Applying Core Interaction Design Principles to Computational Creativity

If we understand computational creativity (CC) as ultimately leading to useful interactive systems, then interaction design (ID) is a relevant body of theory with which to develop and test systems. Yet by engaging with complex and opaque systems, CC appears to break core ID wisdom, which preferences the comprehensibility of the system to users. We discuss core ID principles and ask how we can bring together ID and CC towards a better understanding of interaction in CC, whether in ‘merely’ generative art, human-computer co-creativity or full blown automated creativity. We look at ID issues surrounding creative processes of playful and nonobjective search and consider how a more developed form of ID theory could work in these contexts.

[1]  Linda Candy,et al.  Supporting the creative user: a criteria-based approach to interaction design , 1997 .

[2]  Erin A. Carroll,et al.  Quantifying the personal creative experience: evaluation of digital creativity support tools using self-report and physiological responses , 2013 .

[3]  Kenneth O. Stanley,et al.  Why Greatness Cannot Be Planned , 2015, Springer International Publishing.

[4]  Robert Plotkin.  The Genie in the Machine: How Computer-Automated Inventing Is Revolutionizing Law and Business , 2009 .

[5]  François Pachet,et al.  Non-Conformant Harmonization: the Real Book in the Style of Take 6 , 2014, ICCC.

[6]  S. Brison.  The Intentional Stance , 1989 .

[7]  Y. Rogers,et al.  Interaction Design , 2002 .

[8]  Colin Potts,et al.  Design of Everyday Things , 1988 .

[9]  R. Byrne,et al.  Machiavellian intelligence II : extensions and evaluations , 1997 .

[10]  Craig T. Jin,et al.  A toolkit for designing interactive musical agents , 2011, OZCHI.

[11]  John S. Gero,et al.  Design Prototypes: A Knowledge Representation Schema for Design , 1990, AI Mag..

[12]  C. Lumsden.  Culture and the Evolutionary Process, Robert Boyd, Peter J. Richerson. University of Chicago Press, Chicago & London (1985), viii, +301. Price $29.95 , 1986 .

[13]  D. Perkins.  Creativity: Beyond the Darwinian paradigm , 1994 .

[14]  M. Csíkszentmihályi.  Society, Culture, and Person: A Systems View of Creativity , 2014 .

[15]  A. D. Ritchie.  The Creative Mind , 1946, Nature.

[16]  Jon McCormack,et al.  Generative composition with Nodal , 2007 .

[17]  Usman Haque,et al.  The Architectural Relevance of Gordon Pask , 2007 .

[18]  Oliver Bown,et al.  Empirically Grounding the Evaluation of Creative Systems: Incorporating Interaction Design , 2014, ICCC.

[19]  Todd Lubart,et al.  How can computers be partners in the creative process: Classification and commentary on the Special Issue , 2005, Int. J. Hum. Comput. Stud..

[20]  John S. Gero,et al.  How to study artificial creativity , 2002, Creativity & Cognition.

[21]  Oliver Bown,et al.  Taming nature: tapping the creative potential of ecosystem models in the arts , 2010, Digit. Creativity.

[22]  Nicholas Negroponte,et al.  Soft Architecture Machines , 1976 .

[23]  Simon Colton,et al.  You Can't Know my Mind: A Festival of Computational Creativity , 2014, ICCC.

[24]  Kevin Fiedler,et al.  Grooming Gossip And The Evolution Of Language , 2016 .

[25]  R. Sternberg.  The Nature of creativity : contemporary psychological perspectives , 1988 .

[26]  Ben Shneiderman,et al.  Creativity support tools: accelerating discovery and innovation , 2007, CACM.