| Introducing creativity to cognition | | BIB | Full-Text | 3-6 | |
| Linda Candy; Ernest Edmonds | |||
| The emotion machine: from pain to suffering | | BIB | Full-Text | 7-13 | |
| Marvin Minsky | |||
| A self-defining game for one player | | BIB | Full-Text | 14 | |
| Harold Cohen | |||
| User interfaces for creativity support tools | | BIB | Full-Text | 15-22 | |
| Ben Shneiderman | |||
| From zombies to cyborg bodies: exoskeleton, extra ear and avatars | | BIB | Full-Text | 23 | |
| A Stelarc | |||
| Cognitive factors in design (tutorial session): basic phenomena in human memory and problem solving | | BIB | Full-Text | 26-27 | |
| Thomas T. Hewett | |||
| Do engineers and artists make good love objects? (panel session) | | BIB | Full-Text | 28-29 | |
| Terryl Bacon; Martin Rieser; Constance Fleuriot; Priscilla Heard; Glenn Easy | |||
| Nurturing creativity (panel session) | | BIB | Full-Text | 30-35 | |
| Nigel Birch; James Plummer; Geraint Wiggins; Bronac Ferran; Robin Lyons | |||
| Individual and/versus social creativity (panel session) | | BIB | Full-Text | 36-39 | |
| Ernest Edmonds; Linda Candy; Geoff Cox; Jacob Eisenstein; Gerhard Fischer; Bob Hughes; Tom Hewett | |||
| Supporting creative work tasks: the potential of multimodal tools to support sketching | | BIB | Full-Text | 42-49 | |
| Jana Sedivy; Hilary Johnson | |||
| Integrating craft materials and computation | | BIB | Full-Text | 50-56 | |
| Glenn Blauvelt; Tom Wrensch; Michael Eisenberg | |||
| Who or what is making the music: music creation in a machine age | | BIB | Full-Text | 57-62 | |
| Tang-Chun Li | |||
| The split-brain human computer user interface | | BIB | Full-Text | 63-67 | |
| Gregory P. Garvey | |||
| Composition analyzer: computer supported composition analysis of masterpieces | | BIB | Full-Text | 68-75 | |
| Shoji Tanaka; Jun Kurumisawa; Andre Plante; Yuichi Iwadate; Seiji Inokuchi | |||
| Exploring Novel ways of interaction in musical performance | | BIB | Full-Text | 76-81 | |
| Bert Bongers | |||
| How do material constraints affect design creativity? | | BIB | Full-Text | 82-87 | |
| Hisataka Noguchi | |||
| Preliminary observations about music and decentralized environments | | BIB | Full-Text | 88-92 | |
| Dante Tanzi | |||
| The new metaphysics and the deep structure of creativity and cognition | | BIB | Full-Text | 93-100 | |
| Mike King | |||
| Skunk Works: "speciation" strategies for creativity | | BIB | Full-Text | 101-107 | |
| Vittorio Mischi | |||
| A proposal for a framework for general multimedia art creation instruments | | BIB | Full-Text | 108-115 | |
| Kazushi Nishimoto; Kenji Mase | |||
| Symmetry of ignorance, social creativity, and meta-design | | BIB | Full-Text | 116-123 | |
| Gerhard Fischer | |||
| Ontology, aesthetics and creativity at the crossroads in information system design | | BIB | Full-Text | 124-131 | |
| Alberto Faro; Daniela Giordano | |||
| What would Cezanne think? | | BIB | Full-Text | 132-134 | |
| Carol Strohecker | |||
| Emotion recognition and its application to computer agents with spontaneous interactive capabilities | | BIB | Full-Text | 135-143 | |
| Ryohei Nakatsu; Joy Nicholson; Naoko Tosa | |||
| Composing interactive virtual operas | | BIB | Full-Text | 144-147 | |
| Alain Bonardi; Francis Rousseaux | |||
| Artistic environments of telepresence in the WWW | | BIB | Full-Text | 148-151 | |
| Luisa Paraguai Donati; Gilbertto Prado | |||
| A CONCEIT: a collaborative mapping in 3 spaces | | BIB | Full-Text | 152-157 | |
| John Lycette; Greg O'Connor; Darren Tofts; Peter Webb; Christopher Waller | |||
| Creativity in design activities: the role of analogies in a constrained cognitive environment | | BIB | Full-Text | 158-165 | |
| Nathalie Bonnardel | |||
| A framework that supports collective creativity in design using visual images | | BIB | Full-Text | 166-173 | |
| Kumiyo Nakakoji; Yasuhiro Yamamoto; Masao Ohira | |||
| "Fake" and "Real" creativity using computer aided design: some lessons from Herman Hertzberger | | BIB | Full-Text | 174-179 | |
| Bryan Lawson | |||
| Modelling creative design through conversation analysis | | BIB | Full-Text | 182-183 | |
| Ricardo Sosa | |||
| Generation of passion spaces from "Tanka" poems | | BIB | Full-Text | 184-186 | |
| Tsutomu Miyasato | |||
| Early engagements of creative writers with online media | | BIB | Full-Text | 187-188 | |
| Sue Thomas | |||
| Art as metaphor | | BIB | Full-Text | 189-190 | |
| Bettina Brendal | |||
| Revolution in art: networking painting machine | | BIB | Full-Text | 191-192 | |
| Jean-Paul Longavesne | |||
| The Turing test is dead | | BIB | Full-Text | 193-194 | |
| Jonathan Bedworth; James Norwood | |||
| Drawing as a function of movement | | BIB | Full-Text | 195-196 | |
| Michael Quantrill | |||
| Wolfgang: "Emotions" plus goals enable learning | | BIB | Full-Text | 197-198 | |
| Doug Riecken | |||
| Thwarting the Web users' expectations | | BIB | Full-Text | 199-200 | |
| Helia Vannucchi de Almeida Santos | |||