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Journal ArticleDOI

The digital muse: HCI in support of creativity: "creativity and cognition" comes of age: towards a new discipline

01 Jul 2003-Interactions (ACM)-Vol. 10, Iss: 4, pp 44-54
About: This article is published in Interactions.The article was published on 2003-07-01. It has received 42 citations till now. The article focuses on the topics: Creativity & Cognition.
Citations
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Proceedings ArticleDOI
02 May 2019
TL;DR: Based on a literature review of 143 papers from the ACM Digital Library (1999-2018), a first overview of the key characteristics of CSTs developed by the HCI community is contributed and a tentative definition of a CST is proposed to help strengthen knowledge sharing across CST studies.
Abstract: Creativity Support Tools (CSTs) play a fundamental role in the study of creativity in Human-Computer Interaction (HCI). Even so, there is no consensus definition of the term 'CST' in HCI, and in most studies, CSTs have been construed as one-off exploratory prototypes, typically built by the researchers themselves. This makes it difficult to clearly demarcate CST research, but also to compare findings across studies, which impedes advancement in digital creativity as a growing field of research. Based on a literature review of 143 papers from the ACM Digital Library (1999-2018), we contribute a first overview of the key characteristics of CSTs developed by the HCI community. Moreover, we propose a tentative definition of a CST to help strengthen knowledge sharing across CST studies. We end by discussing our study's implications for future HCI research on CSTs and digital creativity.

155 citations


Cites background from "The digital muse: HCI in support of..."

  • ...Reflecting upon the 1993 inaugural Creativity & Cognition symposium, Candy and Hori [19] underlined the necessity to devote more attention to the examination and development of CSTs in order to benefit: “all people in any domain“ [19, p. 54]....

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  • ...[19]—Shneiderman’s programmatic proposal may be seen as CHI 2019 Paper CHI 2019, May 4–9, 2019, Glasgow, Scotland, UK...

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  • ...Reflecting upon the 1993 inaugural Creativity & Cognition symposium, Candy and Hori [19] underlined the necessity to devote more attention to the examination and development of CSTs in order to benefit: “all people in any domain“ [19, p....

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  • ...The enhancement of creativity through technological support, as well as the development of a new discipline of creativity research and IT [19], should be attained by combining (at least) five research trajectories— refined theories, discussions of research methods, new software architecture, database management strategies and networking strategies, and improved user interfaces....

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Journal ArticleDOI
TL;DR: This paper charts the development of that co-evolutionary process from the foundation studies to recent outcomes of a major project in art and technology collaboration and introduces the notion of the Studio as a laboratory in the field and a new methodology for systematic practice-based research.
Abstract: Creativity research is a large and varied field in which the subject is characterized on many different levels. The arrival of digital media and computational tools has opened up new possibilities for creative practice. The cutting edge in the digital arts is a highly fertile ground for the investigation of creativity and the role of new technologies. The demands of such work often reveal the limitations of existing technologies and open the door to developing new approaches and techniques. This provides the creativity researcher with opportunities to understand the multi-dimensional characteristics of the creative process. At the same time, it places new demands upon the creators of the technological solutions and pushes forward our understanding of the future requirements of creative technologies. This paper is concerned with the nature of creativity and the design of creativity enhancing computer systems. The research has multi-disciplinary foundations in human-computer interaction and creative practice in Art, Design, Science and Engineering. As a result of a series of studies of creative people and the associated developments in technology, a strategy for practice-based research has evolved in which research and practice are interdependent activities that have mutual benefits as well its distinctive outcomes. This paper charts the development of that co-evolutionary process from the foundation studies to recent outcomes of a major project in art and technology collaboration. The notion of the Studio as a laboratory in the field is introduced and a new methodology for systematic practice-based research is presented. From the results of the investigations that took place, opportunities for the development of technology environments for creative collaboration are proposed.

116 citations

Journal ArticleDOI
TL;DR: The approach toward the interaction design of a tool for fostering creativity is first to understand the nature of early stages of information design tasks, and to identify three interaction design principles for tools for the early stagesof information design: interpretation-rich representations, representations with constant grounding and interaction methods for hands-on generation and manipulation of the representations.
Abstract: This paper describes our approach for the design and development of application systems for early stages of information design tasks. We view a computational tool as something that provides materials with which a designer interacts to create a situation that talks back to the designer. The interaction design of a tool, that is, the representations a user can generate and how the user can manipulate them with the tool, influences a user's cognitive processes. The tool's interaction design thus either fosters or hinders creativity in the early stages of information design.Our approach toward the interaction design of a tool for fostering creativity is first to understand the nature of early stages of information design tasks. We discuss four issues in support of the early stages of design based on theories in design and in human-computer interaction: (1) that available means of externalizations influence designers in deciding which courses of actions to take: (2) that designers generate and interact with not only a partial representation of the final artefact but also various external representations: (3) that designers produce externalizations to express a solution as well as to interpret the situations: and (4) that a design task proceeds as a hermeneutic circle--that is. designers proceed with projected meanings of representations and gradually revise and confirm those meanings.The above theoretical account of early stages of information design tasks has led us to identify three interaction design principles for tools for the early stages of information design: interpretation-rich representations, representations with constant grounding and interaction methods for hands-on generation and manipulation of the representations.To illustrate our point, we take ART#001. a tool for the early stages of writing, to apply the interaction design principles and examine how the interaction design of the tool fosters creativity in the early stages of information design. The paper concludes with a discussion of how we generalize the approach and build a framework to design and develop application systems for fostering creativity in the early stages of information design.

115 citations


Cites background from "The digital muse: HCI in support of..."

  • ...Supporting psychological creativity is not a luxury but a necessity in this context (Candy and Hori, 2003)....

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Proceedings ArticleDOI
06 Nov 2005
TL;DR: Three design implications to support creativity in CSCW are proposed: integrate support for individual, dyadic, and group brainstorming, leverage cognitive conflict by preserving and reflecting on minority dissent, and support flexibility in granularity of planning.
Abstract: We are interested in supporting creativity in distributed scientific communities through socio-technical interventions. Based on a synthetic literature analysis of creativity and collaborative groups, we present and justify three requirements for supporting creativity: support for divergent and convergent thinking, development of shared objectives, and reflexivity. We discuss our collaboratory prototype and its existing functionality to support creativity. We propose three design implications to support creativity in CSCW: integrate support for individual, dyadic, and group brainstorming, leverage cognitive conflict by preserving and reflecting on minority dissent, and support flexibility in granularity of planning.

84 citations


Cites background from "The digital muse: HCI in support of..."

  • ...Creativity is critical to invention, innovation, and social progress at both the individual and societal levels [9, 93]....

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  • ...First, there are assertions that today’s knowledge workers can benefit from the use of software tools to enhance their creative strategies [9]....

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Journal ArticleDOI
01 Dec 2008
TL;DR: This paper outlines design requirements for performative tangible interaction, proposes a framework for assessing performative interaction and demonstrates its use through four case studies of the iterative redesign of a highly portable, tangible exertion interface.
Abstract: We propose that designing tangibles for public interaction requires an understanding of both functional and non-functional aspects informed by Live Art theories. In this paper, we outline design requirements for performative tangible interaction, propose a framework for assessing performative interaction and demonstrate its use through four case studies of the iterative redesign of a highly portable, tangible exertion interface. By reflecting on our experience of designing for performative interaction we develop guidelines for developing multi-participant Digital Live Art.

78 citations


Cites background from "The digital muse: HCI in support of..."

  • ...Other researchers present strategies for developing creativity support tools (Candy and Hori, 2003; Jennings and Giaccardi, 2005) and suggest a need for developing comprehensive and appropriate evaluation methodologies that recognise such innovative possibilities (Jennings, 2000)....

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References
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Book
01 Jan 2002
TL;DR: Designers need to reduce computer user frustration to accelerate the shift from the old to the new computing, and Four circles of human relationships and four human activities map out the human needs for mobility, ubiquity, creativity, and community.
Abstract: The old computing was about what computers could do; the new computing is about what people can do.To accelerate the shift from the old to the new computing designers need to:reduce computer user frustration. Recent studies show 46% of time is lost to crashes, confusing instructions, navigation problems, etc. Public pressure for change could promote design improvements and increase reliability, thereby dramatically enhancing user experiences.promote universal usability. Interfaces must be tailorable to a wide range of hardware, software, and networks, and users. When broad services such as voting, healthcare, and education are envisioned, the challenge to designers is substantial.envision a future in which human needs more directly shape technology evolution. Four circles of human relationships and four human activities map out the human needs for mobility, ubiquity, creativity, and community. The World Wide Med and million-person communities will be accessible through desktop, palmtop and fingertip devices to support e-learning, e-business, e-healthcare, and e-government.Leonardo da Vinci could help as an inspirational muse for the new computing. His example could push designers to improve quality through scientific study and more elegant visual design. Leonardo's example can guide us to the new computing, which emphasizes empowerment, creativity, and collaboration. Information visualization and personal photo interfaces will be shown: PhotoMesa (www.cs.umd.edu/hcil/photomesa) and PhotoFinder (www.cs.umd.edu/hcil/photolib).For more: http://mitpress.mit.edu/leonardoslaptop and http://www.cs.umd.edu/hcil/newcomputing.

376 citations

Book
30 Apr 2002
TL;DR: The aim of this exhibition is to explore the role of technology and human interaction in the development of art practice in the 21st Century.
Abstract: Introduction Part 1: Digital Art Retrospective Context Environment Research Collaboration Practice Part 2 Bettina Brendel: Windows to a New Dimension Harold Cohen: A Million Millennial Medicis Ernest Edmonds: Structure in Art Practice Manfred Mohr: Generative Art Stelarc: From Zombies to Cyborg Bodies: Extra Ear, Exoskeleton and Avatars Joan Truckenbrod: Tears in the Connective Tissue Roman Verostko: Algorithmic Fine Art - Composing a Visual Arts Score Thomas Hewett: An Observer's Reflections - The Artist Considered as Expert Colin Machin: Realising Digital Artworks Andre Schappo: Being Supportive Manumaya Uniyal: Working with Artists Joan Ashworth: Creating Graspable Water in 3-Dimensional Space Dave Everitt: The Artist as Digital Explorer Beverley Hood: Hybrid Invention Jean-Pierre HusquinetL Contemporary Totemism Fre Ilgen: The Illusion and Simulation of Complex Motion Michael Kidner: The Computer: An Intrusive Influence Marlen Novak: Switched On Jack Ox: The Colour Organ and Collaboration Anthony Padgett: Digital Spirituality Michael Quantrill: Integrating Computers as Explorers in Art Practice Juliet Robson: Deconstructing the Norm Esther Rolinson: Shifting Spaces Ray Ward: Going Somewhere Else Part 3 Artists' Workshop A Forward Look References Biographical Notes Index

112 citations