacy of interface adaptation techniques for enabling creative expression.
Performing with a system's intention: embodied cues in performer-system interaction BIBAFull-Text 156-164
  Greg Corness; Thecla Schiphorst
Interactive computer systems have been explored in the performing arts for the past two decades, incorporating several models of the Performer-Technology relationship. As computer systems are afforded greater autonomy and agency in performance and everyday interactions, an interface that reflects the collaborative nature of the Performer-Performer relationship is required. One potential solution utilizes the embodied knowledge of the performer's interaction by modeling breathing patterns in a computer agent as cues to the system's intended action. This choice is supported by theories from cognitive science, performing arts and philosophy illustrating that our embodied perception of other's intention provides the basis for human interaction. We engage the performer's awareness of the computer's 'intention' by modeling breathing patterns as embodied cues, engaging the performer's sense of intuition and empathy. We present our evaluation of a Performer-System interaction model with data collected from performers improvising in studio sessions with a system designed to project its intention through a simulated breath.
Expressing technological metaphors in dance using structural illusion from embodied motion BIBAFull-Text 165-174
  Diego S. Maranan; Thecla Schiphorst; Lyn Bartram; Albert Hwang
We illustrate how technology has influenced creative, embodied practices in urban dance styles by analyzing how technological metaphors underlie conceptual representations of the body, space, and movement in three related styles of urban dance: liquid, digitz, and finger tutting. The creative and technical embodied practices of urban dancers are not well understood in either the ethnographic or creative movement scholarly literature. Following an exploratory netnography of movement practitioners, we claim that unlike most dancers of traditional genres or other urban dance styles, dancers of these three styles frequently employ representations of the body and of space that are geometrical, mathematical, mechanical, or digital. To explain how viewers perceive and understand these metaphors, we extend the perceptual theory of structure from motion in order to apply dance performance reception theory to a model we call 'Structural Illusion from Embodied Motion' (SIEM). Our analysis of performance techniques of these styles suggests that during performance, dancers leverage SIEM to represent two types of 'illusions' to viewers: a) the dancer's body has a reconfigurable structure; and b) the dancer is immersed in a virtual environment that contains invisible, mutable objects and structures that are revealed only through the dancer's movement. The three dance styles exemplify a trend in popular dance in which body, space, and time are understood in the language of technology.

Creativity in the performing arts

Indexicality and visualization: exploring analogies with art, cinema and photography BIBAFull-Text 175-184
  Tom Schofield; Marian Dörk; Martyn Dade-Robertson
In this paper we offer a critical discussion of data visualization by adapting theories of indexicality as discussed in semiotics and art history. An indexical statement is broadly one whose meaning is dependent on context. We examine how indexicality has informed practices in cinema, photography, and contemporary art and make comparisons with data visualization. Specifically, we explore how these analogies can result in generative concepts that can inform the design and study of data visualization.
Unwrapping virtual space through the myth of total cinema BIBAFull-Text 186-192
  Stephen Guynup; Elizabeth Graff
Visionary promises of a 3D virtual future are unfulfilled. Online 3D platforms such as VRML, Second Life, and Open Sim sought a 3D web of worlds and delivered, at best, mixed results. To understand the broad creative and cognitive challenges that drive the design of 3D virtual spaces, a cross-disciplinary design review of early cinema, a technical precursor, is needed. 150 years ago, a simulation oriented "Myth of a Total Cinema" guided and limited the development of the earliest films (Bazin 1958, Manovich 2001). Cinema was first seen as a realistic mirror world made of captured images. It would take decades for film makers to discover how to leave the myth and create montage, literally breaking a simulated reality apart in service to narrative. This text retraces the creative process of discovery, the tension between montage and the myth of total cinema, and then proposes a virtual design foundation stemming from an overlooked aspect of videogame theory.
Facilitating TV production using StoryCrate BIBAFull-Text 193-202
  Tom Bartindale; Elizabeth Valentine; Maxine Glancy; David Kirk; Peter Wright; Patrick Olivier
StoryCrate [2] is a collaborative editing tool developed to drive creative workflow within a location based television production environment. The system was deployed in a real-world context, using professional production staff to produce a short film. In this paper we present an exploration into this deployment using interviews, observations and accounts from the crew. We provide an in-depth analysis of the study and the impact of StoryCrate on the crew's workflow. By providing a narrative of the deployment we describe how it was appropriated in-the-wild, and discuss considerations for designing tools to aid creative professionals in similarly hierarchical domains.
Trigger shift: participatory design of an augmented theatrical performance with young people BIBAFull-Text 203-212
  Tom Schofield; John Vines; Tom Higham; Ed Carter; Memo Atken; Amy Golding
Trigger Shift was a project that involved collaborating with a group of young people to explore the ways commercially available technologies could be appropriated into performance art. The project led to the production of an augmented theatrical performance using the Microsoft Kinect sensor that was presented to live audiences six times over two days. In this paper we describe the bottom-up, 11-month long participatory design process conducted with our young participants. We describe the manner in which the project was introduced to our participants and the techniques used to help them actively make decisions about the design of and role of technology in the final performance. We candidly report on the problems encountered during the design process and how the project team had to be reflexive to the needs of participants and the single predefined end-goal of the project. A number of strengths and weaknesses of bottom-up participatory design with young people are highlighted, and we reflect upon these to provide guidance for future researchers undertaking work in this domain.

Community behaviour, engagement, and assessment

Community engagements with living sensing systems BIBAFull-Text 213-222
  Stacey Kuznetsov; Will Harrigan-Anderson; Haakon Faste; Scott E. Hudson; Eric Paulos
We present the design and deployment of a bio-electronic sensing system. This system visualizes bacterial activity inside Winogradsky columns, which incubate soil samples to culture the naturally occurring microorganisms as they process metals and nutrients in the soil. Our month-long deployments with two urban communities offer insights into individual and collective appropriations of living sensing systems. These findings reveal future design trajectories that build on emergent themes in Human-Computer Interaction (HCI), including: new perspectives on materiality, which arise from integrating organic materials with the digital; a reframing of time, as systems shift from providing instant feedback to supporting prolonged engagement; and an emphasis on collective modes of participation beyond individual behavior change.
Tweetris: a study of whole-body interaction during a public art event BIBAFull-Text 224-233
  Dustin Freeman; Nathan LaPierre; Fanny Chevalier; Derek Reilly
We explore whole-body interaction with Tweetris, a game where two players competitively race to form Tetris shapes (tetrominos) with their body. We debuted Tweetris at an all-night, public art event, collecting 6000 winning body shapes made by more than 270 players. Tweetris employs a novel form of interaction cue we call a discretized silhouette: the mapping from physical continuous input is discretized to create a virtual body representation. Discretization creates an interesting set of properties: notably, players have a great deal of flexibility in how they create a given shape with their body. We classify and analyze successful player strategies as design input for whole body interaction, and present results showing how small differences in environment impacted player behaviour. We argue that our approach to eliciting and analyzing interaction in Tweetris has general utility to researchers and designers and we formalize it as the LoFi (Low-Fidelity) Elicitation Protocol.
Designing collaborative musical experiences for broad audiences BIBAFull-Text 234-242
  Ben Bengler; Nick Bryan-Kinns
This paper reports on the design and audience evaluation of a collaborative interactive music system titled Polymetros. Designed for broad audiences, Polymetros aims to enable users without musical skills to experience collaborative music-making. First, we describe our design approach with reference to related research. A particular interest was to investigate how to provide novices with individual musical control within a collaborative context. We then present an audience evaluation that was conducted during an exhibition at a major art museum in the UK attended by large numbers of the general public across the age range. The results lead us to evaluate our design approach and reflect on implications for facilitating collaborative music-making for broad audiences. Furthermore, the findings provide interesting indications how the context of a public exhibition setting affects the audience interaction with such an interactive multi-player experience.
Medium-specific properties of urban screens: towards an ontological framework for digital public displays BIBAFull-Text 243-252
  Claude Fortin; Steve DiPaola; Kate Hennessy; Jim Bizzocchi; Carman Neustaedter
The purpose of the present theoretical exploration is to lay the foundations of a platform-specific ontology of urban screens, which we define as an architectural scale media environment comprising two or more digital displays that can support interactive and/or artificial intelligence features. Still in its budding stages, this framework is intended to assist artists and HCI practitioners in the conception and evaluation of public space installations that heavily rely on digital displays. Using an architectural approach that analyzes urban screens in terms of medium specificity, this paper asks: "What are some of the key ontological attributes of urban screens as a computational medium?" We propose a taxonomy of five medium-specific properties articulated in relation to sensory modalities and modes of interaction. In providing an aesthetic, poetic, cognitive and experiential basis for understanding urban screens, this paper seeks to help researchers broadly consider their design parameters and generate new ideas.

Explorations in design and creative thought

Manifestations of everyday design: guiding goals and motivations BIBAFull-Text 253-262
  Audrey Desjardins; Ron Wakkary
This paper explores the relationship between goals, materials and competences in the practice of everyday design. Appropriations and creative uses of design artifacts are often reported in terms of outcomes and goals; however, we observe a gap in understanding how materials, tools, and competences are also involved in these processes. We conduct a multiple case study of three groups of everyday designers: families, hobbyist jewelers, and steampunk enthusiasts. We provide a description of the aspects of meaning, materials, and competences, as well as how they are interrelated, for each case. Our findings show that amongst these three aspects of the practice of everyday designers, it is the meaning of the practice that acts as the strongest motivator for practitioners. Materials, tools, and competences are hence largely determined accordingly. The implications of this study propose ways to design for practices with different types of meaning: foundational, aesthetic, and aspirational goals.
An integrative theory of visual mentation and spontaneous creativity BIBAFull-Text 264-273
  Benjamin D. R. Bogart; Philippe Pasquier; Steven J. Barnes
It has been suggested that creativity can be functionally segregated into two processes: spontaneous and deliberate. In this paper, we propose that the spontaneous aspect of creativity is enabled by the same neural simulation mechanisms that have been implicated in visual mentation (e.g. visual perception, mental imagery, mind-wandering and dreaming). This proposal is developed into an Integrative Theory that serves as the foundation for a computational model of dreaming and site-specific artwork: A Machine that Dreams.
Creative search using pataphysics BIBAFull-Text 274-280
  Fania Raczinski; Hongji Yang; Andrew Hugill
This paper looks at defining, analysing and practicing how creativity can be applied to search tools. It defines creativity with respect to search and discusses how these concepts could be applied in software engineering using principles from the pseudo-philosophy of pataphysics. The aim of the proposed tool is to generate surprising, novel, humorous and provocative search results instead of purely relevant ones, in order to inspire a more creative interaction between a user, their information need and the application. A proof-of-concept prototype is described to justify the ideas presented before implications and future work are discussed.
Touch style: creativity in tangible experience design BIBAFull-Text 281-290
  Shad Gross; Jeffrey Bardzell; Shaowen Bardzell
Creativity is an important part of any design process. However, as interaction design becomes more focused on experiential elements, new, tangible, materials for interfaces of the number and complexity of creative decisions required to design an interface has increased. This paper takes the concept of style, from art theory, and applies it to the experiential design of tangible interfaces as a means to understand how creativity is constrained, organized, and interpreted in the design and use of these novel interactions.

Posters

Empowering cognitive fixedness BIBAFull-Text 291-294
  Yukari Nagai; Deny W. Junaidy
Our goal was to understand potential aspects of cognitive fixedness in people who possess traditional viewpoints. We conducted an experiment that involved design training (in-studio design and creativity training). We observed several stages of idea generation during which artisans generated ideas for new design of traditional wooden sandals. During the first stage, artisans were challenged to generate ideas at extreme levels based on their prior knowledge. We examined their conceptual sketches and verbalized thoughts to obtain stimuli (stimulating keywords). Interestingly, the stimuli, painful, broken, and upside-down, did not match their fundamental knowledge and conceptions of sandals related to criteria, "continuity" and "appropriateness." During the second stage, the artisans redeveloped previous ideas by employing stimulating keywords. Finally, design trainers evaluated transformations that occurred during idea generation. The experiment demonstrated that the ability to capture and utilize stimuli during extreme levels of cognitive fixedness may lead to unconventional ways of thinking.
Factors affecting audience perceptions of agency in human computer musical partnerships BIBAFull-Text 296-299
  Andrew R. Brown; Toby Gifford; Bradley Voltz
What design factors contribute to an illusion of agency in a computational system? Our previous research [1, 2] has investigated this question in the context of creative human-machine musical partnerships, where we identified musical behaviours implying machine agency from the perspective of a human performer. This paper investigates an audience perspective: what factors contribute to an impression of machine agency for in a musical performance? Audience feedback data was collected during a concert with four performances, each comprising a human musician interacting with a computer music system. Three performances utilized a computational agent, CIM [1], designed for this research. The fourth performance utilized an array of effect pedals designed in an extended instrument paradigm [3]. The audience feedback questionnaire queried whether a sense of machine agency was imparted, and to what degree visual, spatial, timbral and musical factors contributed to this impression. The results showed our CIM system succeeded in imparting a sense of agency, and that all four of the suggested factors contributed to that impression.
Designing interaction for designers: defamiliarization in user's creative decision-making BIBAFull-Text 300-303
  Kristin Carlson; Thecla Schiphorst
This paper explores the connection between how users interact with a computational system for purposes of designing collaborative creativity support tools. We focus on the term defamiliarization as a disorientation technique used to actively engage users, provoking innovative interaction experiences. We have looked to literature in interaction design, creativity and education to explore terminology around defamiliarization in creative decision-making processes. We identified components of user agency, system guidance and novelty as important elements to use in designing for enticing interaction and provocative results in collaborative creativity support tools.
Using data visualization in creativity workshops: a new tool in the designer's kit BIBAFull-Text 304-307
  Graham Dove; Sara Jones; Jason Dykes; Amanda Brown; Alison Duffy
Creativity workshops have proved effective in drawing out unexpected requirements and giving form to participants' novel ideas. Here, we introduce a new addition to the workshop designer's toolkit: interactive data visualization, used as stimuli to prompt insight and inspire creativity. We first describe a pilot study in which we compare the effectiveness of two different styles of data visualization. Here we found that a less ambiguous style was more effective in supporting idea generation. Following this, we report a case study in which we employ data visualization within a service design workshop, where participants gain insights that are later realized in design ideas.
The creative personality: composers of music, their inspirations and working methods BIBAFull-Text 308-311
  Sandra Garrido; Sean Bernard; Jane Davidson
The stereotypical image that many people would picture when they think of a composer is that of the classical musician like Beethoven who was reportedly an introvert, moody and angst-ridden. However, findings in relation to personality traits that correlate with creativity amongst composers of music, paint a much blurrier picture. This paper reports the result of a study in which 40 current students of composition completed a survey about their preferred working methods and several personality measures. Results indicate that high scores in creativity amongst the composers in our sample was associated with valuing individuality, being highly motivated and gaining great satisfaction from seeing compositions performed. Creative composers tended to take inspiration from non-auditory stimuli such as pictures and to have several works in progress at a time. In addition, correlations were also found between creativity and Extraversion on both its sub-facets of Enthusiasm and Assertiveness.
Novelty makes sense: a social semiotic based model of idea generation BIBAFull-Text 312-315
  Hakim Hachour
This paper aims to contribute to collaborative creativity theory and methodology. Using the theories of social phenomenology and semiotics, the important role of knowledge in problem-finding is argued. An analysis of collaborative work activities showed that the search for mutual understanding and situated interaction stimulates the emergence of problems; the group members, while synchronizing their system of relevance and their expressive routine, are confronted to problematic situations. Problems are structured all along the transformation of knowledge states, by the transference of explication processes from a knowledge domain to another. It is proposed that problem identification and definition stems from the exploitation of irrelevant cognitive structures. The author presents a problem-finding method for making the irrelevant relevant which is based on semantic discovery of knowledge.
Design constraints in fashion store design processes BIBAFull-Text 316-319
  Anders Haug; Mia Borch Münster
This paper focuses on the process of retail store design; more specifically that of fashion stores. In contrast to most research on the topic of retail design, which has a consumer focus, this paper focuses on the design process from the perspective of the store designer. Based upon existing literature, the paper proposes a framework for understanding store design processes. The framework is investigated through three case studies of fashion store design projects. The paper demonstrates that the fashion store design process can be seen as a creative process, tightly restricted by constraints imposed by relevant stakeholders and the constraints between internal design variables. Furthermore, the paper provides insights into the nature of such constraints.
Sketch master: a sketch game for collecting exploratory data BIBAFull-Text 320-323
  Chih-Pin Hsiao; Nicholas Davis; Shuangxin Chen; Binjie Sun; Rui Chen; Ellen Yi-Luen Do
We present the concept and implementation of a sketching game called Sketch Master. Sketch Master is a game designed to help players learn and practice drawing from memory. The architecture of the tool and its various game modes are presented. Additionally, we describe how functions in Sketch Master serve as a research instrument to collect exploratory data about the relation between perception, memory, and sketching.
Co-creation model for traditional artisans in the current creative environment BIBAFull-Text 324-327
  Deny W. Junaidy; Yukari Nagai
Our goal was to develop a co-creation model that might empower cognitive fixedness of traditional artisans. First, we studied two prior studies on cognitive modeling; Study (a) demonstrated that abilities to capture and utilize stimuli during extreme levels of cognitive fixedness may lead to unconventional ways of thinking, thus, it requires participatory works. Likewise, Study (b) explained a cognitive modelling of creative knowledge work also requires various actors contribute knowledge facilitated by the participatory support system. Next, a model of Study (b) was adapted by considering experiences from Study (a). This result may serve as the basis for the development of co-creation model. Ultimately, this adapted model hopes to be a co-creation model of creative knowledge work that applicable in design training program for traditional artisans to overcome their cognitive fixedness.
The creative assessment of rich ideas BIBAFull-Text 328-331
  Ricardo Sosa; Andy Dong
This paper addresses a new dimension in the evaluation of creative ideas. This is based on the observation that some ideas seem to trigger or lead to more ideas than other ideas. We study the principle of idea richness -- the potential for ideas to trigger more ideas. We hypothesize a correlation between creative value as ascribed by experts and idea richness as captured empirically from idea sharing in online communities. The paper discusses ongoing work and addresses the implications of the possible outcomes of this research.
The role of instrumental emotion regulation in the emotions-creativity link: how worries render neurotic individuals more creative BIBAFull-Text 332-336
  Angela K.-Y. Leung; Letty Kwan; Shyhnan Liou; Chi-yue Chiu; Lin Qiu; Jose C. Yong
Based on the instrumental account of emotion regulation, the current research seeks to offer a novel perspective to the emotions-creativity debate by investigating the instrumental value of trait-consistent emotions in creativity. We hypothesize that emotions such as worry (vs. happy) are some trait-consistent experiences for neurotic individuals and experiencing these emotions can facilitate performance in a creativity task. In two studies, we found support for our hypothesis. First, individuals higher in neuroticism had a greater preference for recalling worrisome (vs. happy) events in anticipation of performing a creativity task (Study 1). Moreover, when induced to recall a worrisome (vs. happy) event, individuals higher in neuroticism had better performance in a creativity task (Study 2). These findings offer a new perspective to the controversy concerning the emotions-creativity relationship and further demonstrate the role of instrumental emotion regulation in the domain of creative performance.
I contain multitudes: creativity and emergent narrative BIBAFull-Text 337-340
  Ruth Aylett; Sandy Louchart
This paper considers the generation of emergent structure, as a source of creativity. It discusses emergent narrative in which narrative structure is generated dynamically by interaction between synthetic characters, as a cognitive model of bottom-up character-based authoring. It considers the affectively-driven agent architecture FAtiMA, and the use of a story-facilitator agent and character-based double-appraisal mechanism as means of dealing with narrative-level constraints.
Utilizing music technology as a model for creativity development in K-12 education BIBAFull-Text 341-344
  David Rosen; Erik M. Schmidt; Youngmoo E. Kim
Many students are highly engaged, motivated, and intellectually stimulated by music outside of the classroom. In 2012, the US ranked 17th among developed countries in education. A major commonality in nations outperforming the US is a deeper focus on the arts. We argue it necessary to find new ways to engage students in music education. In this initial work, we demonstrate that teaching with music technology provides an affordable point of entry for non-trained music students to express their musical sensibilities. Computer-based tools have become the standard for the music industry. We posit that music technology classes serve as an excellent environment for creative development, offering self-awareness of one's creative process, experiential flow learning, and creative thinking skills.
Designing for interactive and collective mobile creativity BIBAFull-Text 345-348
  Ju Hyun Lee; Mi Jeong Kim; Mary Lou Maher
This paper introduces the concept of mobile collective creativity in Mobile Augmented Reality (MAR), with a focus on the interaction and contribution of the audience in digital exhibitions. This paper identifies key dimensions of mobile collective creativity and develops a framework to characterise existing and design new MAR artworks. Through case studies we show that the notable characteristics of MAR artworks are Tangible Manipulation with Expressive Representation towards Enhanced Intelligence. Our collective creativity framework contributes to a better understanding of mobile collective creativity as well as proposes design guidelines for this novel kind of creativity.
Creativity support in a serious game for dementia care BIBAFull-Text 349-352
  Anja Sisarica; Neil Maiden; Dalia Morosini; Lucia Panesse; Kevin Pudney; Malcolm Rose
This paper advocated the use of computer-based serious games as a form of creativity support tool. Whilst the use of serious games has grown considerably in recent years, support for players to think creatively is often implicit in the game, and does not exploit the wide range of creativity techniques and software tools available. This paper made the case for explicit creativity support in serious games, which is applied to inform a serious game developed to train carers in creativity techniques to deliver more person-centred care to people with dementia.
Enhancing orientation and mobility skills in learners who are blind through video gaming BIBAFull-Text 353-356
  Jaime Sánchez; Matías Espinoza; Marcia de Borba Campos; Lotfi B. Merabet
In this work we present the results of the cognitive impact evaluation regarding the use of Audiopolis, an audio and/or haptic-based videogame. The software has been designed, developed and evaluated for the purpose of developing orientation and mobility (O&M) skills in blind users. The videogame was evaluated through cognitive tasks performed by a sample of 12 learners. The results demonstrated that the use of Audiopolis had a positive impact on the development and use of O&M skills in school-aged blind learners.
Creating reflections in public emotion visualization: prototype exploration on traffic theme BIBAFull-Text 357-361
  Wu Jiayu; Fu Zhiyong; Liu Zhiyuan; Lin Xu; Tang Jiayu; Pan Jiajia; Zhao Chen
The paper presents a visualization prototype that tackles the issue of public emotion. It emphasizes the exploration process in the aim of creating reflections for the viewer to observe the whole social context as well as individual perspectives. Urban traffic conversation on SNS (Social Networking Site) is our current interest. The prototype we present is made on real post streams captured from Chinese most popular microblog Sina Weibo. After experimenting on two online prototypes we determine a visualizing flow to lead the viewer going through the insights from macro to micro view in three interaction frameworks: City Sentiment, Related Topics, and Post Content. Through showing the visualizing flow with interaction mode, data analysis, and prototype construction, the paper ends with discussing about design considerations in creating reflections on public traffic emotion in visualization prototype.
Mood and creativity: an appraisal tendency perspective BIBAFull-Text 362-365
  Alwin de Rooij; Sara Jones
There is a strong relationship between the mood one is in, and the way one performs creatively. Previous research has shown that this relationship is complex. In this paper we argue that this complexity partly lies in a faulty conceptualization of mood. We will argue that an appraisal tendency perspective on moods will help to further clarify the relationship between mood and creativity. To support this argument we will highlight some inconsistencies in previous research, and use the appraisal tendency perspective on mood to develop predictions that help explain these inconsistencies and develop new directions for mood-creativity research. Future research is required to assess the accuracy of these predictions.
Closing the gaps: toward unifying and deepening the study of creativity BIBAFull-Text 366-369
  Scott Dexter; Aaron Kozbelt
We propose that the study of creativity would benefit from more efforts to unify methods and results from disparate modes of inquiry and domains. We illustrate one approach for combining two perspectives: Martindale's regressive imagery and computer-based text analysis; and Ericsson and Simon's articulation of concurrent verbal protocol analysis for studying creative problem solving. We examine two domains: visual arts and computer programming. Our approach yields data suggestive of potentially key differences across domains, thereby suggesting that such hybrid techniques may inform creative problem solving in basic and unprecedented ways.

Demonstrations

Interactivated physical rehabilitation modules BIBAFull-Text 371-372
  Bert Bongers; Stuart Smith; Michelle Pickrell; Rebecca Hall; Victor Donker
Physical rehabilitation therapies can be enhanced by using interactive technologies. Through several projects our team has developed an understanding of the practices and issues, and presented prototypes, interventions and demonstrators in order to gain feedback on our approach. The main requirements we have determined are motivation (offering rewarding feedback to the patients to stimulate them to participate fully in the therapies), customisation (the ability to adapt the systems to a wide range of needs of different patients and therapies), and independence (enabling the patients to follow therapies away from the hospital, when and where it suits them, under remote expert guidance of the therapists and practitioners). This demo presents three designs which were developed during the recent phases of the project.
Makin' f*¢&|# cake: the innocent, the vulgar, and the scary BIBAFull-Text 374-375
  Daniel Cermak-Sassenrath; Jenna Gavin; Matthew Martin
Makin' Cake is a participatory installation which demonstrates media as not transparent or neutral but as embodying and propagating values, ideas and attitudes. The installation provides participants with an immediate and provocative experience. It is played with spectators in a situation that invites critical reflection and discussion.
Shadow Showdown BIBAFull-Text 376-377
  Jenna Gavin; Matthew Martin; Daniel Cermak-Sassenrath
Shadow Showdown is a multiplayer, whole-body installation that encourages interaction between people, creativity, and physical activity. The game challenges and attempts to overcome several boundaries: bodily proximity in a public place; the physical and digital space; and play and everyday life.
Recall that moment an evaluation tool for collaborative narrative interface BIBAFull-Text 378-379
  Damian Hills
This demonstration paper describes a tool for the evaluation of a system involving collaboration with visual narrative generation through gestural interface mechanics. This tool attempts to divise an organisational form of content gathering using the method of video cue recall that has shown to be fruitful in identifying key moments of engagement especially in relationship to understanding the role that participant embodiment plays with interactive installations.
Filtering the W* BIBAFull-Text 380-381
  Daniel Cermak-Sassenrath; Clinton Watkins
Silently and without attracting much attention, the filter establishes itself at the heart of digital media: It becomes an essential tool and a limiting factor, on technical and conceptual levels, in all areas of life. In this brave new world of digital technically implemented policies, essential decisions are made for us, many of them in microseconds, of which we never know. This installation employs the tactics it criticises; it offers a limited world to explore easily while making it difficult to access anything else. The work indicates a pervasive tendency in digital, networked media to filter and therefore control. Participants are offered a direct and controversial experience, and are challenged to make up their own minds.
Drawing in the lamposcope BIBAFull-Text 382-383
  Viveka Weiley; Matt Adcock
The Lamposcope is a low-cost mixed reality system that enables a shared experience of art or design communication and collaboration mediated by light. Two participants in different places share a single drawing, to which they can contribute using familiar materials such as pencils, pens and oil pastels.
   Their collaboration is facilitated and mediated by a simple camera/projector system built into the armature of an ordinary desk lamp, which creates an interactive video link. At each end the Lamposcope captures the drawing occurring at that end, and projects the drawing from the other. The drawings are transmitted over the Internet and then superimposed at each end.
   At the completion of the collaboration each participant is left with half of the physical drawing, and an ephemeral digital representation of the whole drawing.
   The demonstration allows participants to explore tactile sharing using real materials and remote presence in the familiar form of a desk lamp, which can be seamlessly integrated into existing work places and practices.
Folded sensitive surface BIBAFull-Text 384-385
  Ingrid Maria Pohl
Folded Sensitive Surface pursues the aim to empower the sense of touch in the context of interactive architecture. The 1.3 by 1.2 meter large interactive wall is made of a folded surface structure with three dimensional cells. It is equipped with over 200 actuators of three different types: temperature, movement and light. The interaction reveals an interplay of various tactile and visual stimuli based on touch-reliant and bodily interaction. Embedded capacitive sensors enable the surface to "feel" the position of persons and respond to the human touch. Audience are encouraged interact with the surface not solely with the hands but with the entire body to experience the different sensible zones. The performance of the surface is based on behaviour patterns and locomotion in nature. This biomimetic approach includes also the temperature ranges and coloured light output. Folded Sensitive Surface shows a new perspective on how tactile sensory awareness can be augmented and amplified with interactive technology and presents an outlook on how interactive architecture might feel like.
The agent designer toolkit BIBAFull-Text 386-387
  Aengus Martin; Oliver Bown
The Agent Designer Toolkit is the result of a study of methods for designing the behaviour of musical agents (i.e. autonomous systems) intended to perform high-level musical decision-making. It uses machine learning methods informed by a musician's knowledge and insights, to discover the salient musical patterns demonstrated in a set of example performances. Based on these patterns, it can produce agents with a variety of behaviours, corresponding to differing degrees of similarity to the demonstrated performance style. The agents can perform in real-time and respond to other musicians or external factors.

Art, music & creativity

Backgammon: process-based musical explorations using the agent designer BIBAFull-Text 390-391
  Oliver Bown; Aengus Martin
The Agent Designer is software for designing virtual musical software agents that are capable of remotely controlling a musical composition, making decisions that are derived from previous human performances and additional creative input in the structuring of this example data. This composition, Backgammon, is a collaboration between the Agent Designer's creator Aengus Martin and musician Ollie Bown. In this performance, musical agents created with the Agent Designer control part of a dynamic composition in such a way that an improvising partner (Ollie Bown on live electronics) has partial control over what the system can do. In this way the boundary between the active and passive possibilities of software objects becomes the subject of a compositional process. The title refers to the game-like dynamics that arise, involving chance, choices and the ability to dramatically interrupt the other's course of action.
A live coding improvisation BIBAFull-Text 392-393
  Renick Bell
A three-part live coding improvisation will be performed which involves the rhythmic arrangement of audio samples, especially percussion sounds, to emphasize the perception of time. The first section is loosely based on northern Indian improvisational styles. The second transitions from traditional percussion sounds to electronic ones while exploring various rhythms. The third exposes different ways to divide a single beat while employing various electronic timbres. The performance is done using a custom live coding environment and the Haskell programming language. For sound generation it employs the SuperCollider synthesis engine. It features interaction between a Haskell interpreter and code in the vim text editor. By manipulating the code in the editor during the performance and sending it to the interpreter, concurrent events are spawned and managed in real time. The interaction also involves the adjustment of parameters such as the number of samples employed by a single process.
'I & I,' a new piece for the AirSticks: a new interface for electronic percussionists BIBAFull-Text 394-395
  Alon Ilsar; Mark Havryliv; Andrew Johnston
'I & I' is a semi-improvised short piece for solo AirSticks performed by Alon Ilsar. It will be made up of composed samples and feedback loops triggered and manipulated by Ilsar on this newly built interface for electronic percussionists. The piece will display some of the capabilities of the AirSticks along with Ilsar's dedication to practicing and composing for this new interface. 'I & I' will be based around the conferences theme of 'intersections and interactions' through the choice of samples and way they are mapped to movement.
Generating electronica: a virtual producer and virtual DJ BIBAFull-Text 396-396
  Arne Eigenfeldt
We present a virtual Electronic Dance Music (EDM) producer that generates stylistically accurate Breakbeat music. GESMI, the Generative Electronica Statistical Modeling Instrument, uses a corpus of human-analysed Breakbeat tracks dating from 1994-2010: the system learns relevant musical information in order to produce a wide variety of music within the genre using knowledge culled from the transcriptions.
Flow forms BIBAFull-Text 397-398
  Bill Hsu
Flow Forms is a structured audio-visual improvisation for 2-3 musicians, utilizing live acoustic and electronic sound and interactive animations. Video is projected on stage, above/behind the musicians. The visual component of Flow Forms is an enhanced diffusion-reaction process that interacts with real-time audio. Complex abstract patterns develop out of the diffusion-reaction process; the system is also able to coalesce into well-defined symbols and forms such as crescents and stars, all while moving in a fluid-seeming manner consistent with the underlying diffusion-reaction process. Patterns are hinted at, but may dissolve into abstraction before the viewer's cognitive processes can grasp the underlying structure.
   The audio from the performance is analyzed; high-level tempo, spectral and other features are extracted, and sent via Open Sound Control to the animation environment. The musicians clearly affect the overall coherence and behavioral trends of the liquid forms. They are improvising with each other, and with the generative visuals.
   This piece is a recent installment in my Linguistic Margins/Visual Atolls series of audiovisual improvisations.
Sound stream BIBAFull-Text 399-400
  Andrew Johnston; Linda Walsh
Sound Stream is a work for oboe and interactive system which blurs the boundaries between instrumental performance, gestural interaction and dance. Largely improvised within a predetermined high-level structure, the work explores the relationships between acoustic sounds, instrumental gestures and expressive gestures and between sound and image. The interactive system uses motion tracking, real-time fluid simulation and fluid-controlled sound synthesis to produce an immersive performance environment.
Audio arc: an audio-spatial game using mobile phone ringtones BIBAFull-Text 401-402
  Jennifer Lade; Jonathan Duckworth
Audio Arc is an audio-spatial game for a group of players using mobile phone ringtones. A game host instructs players to set their phone alarms to default ringtones in unique pairs. Alarms are set a few minutes in advance of the game starting so that they all activate at the same time. Once the phone alarm activates, players seek their audio counterparts with the matching ringtone whilst blindfolded. On finding each other, players can remove their blindfolds and silence their phone alarms. The game is designed to keep rules and organization to a minimum so players may focus on the experience of navigating space using audio cues. The simplicity of the game play belies the more profound contemplation of the role of the human senses in orientation within an environment. It draws attention to the proliferation of digital sound in everyday situations. Each time the game is played, a unique soundscape is generated based upon the number of players, their choice of ringtone and the inherent acoustic qualities of the site of play. The mobile phone is re-signified for ludic and collaborative ends in ways that facilitate ad-hoc social interaction and draws attention to our audio-spatial senses.
Alignment: improvised gestural performance BIBAFull-Text 403-403
  Mary Mainsbridge; Robbie Mudrazija
This paper outlines the aims and technology behind an improvised performance combining electronic drums and piano with gestural control.
   The performance involves a gesturally-controlled audiovisual system drawing on ancillary, expressive or nonsound producing gestures of the pianist to apply digital signal processing to live audio inputs and pre-recorded samples. The work explores the notion of body as instrument, unconstrained by the physical properties of a tangible interface or screen-based controller.
   Interactive projections will provide feedback for the performer and audience to reinforce the coupling between movement and sound.
HOST BIBAFull-Text 404-405
  Patricia Adams
Explorations into various characteristics of 'humanness', 'corporeality' and 'consciousness' have, to date, involved my participation in both adult stem cell experiments and honeybee research. Following on my first hand art/science research into cellular organisms, with the intention of shedding light on cellular consciousness, I became visiting artist at the Visual and Sensory Neuroscience group and observed their experiments on the European honeybee. This research environment inspired me to create HOST. For this original project both scientific techniques and equipment were appropriated for artistic, research purposes. These are briefly outlined in the HOST: Project Description -- further references: http://www.trishadams.tv
Improvising consciousness: the Davian Turn BIBAFull-Text 406-407
  Josephine Anstey; Dave Pape; Devin Wilson
Improvising Consciousness: The Davian Turn is an experimental work of intermedia performance: a cognitive science fiction which addresses questions of situated consciousness, pre- & post-human identity, and creativity. The core of Improvising Consciousness: The Davian Turn project is a performative lecture by Jennifer Årnstay, Professor of Material and Analogical Eco-Cognition visiting from an unspecified time and place. The lecture purports to be a scholarly account of the history and future of the human mind. With incredible technical sophistry, Professor Årnstay and her team have fabricated a habitat for a real life extraterrestrial alien intelligence. After the lecture and questions, attendees are invited to plumb the depths of this alien mind by playing the mysterious Davian Bead Game. The creative team are members of The Intermedia Performance Studio which has a track record of producing innovative syntheses of computer-based technology and live performance.
Dreaming machine #3 (prototype 2) BIBAFull-Text 408-409
  Benjamin David Robert Bogart; Philippe Pasquier
"Dreaming Machine #3" (Prototype 2) is the second iteration of work in progress towards the "Dreaming Machine #3" (DM3), the third in a series of site-specific generative art installations informed by conceptions of dreaming. DM3 senses its visual environment through a static video camera where images are segmented by perceptual processes. Segmented percepts are clustered and serve as the material from which dreams, generative and free-associative compositions, are constructed.
Fold #1 BIBAFull-Text 410-410
  Chris Bowman
Fold #1 explores the relationship between drawings in the material and immaterial world. The narrative driver to the work is the topological mapping of landscape combined with the performative context of making (of being in the space) in the landscape. It demonstrates a motion capture rendering system developed at the Centre for Creative Design Practice (UTS).
   Fold #1 explores the movement of the artist in the process of drawing that is then rendered into folds and membranes of light and then back into drawing. In so doing the artist further explores the intersection between the physical embodiment of being and the "fold" expressed by Michel Serres. Here, folding back is an organic process further explored through the mediation of spatiotemporal structures recorded and manipulated through a motion capture system. Thereby allowing the artist to reflect on the three-dimensional form created and further explores the metaphorical, physical, symbolic and emotive structures of a drawing.
   Fold #1 continues work previously developed as a core member of the Creative and Cognition Studio (UTS) that extends his understanding of "disturbance" as a practice of intervention -- the act of creating tension within the work, i.e. the stillness and disturbance within, the stillness and disturbance felt, seen, other, and or mediated etc.
   Fold #1 consists of four renderings; a pre-immaterial (material) rendering, a material rendering in two parts, and a post-immaterial (material) rendering.
_derivations: improvisation for tenor saxophone and interactive performance system BIBAFull-Text 411-412
  Benjamin Carey
_derivations is an interactive performance system for use by a solo instrumentalist, and is designed to derive its sonic responses to improvisational input from the instrumentalist's live performance. Conceived of as an autonomous performance partner, indirectly influenced rather than directly controlled by the performer, musical interaction with _derivations is achieved through a 'hands-free' mode of instrumental interaction with technology (i.e. human and machine communicate through sound only). A form of timbral matching is used to relate the most recent performance state of the instrumentalist to an expanding database of recorded and analysed performer phrases. The system makes direct use of these recorded phrases as sonic and gestural source material for transformation, extrapolation and recombination via its linked synthesis and processing modules. Recent advances in the system design enable the performer to merge a variety of pre-recorded and analysed 'session files' together, giving flexibility to the performer in defining aspects of the system's overall sonic vocabulary prior to performance. This aspect of the system design privileges the cumulative nature of the rehearsal/practice space, which forms an integral part of the system's interactive capabilities. This current performance is for solo tenor saxophone with _derivations diffused in 8-channel surround sound.
Dropsketch installation BIBAFull-Text 413-414
  Sean Clark
Dropsketch is a Smartphone drawing system that enables users to anonymously create and share simple black and white sketches of their surroundings. The free app, available for iPhone and Android devices, contains an easy-to-use sketching tool and the facility to 'drop' completed sketches on a shared map. It makes use of the Smartphone's built in positioning system to identify the location of the sketch. The app is used to drive the Dropsketch installation that allows participants to interactively explore the ever-growing database of incoming sketches.
Translations 2.2013 BIBAFull-Text 415-416
  João dos Santos
Translations 2.2013 is a digital device for the presentation of drawings, based on the interpretation and translation of others' drawings data.
   On this work it is proposed the experience of the perception of the duration of the act of drawing, as well as of other representations for its data, as a way to place the observer on the position of interpreter and creator of a mental copy of the drawing.
   The drawings being displayed have been previously produced using another device's module, constituted by a digital drawing machine and a person to make the drawing, that will record, on a text file, the data corresponding to every pixel's position and its quantity.
   Translations 2.2013 is a device that interprets and transforms these data in a copy drawing of its original and in graphs of the relation of each pixel's position and the duration of the drawing process.
   This drawing presentation has the duration of one day, happening pixel-by-pixel, in order to accentuate the act of drawing as a performative act inscribed in a duration. By turning the revelation of the drawing in an extremely slow process it becomes relevant the observer's perception as a subjective and creative action.
cc13.assimilate.net explorations in creativity BIBAFull-Text 417-417
  Damian Hills
The assimilate project is an exploration into understanding how embodied cognition and specific interface mechanics can support creative outcomes with collaborative narrative generation. Using a touch table interface participants collaboratively narrate and visualise narrative sequences using online media obtained through a keyword search, or words given from set template knowledge regarding the nature of creativity.
Site Weave: revealing interconnections through music BIBAFull-Text 418-419
  Shannon Novak
Site Weave is an interactive installation exploring the idea that different locations within a site are interconnected through music, that is; they exist in a musical network that creates a natural relationship between them. This network is revealed using augmented reality (AR) where the audience can visit each faculty within the University of Technology Sydney and use a mobile device to reveal the musicality of that faculty as experienced by the author through synesthesia.
Emotional creativity BIBAFull-Text 420-421
  Barbara Rauch
In collaboration with the Rapidform Print Research department at the Royal College of Art in London we developed a series of three-dimensional works. Some of the digital data was used for animations, some data was manipulated for printing and 3D sculptures. This research demonstrates an exciting moment of a new tangentiality of digital media. With this research a crossover zone was explored, where computer technology affects the material realm and where digitally driven processes interact with traditional ones describing a hybrid practice. 'InterFaced' and 'Thick Friendship' is a series of works that speak to evolutionary biology, emotions and hybridity. The work derives from a database of human faces and individual animal faces that where scanned with a 3D scanner to bring gestural and facial expressions of animals and humans to interact. The work suggests a discussion about feelings and consciousness that include animal and posthuman digital emotion.
EXODUS BIBAFull-Text 422-423
  Martin Rieser
The expulsion of Asians from Uganda by Idi Amin in 1972 happened inside sixty days. Their stories are told in an interactive audio-visual experience. Their stories of expulsion, migration, resettlement and their lives in the East Midlands are told in their own words. The installation uses multiscreen selection of video clips based on close up video 'transits' of filmed communal fabric narratives, filmed in slow motion, with added voices. The audience are able to select colour-coded previews on a large flat screen, using their mobile phone plugged into an audio jack. Using personal testimony from Leicester's Ugandan Asian community, the installation revisits the dramatic events in 1972 and shares memories about arrival in the UK and settling in Leicester in the 1970s, while celebrating the community's continued cultural and economic impact on the UK. The public can participate through interactive selections. Exodus was part of a series of events and exhibitions marking the 40th anniversary of the expulsion from Uganda and connected with the exhibition From Kampala to Leicester at the New Walk Museum and Art Gallery, shown throughout August and September 2012. Cuttlefish Multimedia in Leicester developed the selection software for the installation. An experience based on a montage of voices and some imagery from archives comprises the following sections: Life in Uganda/The 60 day emergency and expulsion/The arrival in the UK/Settling in Leicester/Present lives
Iterative intersections BIBAFull-Text 425-426
  Jennifer Seevinck
Iterative Intersectioning is a body of art works that comes out of the collaboration between author and electronic artist Jen Seevinck and a community of print artists, most particularly Elizabeth Saunders (EJ) and Robert Oakman. The work shown here is concerned with the creative process of collaboration, specifically as this informs visual forms. This is through our focus on process. This process has facilitated a 'conversational' exchange between all artists and a corresponding evolution in the artworks. In each case the dialogue is either between the author, Jen and EJ or between Jen and Robert. It consists of passing work between parties, interpreting it and working into it, before passing it back. The result is a series of art works including those shown here. The concept evolves in parallel to this. Importantly, at each of her iterations of creative work, the author Jen determines a similar 'treatment' or 'interpretation' across both print artists works at that time. A synthesis of EJ and Robert's creative interpretation -- at a high level -- occurs. In this sense the concept and works can be understood to intersect with one another.
The worry ball BIBAFull-Text 427-428
  Thomas Marcusson; Stephanie Rajalingam; Livia Giacomini; Ernesto Sumarkho
The 'Worry Ball' is an interactive art installation project that aims to explore the human condition of 'Worry' through an intriguing and unexpected medium. It constitutes a sphere constructed by more than 6,000 handcrafted Guatemalan worry dolls. The indigenous people from the highlands in Guatemala have been creating worry dolls traditionally as a remedy for worrying. The Worry Ball will become a temple of 'worries' as audiences will be invited to participate whilst juxtaposing first and third world problems.

Workshops

Beautiful dance moves: mapping movement, technology & computation BIBAFull-Text 429-433
  Thecla Schiphorst; Renata Sheppard; Lian Loke; Chyi-Cheng Lin
This Creativity & Cognition 2013 workshop explores emerging methods for mapping movement, technology and computation. We invite participants that are interested in bodily experience within computational knowledge representation. The title Beautiful Dance Moves, references the challenge of representing embodied movement knowledge within computational models. While human movement itself focuses on bodily experience, developing computational models for movement requires abstraction and representation of lived embodied cognition. Mappings between movement and its rich personal and cultural meanings provide an underexplored research domain that can provide insight within computational modeling. Many fields, including Interaction Design, have been inspired by recent developments within Neuroscience validating the primacy of movement in cognitive development and human intelligence. This has spawned a growing interest in experiential principles of movement awareness and mindfulness, while simultaneously fueling the need for developing computational models that can describe movement intelligence with greater rigour. This workshop seeks to explore an equal and richly nuanced epistemological partnership between movement experience and movement cognitive and computational representation.