The idea of the 'model user' is well established in Computer Science. However, the usual practice of establishing a model user might not be appropriate within the context of personal data where such models are potentially limiting and exclusory. The domain of self-tracking data art offers an alternative view on the concept of the Quantified Self. The model user then becomes that of the data artist. An 'edge case' where the user's representation of 'self' is determined more by creative skills and less by the tools used. Moreover, it is argued that models of creativity could be useful in order to understand the concept of Quantified Self as an on-going process. The Mace and Ward model is given particular attention and examples of artists work, including the author's own, are discussed in order to highlight the complexity of the issues they face and the ways in which they overcome them.
{"title":"The Artist as Model User: Reflections on Creating with a Quantified Self","authors":"Shaleph J. O'Neill","doi":"10.1145/3325480.3325492","DOIUrl":"https://doi.org/10.1145/3325480.3325492","url":null,"abstract":"The idea of the 'model user' is well established in Computer Science. However, the usual practice of establishing a model user might not be appropriate within the context of personal data where such models are potentially limiting and exclusory. The domain of self-tracking data art offers an alternative view on the concept of the Quantified Self. The model user then becomes that of the data artist. An 'edge case' where the user's representation of 'self' is determined more by creative skills and less by the tools used. Moreover, it is argued that models of creativity could be useful in order to understand the concept of Quantified Self as an on-going process. The Mace and Ward model is given particular attention and examples of artists work, including the author's own, are discussed in order to highlight the complexity of the issues they face and the ways in which they overcome them.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"192 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124035684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pegah Karimi, N. Davis, M. Maher, Kazjon Grace, L. Lee
This paper presents and evaluates a new method for inspiring creativity in a co-creative design system. The method uses a computational model of aconceptual shift based on clustering of deep features from a database of sketches. The co-creative sketching tool maps a user's sketch to a sketch of a distinct category that has high, medium, or low visual and semantic similarity. We hypothesize that the degree of similarity between the user's and the system's sketches is associated with a range of cognitive models of creativity in a design context. We report on the findings of an empirical study that analyzes different design scenarios in which the user sketches in response to a proposed conceptual shift. The findings show that how similar the computational agent's sketch is to the user's original sketch is related to the presence of three types of design creativity in the user's response: combinatorial, exploratory, and transformational.
{"title":"Relating Cognitive Models of Design Creativity to the Similarity of Sketches Generated by an AI Partner","authors":"Pegah Karimi, N. Davis, M. Maher, Kazjon Grace, L. Lee","doi":"10.1145/3325480.3325488","DOIUrl":"https://doi.org/10.1145/3325480.3325488","url":null,"abstract":"This paper presents and evaluates a new method for inspiring creativity in a co-creative design system. The method uses a computational model of aconceptual shift based on clustering of deep features from a database of sketches. The co-creative sketching tool maps a user's sketch to a sketch of a distinct category that has high, medium, or low visual and semantic similarity. We hypothesize that the degree of similarity between the user's and the system's sketches is associated with a range of cognitive models of creativity in a design context. We report on the findings of an empirical study that analyzes different design scenarios in which the user sketches in response to a proposed conceptual shift. The findings show that how similar the computational agent's sketch is to the user's original sketch is related to the presence of three types of design creativity in the user's response: combinatorial, exploratory, and transformational.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125735227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper presents and discusses the preliminary findings of a research focusing on the design and use of Mobeybou, a digital manipulative aimed at promoting the collaborative creation of multicultural and cross-cultural stories among young children. We frame the research in the wider discussion of the 21st century skills and competencies, and present the digital manipulative as the product of a participatory design methodology. We discuss narratology, multiculturalism, embodiment and collaboration as the cornerstone ideas underpinning the design of Mobeybou. We also show how storytelling is envisioned as implying the creative use of the multicultural and multimodal information that is offered to users in the form of constraints and open-ended options. A pilot study, carried out with twelve 8-year-old children, has validated these design options and offered interesting insights for its further development. Here, we present the interface and discuss the feedback provided in the user study.
{"title":"Designing Manipulative Tools for Creative Multi and Cross-Cultural Storytelling","authors":"C. Sylla, Íris Susana Pires Pereira, Gabriela Sá","doi":"10.1145/3325480.3325501","DOIUrl":"https://doi.org/10.1145/3325480.3325501","url":null,"abstract":"This paper presents and discusses the preliminary findings of a research focusing on the design and use of Mobeybou, a digital manipulative aimed at promoting the collaborative creation of multicultural and cross-cultural stories among young children. We frame the research in the wider discussion of the 21st century skills and competencies, and present the digital manipulative as the product of a participatory design methodology. We discuss narratology, multiculturalism, embodiment and collaboration as the cornerstone ideas underpinning the design of Mobeybou. We also show how storytelling is envisioned as implying the creative use of the multicultural and multimodal information that is offered to users in the form of constraints and open-ended options. A pilot study, carried out with twelve 8-year-old children, has validated these design options and offered interesting insights for its further development. Here, we present the interface and discuss the feedback provided in the user study.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125740619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Session details: Poster & Demo Reception","authors":"Andrew M. Webb, Joy Kim","doi":"10.1145/3340704","DOIUrl":"https://doi.org/10.1145/3340704","url":null,"abstract":"","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122233601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper describes the evolution of a "hybrid violin" developed and played by the author and reflects on the process of developing its sensorimotor dynamics as a salient affordance of real-time digital signal processing. The hybrid violin consists of a technical ensemble of hardware and software elements, including an acoustic violin, microphone, custom sensor glove (alto.glove), and customized ergonomic shoulder rest embedded with voice coils for haptic feedback coupled to digital audio output. Through trial-and-error revision by the designer, sensory feedforward and feedback paths are effectively symmetrized, thereby engaging the claim of the "enactive" approach to cognition as a creative practice: perception drives action and action drives perception. The hybrid violin catalyzes improvised performance insofar as it is responsive to all gesture and embeds no assumptions about expressive intention. The system allows for experimentation with violin technique by continuously and intensively tracking gestural and auditory inputs.
{"title":"Signal Processing as Practice: Trial-and-Error Revision of the Sensorimotor Dynamics of a Hybrid Violin","authors":"S. Thorn","doi":"10.1145/3325480.3326551","DOIUrl":"https://doi.org/10.1145/3325480.3326551","url":null,"abstract":"This paper describes the evolution of a \"hybrid violin\" developed and played by the author and reflects on the process of developing its sensorimotor dynamics as a salient affordance of real-time digital signal processing. The hybrid violin consists of a technical ensemble of hardware and software elements, including an acoustic violin, microphone, custom sensor glove (alto.glove), and customized ergonomic shoulder rest embedded with voice coils for haptic feedback coupled to digital audio output. Through trial-and-error revision by the designer, sensory feedforward and feedback paths are effectively symmetrized, thereby engaging the claim of the \"enactive\" approach to cognition as a creative practice: perception drives action and action drives perception. The hybrid violin catalyzes improvised performance insofar as it is responsive to all gesture and embeds no assumptions about expressive intention. The system allows for experimentation with violin technique by continuously and intensively tracking gestural and auditory inputs.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134266585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
William Odom, Ishac Bertran, Garnet D. Hertz, Henry W. J. Lin, Amy Yo Sue Chen, Matthew Harkness, Ron Wakkary
Motivated by prior work on everyday creativity, we adopt a design-oriented approach seeks to move beyond designing for explicit interactions to also include the implicit, incremental and, at times even, unknowing encounters that slowly emerge among people, technologies, and artifacts over time. We contribute an investigation into designing for slowness grounded in the practice of making a design artifact called Slow Game. We offer a detailed critical-reflective accounting of our process of making Slow Game into a research product. In attending to key design moves across our process, we reveal hidden challenges in designing slow technology research products and discuss how our findings can be mobilized in future work.
{"title":"Unpacking the Thinking and Making Behind a Slow Technology Research Product with Slow Game","authors":"William Odom, Ishac Bertran, Garnet D. Hertz, Henry W. J. Lin, Amy Yo Sue Chen, Matthew Harkness, Ron Wakkary","doi":"10.1145/3325480.3326567","DOIUrl":"https://doi.org/10.1145/3325480.3326567","url":null,"abstract":"Motivated by prior work on everyday creativity, we adopt a design-oriented approach seeks to move beyond designing for explicit interactions to also include the implicit, incremental and, at times even, unknowing encounters that slowly emerge among people, technologies, and artifacts over time. We contribute an investigation into designing for slowness grounded in the practice of making a design artifact called Slow Game. We offer a detailed critical-reflective accounting of our process of making Slow Game into a research product. In attending to key design moves across our process, we reveal hidden challenges in designing slow technology research products and discuss how our findings can be mobilized in future work.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115545427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Session details: Artworks","authors":"J. Crandall, J. Fritsch","doi":"10.1145/3340703","DOIUrl":"https://doi.org/10.1145/3340703","url":null,"abstract":"","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115860271","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Session details: Keynote 3 (joint with DIS)","authors":"S. Harrison","doi":"10.1145/3340699","DOIUrl":"https://doi.org/10.1145/3340699","url":null,"abstract":"","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128167901","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Online feedback systems have gained in popularity in recent years. These systems have the potential to provide vast amounts of feedback from the crowd. My dissertation explores how creative workers can be assisted in evaluating this crowdsourced feedback. I qualitatively explored and studied this issue in three different feedback systems. Future work will develop a framework for recommending feedback evaluation strategies for different feedback types in the context of creative work and potentially massive amounts of crowdsourced feedback.
{"title":"Supporting Creative Workers with Crowdsourced Feedback","authors":"J. Oppenlaender","doi":"10.1145/3325480.3326556","DOIUrl":"https://doi.org/10.1145/3325480.3326556","url":null,"abstract":"Online feedback systems have gained in popularity in recent years. These systems have the potential to provide vast amounts of feedback from the crowd. My dissertation explores how creative workers can be assisted in evaluating this crowdsourced feedback. I qualitatively explored and studied this issue in three different feedback systems. Future work will develop a framework for recommending feedback evaluation strategies for different feedback types in the context of creative work and potentially massive amounts of crowdsourced feedback.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"205 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127036014","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sang Won Lee, Aaron Willette, Danai Koutra, Walter S. Lasecki
Facilitating audience participation in a music performance brings with it challenges in involving non-expert users in large-scale collaboration. A musical piece needs to be created live, over a short period of time, with limited communication channels. To address this challenge, we propose to incorporate social interaction through mobile music instruments that the audience is given to play with, and examine how this feature sustains and affects the audience involvement. We test this idea with an audience participation music system, Crowd in C. We realized a participation-based musical performance with the system and validated our approach by analyzing the interaction traces of the audience at a performance. The result indicates that the audience members were actively engaged throughout the performance, with multiple layers of social interaction available in the system. We also present how the social interactivity among the audience shaped their interaction in the music making process.
促进观众参与音乐表演带来了让非专业用户参与大规模协作的挑战。音乐作品需要在短时间内现场创作，传播渠道有限。为了应对这一挑战，我们建议通过提供给观众的移动乐器来整合社交互动，并研究这一功能如何维持和影响观众的参与。我们用一个观众参与音乐系统Crowd in c来测试这个想法。我们用这个系统实现了一个基于参与的音乐表演，并通过分析表演中观众的互动痕迹来验证我们的方法。结果表明，观众在整个演出过程中都是积极参与的，在系统中有多层次的社会互动。我们也展示了观众之间的社会互动如何在音乐制作过程中塑造他们的互动。
{"title":"The Effect of Social Interaction on Facilitating Audience Participation in a Live Music Performance","authors":"Sang Won Lee, Aaron Willette, Danai Koutra, Walter S. Lasecki","doi":"10.1145/3325480.3325509","DOIUrl":"https://doi.org/10.1145/3325480.3325509","url":null,"abstract":"Facilitating audience participation in a music performance brings with it challenges in involving non-expert users in large-scale collaboration. A musical piece needs to be created live, over a short period of time, with limited communication channels. To address this challenge, we propose to incorporate social interaction through mobile music instruments that the audience is given to play with, and examine how this feature sustains and affects the audience involvement. We test this idea with an audience participation music system, Crowd in C. We realized a participation-based musical performance with the system and validated our approach by analyzing the interaction traces of the audience at a performance. The result indicates that the audience members were actively engaged throughout the performance, with multiple layers of social interaction available in the system. We also present how the social interactivity among the audience shaped their interaction in the music making process.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131936310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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