Creativity support tools are important to professionals and amateurs alike. Typically, these tools abstract away the mundane details of creative design to allow the user to focus on her creative process. However, emerging techniques in data mining, machine learning, and artificial intelligence all have the potential to enhance the efficiency, productivity, accessibility and usability of these tools. Leveraging these techniques, creativity support tools are poised to move from the role of an assistant carrying out chores for the user to a role as a creative collaborator.
{"title":"Semi-automated creativity: software as a creative collaborator","authors":"J. Secretan","doi":"10.1145/2069618.2069743","DOIUrl":"https://doi.org/10.1145/2069618.2069743","url":null,"abstract":"Creativity support tools are important to professionals and amateurs alike. Typically, these tools abstract away the mundane details of creative design to allow the user to focus on her creative process. However, emerging techniques in data mining, machine learning, and artificial intelligence all have the potential to enhance the efficiency, productivity, accessibility and usability of these tools. Leveraging these techniques, creativity support tools are poised to move from the role of an assistant carrying out chores for the user to a role as a creative collaborator.","PeriodicalId":90479,"journal":{"name":"Creativity & cognition : proceedings of the ... Creativity & Cognition Conference. Creativity & Cognition Conference","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76825468","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}
S. Bringsjord, C. Kuebler, Joshua Taylor, Griffin W. Milsap, Sean Austin, J. Braasch, Pauline Oliveros, D. Nort, Adam Rosenkrantz, Kasia Hayden
After providing some context via (i) earlier work on literary creativity carried out by Bringsjord et al., and (ii) an account of creativity espoused by Cope, which stands in rather direct opposition to Bringsjord's account, we summarize our nascent attempt to engineer an artificial conductor: Handle. Handle is a microcosmic version of part of a larger, much more ambitious system: CAIRA. Both are under development courtesy of a three-year CreativeIT grant from the National Science Foundation (PI Braasch, Co-PIs Oliveros & Bringsjord).
在通过(i) bringsord等人对文学创造力的早期研究，以及(ii) Cope对创造力的支持(与bringsord的描述截然相反)提供了一些背景后，我们总结了我们设计人工导体的初步尝试:Handle。Handle是一个更大、更有野心的系统——CAIRA的微观版本。这两款产品都得到了美国国家科学基金会(PI Braasch, co -PI Oliveros & bringsord)为期三年的CreativeIT资助。
{"title":"Creativity and conducting: handle in the CAIRA project","authors":"S. Bringsjord, C. Kuebler, Joshua Taylor, Griffin W. Milsap, Sean Austin, J. Braasch, Pauline Oliveros, D. Nort, Adam Rosenkrantz, Kasia Hayden","doi":"10.1145/2069618.2069676","DOIUrl":"https://doi.org/10.1145/2069618.2069676","url":null,"abstract":"After providing some context via (i) earlier work on literary creativity carried out by Bringsjord et al., and (ii) an account of creativity espoused by Cope, which stands in rather direct opposition to Bringsjord's account, we summarize our nascent attempt to engineer an artificial conductor: Handle. Handle is a microcosmic version of part of a larger, much more ambitious system: CAIRA. Both are under development courtesy of a three-year CreativeIT grant from the National Science Foundation (PI Braasch, Co-PIs Oliveros & Bringsjord).","PeriodicalId":90479,"journal":{"name":"Creativity & cognition : proceedings of the ... Creativity & Cognition Conference. Creativity & Cognition Conference","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80851169","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 some acts of psychological creativity as phenomena arising from changes to a situation, brought about through interpretation. It presents a way of representing a situation as a schema of concepts made up from perceptual dimensions. It shows the utility of concepts as being changed by the situation within which they are used. An example of this is described, in which the information within a concept is unchanged yet its use becomes different through salience weighting. A computational implemented example is presented as a generate-and-interpret model that produces country growth indicators and then interprets them and repeats this process. The situation, and the space of possible designs, is changed through the act of interpretation. It is suggested that interpretation can be a driver for changing situations -- something that looks like P-creativity to an outside observer.
{"title":"Interpretation as driver for psychological creativity","authors":"Nick Kelly, J. Gero","doi":"10.1145/2069618.2069693","DOIUrl":"https://doi.org/10.1145/2069618.2069693","url":null,"abstract":"This paper describes some acts of psychological creativity as phenomena arising from changes to a situation, brought about through interpretation. It presents a way of representing a situation as a schema of concepts made up from perceptual dimensions. It shows the utility of concepts as being changed by the situation within which they are used. An example of this is described, in which the information within a concept is unchanged yet its use becomes different through salience weighting. A computational implemented example is presented as a generate-and-interpret model that produces country growth indicators and then interprets them and repeats this process. The situation, and the space of possible designs, is changed through the act of interpretation. It is suggested that interpretation can be a driver for changing situations -- something that looks like P-creativity to an outside observer.","PeriodicalId":90479,"journal":{"name":"Creativity & cognition : proceedings of the ... Creativity & Cognition Conference. Creativity & Cognition Conference","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84117154","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 article presents our currents findings from an empirical study of the cognition employed by performers in improvisational theatre. Improvised theatrical performance is an activity in which one or more individuals create a dramatic or comedic performance in real-time and is an interesting example of creative, real-time, collaborative problem solving. Unlike other forms of creative problem solving, improvisers are constrained from explicitly coordinating with the other improvisers on stage or revising their decisions after the fact. This article focuses on the means by which a group of improvisers converge on a shared understanding (i.e. a shared mental model) of what a scene is about and how it should proceed. We present our findings on how improvisers build shared mental models during a performance and discuss our applications of these findings to the design and development of improvisational intelligent agents.
{"title":"Shared mental models in improvisational theatre","authors":"Daniel Fuller, Brian Magerko","doi":"10.1145/2069618.2069663","DOIUrl":"https://doi.org/10.1145/2069618.2069663","url":null,"abstract":"This article presents our currents findings from an empirical study of the cognition employed by performers in improvisational theatre. Improvised theatrical performance is an activity in which one or more individuals create a dramatic or comedic performance in real-time and is an interesting example of creative, real-time, collaborative problem solving. Unlike other forms of creative problem solving, improvisers are constrained from explicitly coordinating with the other improvisers on stage or revising their decisions after the fact. This article focuses on the means by which a group of improvisers converge on a shared understanding (i.e. a shared mental model) of what a scene is about and how it should proceed. We present our findings on how improvisers build shared mental models during a performance and discuss our applications of these findings to the design and development of improvisational intelligent agents.","PeriodicalId":90479,"journal":{"name":"Creativity & cognition : proceedings of the ... Creativity & Cognition Conference. Creativity & Cognition Conference","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88815300","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}
Florian Geyer, Ulrike Pfeil, Anita Höchtl, Jochen Budzinski, Harald Reiterer
Using affinity diagramming as an example, we investigate reality-based interfaces for supporting creative group work. Based on an observational study grounded in the reality-based interaction framework, we identified power vs. reality tradeoffs that can be addressed to find a close fit to embodied practice. Using this knowledge, we designed and implemented a digital workspace for supporting affinity diagramming. Its hybrid interaction techniques combine digital pen & paper with an interactive table and tangible tokens. An additional vertical display is used to support reflection-in-action and for enhancing discussion and coordination. A preliminary user study confirmed the applicability of our tradeoffs and the general acceptance of the tool design.
{"title":"Designing reality-based interfaces for creative group work","authors":"Florian Geyer, Ulrike Pfeil, Anita Höchtl, Jochen Budzinski, Harald Reiterer","doi":"10.1145/2069618.2069647","DOIUrl":"https://doi.org/10.1145/2069618.2069647","url":null,"abstract":"Using affinity diagramming as an example, we investigate reality-based interfaces for supporting creative group work. Based on an observational study grounded in the reality-based interaction framework, we identified power vs. reality tradeoffs that can be addressed to find a close fit to embodied practice. Using this knowledge, we designed and implemented a digital workspace for supporting affinity diagramming. Its hybrid interaction techniques combine digital pen & paper with an interactive table and tangible tokens. An additional vertical display is used to support reflection-in-action and for enhancing discussion and coordination. A preliminary user study confirmed the applicability of our tradeoffs and the general acceptance of the tool design.","PeriodicalId":90479,"journal":{"name":"Creativity & cognition : proceedings of the ... Creativity & Cognition Conference. Creativity & Cognition Conference","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86597813","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}
The goal of this research is to perform large-scale experiments to see if the crowd, mediated by technology, produces creative designs by combining designs. To fulfill this goal, a sequential combination system is built. The system is a variant on a human based genetic algorithm, through which the crowd participates in an iterative process of design, evaluation, and combination. The study will provide a way of creatively solving problems in a number of different domains. It will also shed light on the mechanisms of social creativity: how individuals can build on each other's work and how technology can facilitate design by encouraging collaboration through shared designs.
{"title":"Crowd creativity through combination","authors":"Lixiu Yu","doi":"10.1145/2069618.2069756","DOIUrl":"https://doi.org/10.1145/2069618.2069756","url":null,"abstract":"The goal of this research is to perform large-scale experiments to see if the crowd, mediated by technology, produces creative designs by combining designs. To fulfill this goal, a sequential combination system is built. The system is a variant on a human based genetic algorithm, through which the crowd participates in an iterative process of design, evaluation, and combination. The study will provide a way of creatively solving problems in a number of different domains. It will also shed light on the mechanisms of social creativity: how individuals can build on each other's work and how technology can facilitate design by encouraging collaboration through shared designs.","PeriodicalId":90479,"journal":{"name":"Creativity & cognition : proceedings of the ... Creativity & Cognition Conference. Creativity & Cognition Conference","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91417747","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}
Jichen Zhu, Kenneth E. Ingraham, J. M. Moshell, Santiago Ontañón
In computer-based interactive narrative, a key challenge is the conflict between user agency and authorial control of the story quality. In this paper, we use the constructs of character status and status shifts from improvisational and interactive theatre to further engage users in the creative process of co-creating the story. Based on the cognitive semantics theory of force dynamics, we develop a computational model of status shifts.
{"title":"Towards a computational model of character status in interactive storytelling","authors":"Jichen Zhu, Kenneth E. Ingraham, J. M. Moshell, Santiago Ontañón","doi":"10.1145/2069618.2069720","DOIUrl":"https://doi.org/10.1145/2069618.2069720","url":null,"abstract":"In computer-based interactive narrative, a key challenge is the conflict between user agency and authorial control of the story quality. In this paper, we use the constructs of character status and status shifts from improvisational and interactive theatre to further engage users in the creative process of co-creating the story. Based on the cognitive semantics theory of force dynamics, we develop a computational model of status shifts.","PeriodicalId":90479,"journal":{"name":"Creativity & cognition : proceedings of the ... Creativity & Cognition Conference. Creativity & Cognition Conference","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84730574","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}
Design thinking literature suggests that design tools can influence early design activities in a bottom-up, data-driven manner. This study suggests that design tools can influence design thinking in a top-down manner and cause designers prematurely to fixate on the details of a design solution. Further, such fixation can take place before a designer actually utilizes these features to produce a sketch.
{"title":"Influence of design tools on conceptually driven processes","authors":"Amod Damle, Trudi C. Miller","doi":"10.1145/2069618.2069680","DOIUrl":"https://doi.org/10.1145/2069618.2069680","url":null,"abstract":"Design thinking literature suggests that design tools can influence early design activities in a bottom-up, data-driven manner. This study suggests that design tools can influence design thinking in a top-down manner and cause designers prematurely to fixate on the details of a design solution. Further, such fixation can take place before a designer actually utilizes these features to produce a sketch.","PeriodicalId":90479,"journal":{"name":"Creativity & cognition : proceedings of the ... Creativity & Cognition Conference. Creativity & Cognition Conference","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87284788","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}
A shift is occurring, particularly evident in art-and- technology practice, in which the artist-led-workshop is transformed into an distinct and distinguishable artistic form. Resulting from, and contributing to, the new access and relationships people have to information, creative culture, materials and like-interested individuals, the "workshop-as-artwork" is herein proposed and outlined. As a set of multiple artistic (material), social and learning agent interactions, thinking this new form as an ecology has shown benefits in terms of the aims and design of these new works, as well as their thinking, planning and execution. Further, from the artist-interventionist point of view, positing the workshop-as-artwork and ecological thinking seeks to update notions of legacy, consequence and significance for the art-and-technology practitioner and his or her audience. Particular attention is given to the links made between the workshop-as-artwork to other historical art forms, the potentials for these structures to provide a means of rendering technologies more convivial, as well as understanding the participative and performative interactions possible within such a form. We conclude with a set of reflections on the artistic context of this work, and possible directions and prospects arising from the "workshop-as-artwork".
{"title":"Creative ecologies in action: technology and the workshop-as-artwork","authors":"Jamie Allen, Rachel Clarke, A. Galani, K. Wajda","doi":"10.1145/2069618.2069671","DOIUrl":"https://doi.org/10.1145/2069618.2069671","url":null,"abstract":"A shift is occurring, particularly evident in art-and- technology practice, in which the artist-led-workshop is transformed into an distinct and distinguishable artistic form. Resulting from, and contributing to, the new access and relationships people have to information, creative culture, materials and like-interested individuals, the \"workshop-as-artwork\" is herein proposed and outlined. As a set of multiple artistic (material), social and learning agent interactions, thinking this new form as an ecology has shown benefits in terms of the aims and design of these new works, as well as their thinking, planning and execution. Further, from the artist-interventionist point of view, positing the workshop-as-artwork and ecological thinking seeks to update notions of legacy, consequence and significance for the art-and-technology practitioner and his or her audience.\u0000 Particular attention is given to the links made between the workshop-as-artwork to other historical art forms, the potentials for these structures to provide a means of rendering technologies more convivial, as well as understanding the participative and performative interactions possible within such a form. We conclude with a set of reflections on the artistic context of this work, and possible directions and prospects arising from the \"workshop-as-artwork\".","PeriodicalId":90479,"journal":{"name":"Creativity & cognition : proceedings of the ... Creativity & Cognition Conference. Creativity & Cognition Conference","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83183203","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 provides an interdisciplinary reflection on the nature meaning-making involving users and animated gestural interfaces. In particular, we propose a new model for analysis of creative computing systems incorporating gestural input into dynamically animated interfaces. Our contributions are based on a theoretical framework synthesizing embodied cognition approaches in cognitive science, phenomenology in philosophy, and user interface design in computing. We introduce the term enduring interaction to refer to the phenomenon of bodily and conceptually engaging interaction within constantly changing computational environments. Our construct centralizes the issue of how users' motor-sensory experiences inform their construction of meaning in the design of interactive systems. We argue that creative computing systems, a class of artifacts including types of hobbyist websites, video games, and computer-based artworks, require a new design perspective quite distinct from user-centric interface design approaches focused on productivity-oriented applications. Using examples including outcomes of the Gestural Narrative and Interactive Expression (GeNIE) project (Harrell, PI; Chow and Erik Loyer collaborators) along with existing prevalent, exceptional, or historically significant artifacts, we articulate a continuum of various kinds of engagement, showing design implications of our perspective, enabling users to use gestural interaction (through multi-touch and gyroscope/accelerometer-based input devices) to result in narratively salient, evocative, and even intimate interaction mechanisms in interactive narrative environments.
{"title":"Enduring interaction: an approach to analysis and design of animated gestural interfaces in creative computing systems","authors":"Kenny K. N. Chow, D. Fox Harrell","doi":"10.1145/2069618.2069636","DOIUrl":"https://doi.org/10.1145/2069618.2069636","url":null,"abstract":"This paper provides an interdisciplinary reflection on the nature meaning-making involving users and animated gestural interfaces. In particular, we propose a new model for analysis of creative computing systems incorporating gestural input into dynamically animated interfaces. Our contributions are based on a theoretical framework synthesizing embodied cognition approaches in cognitive science, phenomenology in philosophy, and user interface design in computing. We introduce the term enduring interaction to refer to the phenomenon of bodily and conceptually engaging interaction within constantly changing computational environments. Our construct centralizes the issue of how users' motor-sensory experiences inform their construction of meaning in the design of interactive systems. We argue that creative computing systems, a class of artifacts including types of hobbyist websites, video games, and computer-based artworks, require a new design perspective quite distinct from user-centric interface design approaches focused on productivity-oriented applications. Using examples including outcomes of the Gestural Narrative and Interactive Expression (GeNIE) project (Harrell, PI; Chow and Erik Loyer collaborators) along with existing prevalent, exceptional, or historically significant artifacts, we articulate a continuum of various kinds of engagement, showing design implications of our perspective, enabling users to use gestural interaction (through multi-touch and gyroscope/accelerometer-based input devices) to result in narratively salient, evocative, and even intimate interaction mechanisms in interactive narrative environments.","PeriodicalId":90479,"journal":{"name":"Creativity & cognition : proceedings of the ... Creativity & Cognition Conference. Creativity & Cognition Conference","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79034108","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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