Is it Time for Computational Creativity to Grow Up and Start being Irresponsible?

A recent definition of computational creativity has em- phasised that computational creativity systems should “take on certain responsibilities” for generating creative behaviour. This paper examines the notion of responsibilities in that definition, and looks at a number of aspects of the creative act and its context that might play a role in that responsibility, with an emphasis on artistic and musical creativity. This problematises the seemingly simple distinction between systems that have responsibilities for creative activity and those which support or provide tools for creativity. The paper con- cludes with a discussion of an alternative approach to the subject, which argues that the responsibility for creative action is typically diffused through a complex human/computer system, and that a “systems thinking” approach to locating computational creativity might ask better questions than one that tries to pin creative responsibility to a particular agent

An Information System Design for Organizational Creativity Support

The aim of this paper is to explore the issue of organizational creativity support and to propose a conceptual framework for the design of an organizational creativity support system. In order to achieve the research goal, the logic of the discourse is as follows. At the start, a critical review of the relevant literature is conducted to identify the issue of computer organizational creativity support. Next, a multi-agent approach is described as a foundation for the design of the organizational creativity support system. Then, a comprehensive framework for the design of information systems to support organizational creativity is proposed. Finally, the idea of organizational creativity support system based on different intelligent agents is discussed. In conclusion, theoretical contributions and practical implications of the study are presented

Creativity Support in a Serious Game for Dementia Care

This paper advocates the use of computer-based serious games as a form of creativity support tool. Whilst the use of serious games has grown considerably in recent years, support for players to think creatively is often implicit in the game, and does not exploit the wide range of creativity techniques and software tools available. This paper makes the case for explicit creativity support in serious games, explores how implicit creativity support can be delivered in game play, and extends one reported model of serious game play with activities in which players deploy different forms of supported creative thinking. The model is then applied to inform 2 versions of a serious game developed to train carers in creativity techniques to deliver more person-centered care to people with dementia. Each version of the game was delivered as a prototype to support playtesting of the game and its effect on carer training

QUANTIFYING THE PERSONAL CREATIVE EXPERIENCE: EVALUATION OF DIGITAL CREATIVITY SUPPORT TOOLS USING SELF-REPORT AND PHYSIOLOGICAL RESPONSES

Creativity is understood intuitively, but it is not easily defined and therefore diffi- cult to measure. This makes it challenging to evaluate the ability of a digital tool to support the creative process. When evaluating creativity support tools (CSTs), it is critical to look beyond traditional time, error, and other productivity measurements that are commonly used in Human-Computer Interaction (HCI) because these mea- sures do not capture all the relevant dimensions of creativity support. Unfortunately, there are no clear measures of success to quantify in regards to creativity support tools, and this lack of ‘convenient’ metrics is a real challenge to their evaluation. In this dissertation, I introduce two computational methodologies for evaluating creativity support tools, including: (1) the Creativity Support Index (CSI), which is a psychometrically developed and validated survey, designed for evaluating the ability of a tool to support the creative process of users, and (2) a novel sensor data approach to measuring ‘in-the-moment-creativity’ (ITMC), to detect moments when users experience high creativity using electroencephalography (EEG), activity metrics (e.g., keyboard/mouse logger and accelerometer data), and machine learning

A Computational Cognitive Model of User Applying Creativity Technique in Creativity Support Systems

AbstractNumerous creativity techniques have been purposed and applied in creativity support system. Because most creativity techniques are used informally and hardly represented formally in computer, it becomes very difficult to build the computational cognitive model of user applying those techniques. However the model is necessary for creativity support systems to detect or predict the change of user's cognitive state in time and make some adaption to avoid inhibiting creativity of user. In this paper we introduce extension creative idea generation method which has the characteristics of formalization and systematization. The method can be represented by extension rules which provide the precondition to build computational cognitive model of user in creativity support systems. The computational cognitive model of user learning in applying extension creative idea generation method is presented through experiments. The experimental results show how and when the user will develop the application skill of creativity technique and inhibit his creativity

Failures of Reward Driven Behavior in Industry: A Case of Systems, Management and Creativity

Creativity is a much needed quality in today’s business and therefore an important research area. Whilst implementing and evaluating computer support for electronic brainstorming, it was noticed that the sheer presence of technology does neither guarantee usage nor success. Factors such as organisational culture and attitudes seem to have an equally important role, and this observation called for a more focused analysis of the motivational aspects of creativity management. Based on the empirical data from the electronic brainstorming system evaluation and literature on the social psychology of creativity, five pieces of managerial advice to promote corporate creativity are presented: reconsider extrinsic rewards; recognise creative initiatives; encourage entrepreneurship; allow redundancy, and; support interest-driven activities

Developing Students’ Creativity through Computer Simulation Based Learning in Quantum Physics Learning

ABSTRACT This study aims to analyses the effect of Phet computer simulation to the students' creativity increasing in Quantum Physics Learning. There were 120 students as the subject in physics education department at the Faculty of Mathematics and Natural Sciences of State University of Makassar. A pre-test and post-test creativity experimental design was used during which students were randomly assigned into either the experimental or the control group. Interview sheet, observation sheet, and questionnaire were used to obtain quantitative data. The results of the research indicate that there are significant differences between the experimental group and the control group in terms of creativity. Interview result shown that student whose was learned by computer simulation based learning believes that it helped them to improve their creativity in term of quantum subject. The students in the experimental group showed that they prefer to use learning tool namely software and it can help lecturer in teaching quantum physics. These findings support the idea that the students majoring at physics education should be trained in the use of computer simulations to improve their creativity. This puts a responsibility of the educational authorities for the procurement of computer simulation software to be used in teaching physics and other science subjects in University. KEYWORDS Students’ Creativity, Quantum Physics Learning, Computer Simulation Based Learning Jurnal International Bereputasi terindeks Scopus, Q3 dengan Nilai Sjr:0,209 International Journal of Environmental and Science Education, Vol. 12, No. 8, Oktober 2017, halaman 349-35

Mixed-Initiative Creative Interfaces

Enabled by artificial intelligence techniques, we are witnessing the rise of a new paradigm of computational creativity support: mixed-initiative creative interfaces put human and computer in a tight interactive loop where each suggests, produces, evaluates, modifies, and selects creative outputs in response to the other. This paradigm could broaden and amplify creative capacity for all, but has so far remained mostly confined to artificial intelligence for game content generation, and faces many unsolved interaction design challenges. This workshop therefore convenes CHI and game researchers to advance mixed-initiative approaches to creativity support

Software Support to Mediate the Effects of Mixed Gender Groups

Today’s complex business environment calls for both collaborative work and creative (novel) thought in organizational operations. This research evaluates small group performance in generating novel ideas with three different types of support: Group Support Systems (GSS) software, Creativity Support Systems (CSS) software, and no computer software support tools. All-female, all-male, and mixed gender groups are compared in these three support settings. A 3 X 3 completely randomized factorial design with repeated measures was used. Consistent with our hypothesis, the results of the study indicate an interaction effect between group support tool and group gender composition. Specifically, this study reveals that same gender groups (both female and male) generate more novel ideas when no computer software support is present. For mixed gender groups, however, computer software support is essential for novel idea generation. Computer software support appeared to mediate the undesirable consequences of group interaction associated with mixed gender groups

Behavioural patterns for the analysis of creative behaviour.

Analysing human creativity has always been a difficult undertaking. The reason for this is the vagueness of the term creativity itself. Philosophers and Researchers have tried to unveil the secrets behind creativity since centuries. Besides some principles e.g. defined by Finke, Ward, and Smith, there is no holistic understanding about term creativity and there will always be discussions between researchers of different disciplines about how creativity is achieved. Current approaches try to understand creativity through studying the creative artifact or the creative human himself. These approaches have not lead to any promising results. Instead of focussing on creativity itself, it is more promising to look at the creative process of creators. Through this, it is possible to analyse what happened during the creation of an artefact. The aim of the analysis is the identification of certain behaviours within the creative process, which lead to very creative results or in opposite hinder creativity. The gained knowledge is used for the creation of patterns, describing this specific behaviour. The analysis of the creative process is not only interesting for artists, but also for engineers, researchers, students and many others. Important target groups for this approach are schools and universities. Being able to early recognise problems in the learning curve of a student will enable a directed support, in order to improve the student's performance. Until now, the main problem for analysing the creative process of a creator is the lack of information on how an artefact was created. Most creators tend not to make many notes during their creative phase, even if there are famous exemptions like Beethoven who left behind a huge amount of notices and marked changes in his work. Hence, the challenge is the development of a powerful framework, which can cope effectively with the recording and presentation of this creative process, in order to enable detailed analyses. Modern computer technology fosters the recording of the creative process of a person. Much of today's creative work is achieved with computers and powerful software applications. Computer networks and the internet enable new ways of collaboration. The creation of a flexible, collaborative tool-set is the ideal approach for the mapping and analysis of the creative process. A novel approach, based on these ideas, was developed by the members of the Creative Technologies Research Programme at the Software Technology Research Laboratory (STRL). The central aim of the approach is the mapping of the human creativity with so-called creativity maps. A creativity map is basically transition system, which allows to store and represent the creative process as well as to hold each version of the artefact. The developed De Montfort Creativity Assistant (DMCA), is a collaborative, web-enabled state-of-the-art software framework, realising the theoretical concepts. This thesis represents a substantial contribution to the research project. The focus of the presented work lies on the analysis and the support of the creative process. Several novel techniques for the analysis of massive data sets have been developed. The presented techniques enable a domain-independent analysis and support of the creative process. This is huge improvement over previous concepts, which are highly specialised and focus on the creative artefact itself. The presented approach required the development of several novel techniques. The major contributions of the presented research are: - Behavioural Patterns Enable the description of constructs inside the creativity map. These constructs represent the creative behaviour of the creator. - Techniques for a Computer-supported Information Extraction A pattern description language enables the computer-supported information extraction from creativity maps. - Knowledge Repository Knowledge, gained through the analysis processes, is stored centrally and shared with other creators in order to stimulate further growing of knowledge. - Concepts for the Analysis and Support of the Creative Process Novel concepts allow the structured analysis and support of the creative process, regardless of the creator's domain. All developed techniques have been implemented in several tools, which aim to enrich the DMCA with the ability of a computer-supported analysis and support of the creative process