- Last 7 days
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dl.acm.org dl.acm.org
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Elizabeth Tunstall
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Bennett
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Suchman
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Turkle and Papert
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Marshall
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Star
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Mackay
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Ron Baecker
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Lucy Suchman
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Jacobs
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Xia
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Klemmer
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John Dewey
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Gibson
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Polanyi
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Sawyer
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Schon
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Wallas
Graham Wallas' work was heavily influenced by many sources, including Aristotle, William James, John Dewey, Wilhelm Wundt, Sigmund Freud, Hermann von Helmholtz, Henri Poincaré; while Wallas' work is no doubt integral, it is important to note the structures of power and privilege that this list embodies.
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Coughlan
Tim Coughlan, University at Bath; work is focused on the design and evaluation of systems that support inclusion, creativity, and openness in learning.
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Gabora
cognitive scientist Lee Gabora's work looks at how culture changes over time, how people come up with new ideas, and how this helps culture change.
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Guilford
Joy Paul Guildford, American Psychologist
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An example result of the creative cognition approach is a cognitive model called Geneplore
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Bacchi
feminist political theory researcher Carol Bacchi is well known for her analytic strategy for policy theory.
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Shneiderman’s design principles for creativity support tools
Ben Shneiderman's work is deeply influential in HCI; his work has assisted in creating strong connections between tech and creativity, especially when applied to fostering innovation.
his 2007 national science foundation funded report on creativity support tools, led by UMD, provides a seminal overview of the definitions of creativity at that time.
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flow
in this context, flow is a psychological state of being completely absorbed in a activity that feels both effortless and challenging.
the full manuscript is dense, yet thoughtful and engaging.
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Csikszentmihalyi’s characterization of creativity as flow
Mihaly Csikszentmihaly's work is deeply influential in psychology, education, and HCI because he discusses how one can achieve higher levels of happiness by engaging in activities they find meaningful.
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Boden’s conception of creativity as “exploration and play”
Margaret Boden, research professor at University of Sussex, has provided pivotal work in the exploration of creativity using interdisciplinary research across music, game, story, physics, and artificial intelligence to explore human creativity in arts, science, and life.
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Therefore, similar to Ribes et al. in their study of domain [113], the epistemic positions we propose aim to provide conceptual tools for reasoning about different styles of organizing creativity-oriented research practices in HCI.
David Ribes' work explores the definition of domain in computing and data science; offers insight into how studying domains helps organize computational systems.
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Harding
the authors cite Sarah Harding, a feminist, antiracist philosopher who pioneered 'standpoint theory' to describe research based on experiences of people who have been excluded from knowledge creation in the past.
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Cherry and Latulipe’s [30] work on the creativity support index (CSI)
CSI allows researchers to understand not just how well a tool supports creative work overall, but what aspects of creativity support may need attention.
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a precise definition will adequately circumscribe creative work, marking out the part(s) of creative process or levels of expertise technology should support
current research looks to define creativity in hopes of understanding what parts of creation (iteration, design, execution) tech should help enhance, as well as which level of skill (beginner, intermediate, etc) tech should be catered towards.
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Identifying this vagueness, Remy et al. [112] point out that creativity can simultaneously refer to the “creativity of the outcome”, “the usability of the tool itself”, or “the productivity of the process [as mediated through] CST”.
creativity can mean different things at the same time.
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While not explicitly delineated, it can be gleaned from their literature review that different notions of creativity serve to encapsulate different epistemological commitments, which in turn influence the researchers’ analytical stance, objects of inquiry, methodological affinities, and design practices.
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As argued by Harding [68], every concept has a “subject” and that subject has a standpoint, or “a perspective involving assumptions and values based on the kinds of activities [the subject] engages in”
the way one sees or understands something depends on their experiences, assumptions, and values;
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Frich et al. [54] for example, discuss the absence of consensus regarding goals for CST, attributing it to insufficiently bounded creativity definitions. Remy et al. [112] also highlight the lack of theoretical grounding in evaluations of CST, which further contributes to the conceptual vagueness around the roles of computing in creative work.
Jonas Frich provides work on the intersection of creativity and HCI; discusses how technology advancements are redefining creative work; Christian Remy provides work on how one uses digital tools to enhance every day activities.
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