The talk will review Creativity and Cognition’s (C&C) history, from the start in 1993 at Loughborough University, through becoming a SIGCHI conference in 1999 to today. The blend of art, design, HCI and cognitive science remains unique and this combination will be stressed. C&C has led to outcomes beyond the conferences themselves and these will be discussed. The talk will take us back to a time when creativity was not a favoured subject in the HCI community and show how progress in this direction has unfolded. In particular, the talk will cover recent advances in the support of creativity and the wide use of interactive computing in the arts.

This artwork exploits recent research into augmented reality systems, such as the HoloLens, for building creative interaction in augmented reality. The work is being conducted in the context of interactive art experiences. The first version of the audience experience of the artwork, "H Space", was informally tested in the SIGGRAPH 2018 Art Gallery context. Experiences with a later, improved, version was evaluated at Tsinghua University. The latest distributed version will be shown in Sydney. The paper describes the concept, the background in both the art and the technological domain and points to some of the key computer human interaction art research issues that the work highlights.

What can multi-media systems design learn from art? How can the research agenda be advanced by looking at art? How can we improve creativity support and the amplification of that important human capability? Interactive art has become a common part of life as a result of the many ways in which the computer and the Internet have facilitated it. Multi-media computing is as important to interactive art as mixing the colors of paint are to painting. This talk reviews recent work that looks at these issues through art research. In interactive digital art, the artist is concerned with how the artwork behaves, how the audience interacts with it, and, ultimately, how participants experience art as well as their degree of engagement. The talk examines these issues and brings together a collection of research results from art practice that illuminates this significant new and expanding area. In particular, this work points towards a much-needed critical language that can be used to describe, compare and frame research into the support of creativity.

This research centres on the development of a number of prototype interactive systems, each of which uses a tangible means of representation and manipulation of musical elements in musical composition. Data gathered through collaborative prototyping and user studies is analysed using grounded theory methods. The resultant contribution to knowledge includes theory, design criteria and guidelines specific to tangible representations of music. This knowledge will be useful for future design of systems that use tangible representations, particularly for making music. The prototypes themselves also serve as a form of knowledge and as creative works.

We first describe the process of working on creative problems using three different but related approaches: Art, Design and Human Computer Interaction research. We present case studies of two interactive artworks; Magic Hopscotch and Cities Tango: Melbourne/Sydney, and explain how engagement with those works has informed our further practice in art, design and HCI. We consider how HCI research can influence art and design, and how art and design can influence HCI research, thereby making some kinds of decisions more explicit, supporting stronger hypothesis generation and crucially enriching evaluation methods for creativity support tools.

This paper reviews the development of frameworks for thinking and talking about interactive art in the context of my personal practice over the last forty years. It traces a number of paths taken, from an early simple direct notion of interaction through to communication between people through art systems and, more recently, interactive art for long-term engagement. The frameworks consist of an evolving set of concepts, over several dimensions, which are developing together with the practice of interactive art.

We describe a case study of the audience experience of an interactive artwork titled Just a Bit of Spin. This study was part of practice-based research project that aimed to develop strategies for designing for a play experience. In this paper, we focus on results relating to the two play characteristics of difficulty and competition. These results lead us to reflect on the importance of creating a balance between directing the play experience and providing opportunities for play to emerge through the creative activities of the player.

Edmonds and Fell collaborate on generative performances in which sound and image are integrated. The idea is to operate with structures that can mediate between sound and vision, so that a unified work can be produced that integrates both. Thus a single generative abstract structure is mapped into sound and image to produce the integrated work. Each work has its own generative process that develops over time, but during the performance Edmonds and Fell manipulate the rules being used and so modify the generative processes. The works are abstract and minimal in their aesthetic. Visually, they are concerned with colour and change over time. A very restricted range of forms hold a carefully selected closely connected colours, with the exception of one outliner. The sounds are similarly minimal. Two pieces will be performed. Port Hacking, was first performed in Sydney in 2003. DC_Release was first performed in Washington DC in 2007 as part of ColorField Remix, a celebration of the Washington color field painters. Both works have been performed in various UK venues. The basic structure of each work remains the same but as each performance is undertaken they develop as Edmonds and Fell explore different aspects of their audio-visual landscape.

This paper reports on research supporting online and asynchronous collaboration between stakeholders in the film scoring industry. Here, the authors present two studies conducted with filmmakers and composers to test the design principles of a prototype system. Outcomes from this research have identified a need for establishing a clear scope in creative discussions and for resolving the ambiguity that occurs in remote collaboration. Feedback from participants also revealed the complex nature of the composer-filmmaker relationship and highlighted some interpersonal and coordination issues that should be addressed when designing systems for distant communication.

Human bodily gestures are now clearly present as a factor in human-computer interface design, used in commercially available game interfaces such as Sony's Eye Toy. However, many challenges still exist for this as yet new process, including the development of design strategies to further enable potential. This paper describes the organisation of time and space in three media forms where gestures are prominent, namely theatre, film and interactive film, showing their interrelation and aspects of technological innovation. The plan processes of these media is the focus of discussion. The plan from the interactive gestural film game is from an original artwork To be or not to be.

The paper describes a web-based artwork that uses movement detected by the cameras in each computer that views it to influence its development in terms of colours, timings and shapes. It develops according to a collective history of user behaviour. The Shaping Form series are the latest works arising from Ernest Edmond's preoccupation with interaction and time. These works have previously been made and exhibited as individual wall hanging pieces. A new version has been developed that woks across the WWW and in which the shared experiences at all of the client locations that access it combine to form a distributed network that, in total, influences the shaping form development. Shaping Form on the Web takes a server-client form. The client web application is a Flash application that computes activity levels according to camera inputs and posts the activity levels to Java servlets. A collective history partly determines the behaviour and development of the work as seen at each client. The paper describes the design and development of the software system that is, in essence, the artwork. The work demonstrates a new view of distributed interactive software systems, particularly from the point of view of the interactive experience. We argue that this work provides a new approach to understanding the human-computer systems implications of the Swarm Intelligence approach.

In this demonstration, we show an interactive artwork that responds to sound and describe a field study evaluating audience engagement within a public context. Audience in the public setting largely recognized the interactivity of the media immediately, engaged very briefly with the work and were highly self conscious about their behavior and voice during their engagement.

This paper describes an action research project based on the process of designing the visualisation of heart and breath rate data for the interactive artwork Cardiomorphologies. The project aimed to realise the affective goals of the artist as closely as possible by studying the audience experience of the visualisations and incorporating the findings into an iterative design process. The qualities of richness and ambiguity were found to contribute to the achievement of the artists’ two major aims: 1) to create a sense of integrated physical and mental engagement with the work and 2) to create a reflective state in which participants consider correlations between their thoughts and specific physiological states

Creativity support tools is a research topic with high risk but potentially very high payoff. The goal is to develop improved software and user interfaces that empower users to be not only more productive but also more innovative. Potential users include software and other engineers, diverse scientists, product and graphic designers, architects, educators, students, and many others. Enhanced interfaces could enable more effective searching of intellectual resources, improved collaboration among teams, and more rapid discovery processes. These advanced interfaces should also provide potent support in hypothesis formation, speedier evaluation of alternatives, improved understanding through visualization, and better dissemination of results. For creative endeavors that require composition of novel artifacts (e.g., computer programs, scientific papers, engineering diagrams, symphonies, artwork), enhanced interfaces could facilitate exploration of alternatives, prevent unproductive choices, and enable easy backtracking. This U.S. National Science Foundation sponsored workshop brought together 25 research leaders and graduate students to share experiences, identify opportunities, and formulate research challenges. Two key outcomes emerged: (a) encouragement to evaluate creativity support tools through multidimensional in-depth longitudinal case studies and (b) formulation of 12 principles for design of creativity support tools.

In this paper, we are going to describe a system for managing and authoring time-based information artefact, as an implementation of Knowledge Nebula Crystallizer [9]. The design rationale of the system and its implementation are described.

No abstract available.

In this paper we report on the development of tools that encourage both a creative and reflective approach to music-making and musical skill development. A theoretical approach to musical skill development is outlined and previous work in the area of music visualisation is discussed. In addition the characterisation of music performance as a type of design problem is discussed and the implications of this position for the design of tools for musicians are outlined. Prototype tools, the design of which is informed by the theories and previous work, are described and some preliminary evaluation of their effectiveness is discussed.Future directions are outlined.

This paper presents findings from a study of the social and technical roles of programmers in art-technology collaborations. Combined with a review of the supportive and obstructive roles of technology with respect to helping artists to learn programming, we show that programmers can play several roles in such collaborations, both supportive of and obstructive to the requirements of artists, beyond merely 'doing the programming'. Of central importance is the process of 'attuning' between the actors and artefacts involved. All this is used to suggest some high-level ways in which visualisation technology can be employed to aid both the programming process (for artist and technologist) and the art-technology collaboration process.

Artists work with computers and digital media in order to create artworks in complex and varied ways. Collaboration between technologists and artists frequently creates new forms of interaction between artist and computer: it also promotes interaction between technologists and artists. This demonstration shows an example of intelligent interface technology in interactive art.

The paper presents a discussion on the logic of the necessity for investigation into the area of physiological computing and reviews empirical work by some of the authors. In particular, the paper discusses the reliability of information that can be inferred from certain biological sensor data and ways in which positive benefits can be ensured or measured relating to the use of the feedback that can result from its use. One important and emerging application area for physiological feedback in interactive computing is in interactive art systems. In some respects, this application has been making strong progress for the particular reason that the interactive experience itself, rather than more abstract and problematic information handling, is at the core. Another interesting aspect of the applications in art is that they provide informal experimental investigations into these new forms of human–computer interaction, and artists are already devising new applications and interfaces for physiological information. The paper describes an art work employing physiological feedback, including a discussion of how it was built and of the participating audience reactions when exhibited.

We describe a collaborative project between an HCI team and an internationally known Japanese artist, based in New York, who was artist-in-residence with the group in the UK. The collaboration resulted in a new performance art work and a new interactive instrument. The research included a full study of the process of collaboration and innovation. We describe the work that was created, the interactive instrument developed and illustrates its use in a performance.

Collaborative projects in art and technology provide an opportunity to investigate how co-creativity takes place. This paper describes some of the characteristics of collaborative work that were identified from empirical evidence captured during the COSTART project [4]. We examine the way the information was analyzed and the results of that exercise. An approach to modeling co-creativity based on case study data is described and three example models proposed. This work enabled us to consider the implications of the different models for supporting creativity and their relationship to success factors. We conclude that the provision of 'support' for co-creativity in art and technology needs to include ongoing collaborative relationships that are fostered by organizations dedicated to the co-evolution of both art and new technology.

The panel will discuss the nature of research in creative practice. The participants will draw upon their current studies and experiences of projects that investigate creativity and the role of digital technology.Edmonds and Candy are applying a practice-led research approach to the study of collaborative work between artists and technologists.Mottram discusses practice-based research approaches and discusses the particular role of digital technologies in such research.Howarth is concerned with theories of perception and art and ongoing research into the interplay between mind, body and technology in fine art.Pettigrew is investigating how children act as creative artists using computers and proposes that children are different from adults.

Computers can be very helpful to us by performing tasks on our behalf. For example, they are very good at performing calculations, storing information and producing visualisations of objects that do not yet exist as a made artifact. Increasingly, however, a different role is being found for the computer. It is the role of a catalyst, or a stimulant, to our own creative thinking. In such cases the computer is not primarily performing a task for us and generating an answer within itself, rather it is helping us to generate answers within ourselves. The computer helps us think creatively. This role for the computer can be illustrated in the context of computer support to creative design. In order to design computer systems that support the creative process, it is important to understand that process well enough to predict what might help, rather than hinder. Given such research, we may begin to define the characteristics of what the computer must do in order to augment creative thinking. The paper explores a particular application of intelligent user interfaces:- the augmentation of creative thought in artists.

Journal Article Intelligent interfaces through interactive planners Get access C.V Copas, C.V Copas * aHuman-Systems Integration Group, Information Technology Division, Defence Science and Technology Organisation, P.O. Box 1500, Salisbury, SA, 5108, Australia *Corresponding author. Tel.: +61-882595349; fax: +61-88-2595619 Search for other works by this author on: Oxford Academic Google Scholar E Edmonds E Edmonds bLoughborough University Telecommunications and Computer–Human Interactions Centre (LUTCHI), Department of Computer Science, Loughborough University, Leicester, LE11 3TU, UK Search for other works by this author on: Oxford Academic Google Scholar Interacting with Computers, Volume 12, Issue 6, July 2000, Pages 545–564, https://doi.org/10.1016/S0953-5438(99)00007-7 Published: 01 July 2000

Article Free Access Share on Introducing creativity to cognition Authors: Linda Candy LUTCHI Research Centre, Department of Computer Science, Loughborough University, Loughborough, Leicestershire LE11 3TU, UK LUTCHI Research Centre, Department of Computer Science, Loughborough University, Loughborough, Leicestershire LE11 3TU, UKView Profile , Ernest Edmonds LUTCHI Research Centre, Department of Computer Science, Loughborough University, Loughborough, Leicestershire LE11 3TU, UK LUTCHI Research Centre, Department of Computer Science, Loughborough University, Loughborough, Leicestershire LE11 3TU, UKView Profile Authors Info & Claims C&C '99: Proceedings of the 3rd conference on Creativity & cognitionOctober 1999 Pages 3–6https://doi.org/10.1145/317561.317562Published:01 October 1999Publication History 15citation1,880DownloadsMetricsTotal Citations15Total Downloads1,880Last 12 Months132Last 6 weeks9 Get Citation AlertsNew Citation Alert added!This alert has been successfully added and will be sent to:You will be notified whenever a record that you have chosen has been cited.To manage your alert preferences, click on the button below.Manage my AlertsNew Citation Alert!Please log in to your account Save to BinderSave to BinderCreate a New BinderNameCancelCreateExport CitationPublisher SiteeReaderPDF

Article Free Access Share on Individual and/versus social creativity (panel session) Authors: Ernest Edmonds LUTCHI Research Centre, Loughborough University, Leicestershire, LE11 3TU, UK LUTCHI Research Centre, Loughborough University, Leicestershire, LE11 3TU, UKView Profile , Linda Candy Loughborough University, UK Loughborough University, UKView Profile , Geoff Cox University of Plymouth, UK University of Plymouth, UKView Profile , Jacob Eisenstein Stanford University Stanford UniversityView Profile , Gerhard Fischer University of Colorado University of ColoradoView Profile , Bob Hughes Bristol, UK Bristol, UKView Profile , Tom Hewett Drexel University Drexel UniversityView Profile Authors Info & Claims C&C '99: Proceedings of the 3rd conference on Creativity & cognitionOctober 1999Pages 36–39https://doi.org/10.1145/317561.317570Published:01 October 1999Publication History 8citation646DownloadsMetricsTotal Citations8Total Downloads646Last 12 Months24Last 6 weeks3 Get Citation AlertsNew Citation Alert added!This alert has been successfully added and will be sent to:You will be notified whenever a record that you have chosen has been cited.To manage your alert preferences, click on the button below.Manage my AlertsNew Citation Alert!Please log in to your account Save to BinderSave to BinderCreate a New BinderNameCancelCreateExport CitationPublisher SiteeReaderPDF

The aim of the work reported is to support regional planning tasks by providing co-workers who are situated at different locations with access to a GIS. Five technical challenges for application sharing are identified: multiple views, multi-user access, feedback about other users activities, conference management facilities and sustainable performance. A system is presented which re-uses an existing single-user GIS and encompasses a User Interface Management System (UIMS), knowledge-based techniques and agent support for group-work. This novel approach offers a solution to the technical challenges, while enhancing the usability of such systems.

In the field of human-computer interaction, reports of the involvement of its practitioners in system development projects are rarely available for general scrutiny. The paper draws upon the experience of an HCI team at work within a large collaborative software development project. This experience of four years of HCI practice suggests three key, interdependent, factors that are central to the effectiveness of HCI input. The factors are influence, discretion and time available, and are discussed in the context of other report, of the role of HCI practitioners in the field. A number of issues are identified about the nature and scope of HCI in practice. The experience reported is relevant to software development in general, particularly where there are several groups working, sometimes in different sites, towards a unified outcome.

Proposes a new approach for automatic feature extraction from spectrograms, which is an essential component of acoustic-phonetic analysis in automatic continuous speech recognition. The method comprised four levels: segmentation, pattern classification, feature recognition and labelling, and a post-processor. There were three types of patterns: fuzzy, formant and silence. The extracted features included voice bar, stripes, cut-off and transitions of the first four formants. Some techniques are presented, such as two special distortion functions used in segmentation, and a peak-iterate function to detect the stripes feature. This software has been implemented as part of a speech knowledge interface, which was an expert system for speech analysis for speaker-independent, continuous speech recognition. It has been tested with a set of data chosen from a spectrogram database; the correct detection rate for most features was over 89%, and in some cases was as high as 98%.>

SYNICS2 is a User Interface Management System (UIMS) using the concept of Recursive Transition Networks (RTN) for its control structure. It is used as an intelligence terminal would be, being situated between the computer application program and the end user's interface device. It controls the hardware device and allows the application to be relatively free from hardware dependent coding. The result is that the application interface model can be simplified and allow the user interface to be tailored to a standard so that all applications have a uniform view. Generated graphical output is based on the Graphical Kernel System (GKS). This paper is concerned with the facilities in SYNICS2 for the use of graphical input and output.

Rose has shown in [2] that the following axioms are sufficient, with modus ponens, for m-valued Łukasiewiczian implication.