Journal articles: 'Creative interface'

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Poustinchi, Ebrahim. "Mixed Robotic Interface Г : Searching for a hybrid cyber-physical design/experience interface using virtual/actual robots." SHS Web of Conferences 64 (2019): 01008. http://dx.doi.org/10.1051/shsconf/20196401008.

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Mixed Robotic Interface is a project-based design-research investigation, studying new ways of creating hybridized cyber-physical design and experience interfaces, at the intersection of robotics—as its core component, and augmented reality, game design, projection mapping, and digital fabrication. Mixed Robotic Interface Г—as part of Mixed Robotic Interface series of research projects, focuses on using “actual” and “virtual” robot arms as a possible creative medium and extensions of design/gaming environment creating immersive atmospheres for “experiencing” design. This research questions the possibilities of creating an architectural/spatial atmosphere through digitally enhanced experiences. Different from some of the current experiments with augmented reality (AR), virtual reality (VR) and projection-mapping in architecture, Mixed Robotic Interface Г is not looking into “immersive” experience as a way to “blur” the boundaries of digital and physical—similar to virtual reality experience with headsets. Instead, Mixed Robotic Interface Г creates a recognizable gap between real and virtual to open up a creative space for the user/audience to be involved between these two mediums. Mixed Robotic Interface Г uses para-fictional storytelling as a way to engage the audience with the experience and to create continues atmospheric qualities.

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Catala, Alejandro, Javier Jaen, Patricia Pons, and Fernando Garcia-Sanjuan. "Towards Creative Smart Learning Environments." International Journal of Creative Interfaces and Computer Graphics 6, no. 1 (January 2015): 56–71. http://dx.doi.org/10.4018/ijcicg.2015010104.

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The creation of artefacts and entities to be used in simulated worlds and games has been used in practice to foster creativity in informal activities. Motivational issues and entertainment have therefore been combined along with creative tasks. The systems with higher complexity and more creative capabilities are usually based on WIMP interfaces, which negatively impact on the role of collaboration and active participation. This paper summarizes the main findings and the authors' experiences in the project CreateWorlds, which relies on an interactive tabletop interface in order to support the creation of 2D games. Finally, the paper discusses some key challenges that will have to be addressed to support creative smart learning environments in the future.

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Farley, Kathryn, Michael Nitsche, Jay Bolter, and Blair MacIntyre. "Augmenting Creative Realities: The Second Life Performance Project." Leonardo 42, no. 1 (February 2009): 96–97. http://dx.doi.org/10.1162/leon.2009.42.1.96.

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This article discusses the development of a new interface that allows for the creation of mixed-reality performances. It details the features of the new technology, charts the ways in which the interface has been used in rehearsal sessions and describes how the technology functions as an innovative tool for creative expression.

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Sørensen, Jannick Kirk. "Exploring Constrained Creative Communication." International Journal of E-Services and Mobile Applications 9, no. 4 (October 2017): 1–23. http://dx.doi.org/10.4018/ijesma.2017100101.

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Creative collaboration via online tools offers a less ‘media rich' exchange of information between participants than face-to-face collaboration. The participants' freedom to communicate is restricted in means of communication, and rectified in terms of possibilities offered in the interface. How do these constraints influence the creative process and the outcome? In order to isolate the communication problem from the interface- and technology problem, we examine via a design game the creative communication on an open-ended task in a highly constrained setting, a design game. Via an experiment the relation between communicative constraints and participants' perception of dialogue and creativity is examined. Four batches of students preparing for forming semester project groups were conducted and documented. Students were asked to create an unspecified object without any exchange of communication except the placement of LEGO™ bricks.

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Michell, Paul C. "Creativity Training: Developing the Agency‐Client Creative Interface." European Journal of Marketing 21, no. 7 (July 1987): 44–56. http://dx.doi.org/10.1108/eum0000000004706.

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Halina, Emily, and Matthew Guzdial. "A Demonstration of KiaiTime: A Mixed-Initiative PCGML Rhythm Game Editor." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 17, no. 1 (October 4, 2021): 240–42. http://dx.doi.org/10.1609/aiide.v17i1.18916.

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Chart creation for rhythm action games is a time consuming task that requires specialized design knowledge. While chart generation systems have been explored in the past, there are currently no co-creative chart authoring systems. In this paper, we present KiaiTime, a mixed-initiative, co-creative PCGML editor for the rhythm game Taiko no Tatsujin. KiaiTime allows the user to interface with an AI partner that acts as a source of guidance and inspiration in the chart creation process.

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Wang, Yani, and Yuqiang Dong. "AIGC Assisted Generation Craft Based on Dialogue Interface." Highlights in Science, Engineering and Technology 57 (July 11, 2023): 242–46. http://dx.doi.org/10.54097/hset.v57i.10008.

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Design requires a new model to help creators continuously generate, iterate, and evaluate ideas, i.e. process reengineering based on the raw materials of generated content, as AIGC becomes increasingly involved in the creative generation of digital content. This paper derives the human-machine collaborative process of AIGC assisted generation based on dialogue interface from the entire process of creating the prototype of usable dialogue interface generated by AIGC and creates a global reference for AI-assisted tool interface design based on particularity.

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Lubart, Todd, Dario Esposito, Alla Gubenko, and Claude Houssemand. "Creativity in Humans, Robots, Humbots." Creativity. Theories – Research - Applications 8, no. 1 (June 1, 2021): 23–37. http://dx.doi.org/10.2478/ctra-2021-0003.

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Abstract This paper examines three ways that robots can interface with creativity. In particular, social robots which are designed to interact with humans are examined. In the first mode, human creativity can be supported by social robots. In a second mode, social robots can be creative agents and humans serve to support robot’s productions. In the third and final mode, there is complementary action in creative work, which may be collaborative co-creation or a division of labor in creative projects. Illustrative examples are provided and key issues for further discussion are raised.

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Shaoqiang Chen. "Genetic Algorithm Based on Operator Optimization in Illustration Art Design." Journal of Electrical Systems 20, no. 6s (April 29, 2024): 337–42. http://dx.doi.org/10.52783/jes.2647.

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The current research explores the use of Genetic Algorithm (GA) Based on Operator Optimization in graphic art design, to improve the creative process using computational methods. By improving genetic operators such as crossover and mutation, the technique streamlines the creation of visually appealing artwork, allowing artists to efficiently express their distinctive vision. Through testing and research, the study reveals the effectiveness of this strategy in automating repetitive processes, exploring new creative pathways, and creating audience-resonant artwork. The combination of computational intelligence and creative intuition improves efficiency while also encouraging creativity and experimentation in the realm of graphic art design. The work sheds light on the revolutionary potential of Genetic algorithms (GA) based on Operator Optimization, highlighting areas for future research and development at the interface of technology and artistic effort. The results indicate that a better genetic algorithm (GA) provides efficacy and optimizes the operator in art design using a genetic algorithm.

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Aufderheide, Patricia. "Understanding the industry/state interface in creative industries studies." Media International Australia 182, no. 1 (October 7, 2021): 28–34. http://dx.doi.org/10.1177/1329878x211043904.

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It is time to transcend the cultural studies vs. media industries debate in media industries studies. To take advantage of the exemplary focus on real-world behavior of media industries that Stuart Cunningham brought to the field, scholars need to articulate the normative values informing their media industries research. This is necessary in order to preserve academics’ intellectual autonomy, and to maintain scholarly rigor.

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Chang, Tsen Yao. "Creative Drawings as Intuitive Probes for Evaluating Interface Preferences." Applied Mechanics and Materials 311 (February 2013): 360–65. http://dx.doi.org/10.4028/www.scientific.net/amm.311.360.

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Achieving a balance between visual aesthetics and usability to enhance user experience has enjoyed an increasing popularity in Web design. This study combines creative drawings as intuitive probes to investigate users’ emotional reactions and needs. The basic purpose of these creative exercises is to inspire design researchers and practitioners into applying a strategy in practicable design research to probe real user experiences and create an enjoyable and effective user environment. Emotional engagement with design is vital in design research. Unfortunately, laboratory usability tests often involve complex technical and mechanical tools that discourage user participation, thus limiting the opportunity to receive feedback. The research exercise in this study includes a series of intuitive practices that engaged the participants as target users to sketch an imagined garden layout, a library landscape layout, and a personal home page. We hypothesized from their drawings that a connection exists among the users’ sketches, Web interface preferences, and a classification of personality types. Significant results were obtained: (1) Creative drawing is an effective tool in understanding the personality of a user; (2) Three graphic practices establish emotional connections with the users’ Web interface preferences and product design; and (3) User personality categorization reveals preferences in Web interface and product design. This study focused on the effect of visual aesthetics and user-friendly methods on usability assessments in response to the increasing emotional conciliation of human-computer interaction design. These findings are beneficial in keeping abreast with the developments in design creativity and the qualitative contributions of design inspiration.

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Nyström, Harry. "The Dynamic Marketing–Entrepreneurship Interface: A Creative Management Approach." Creativity and Innovation Management 7, no. 3 (September 1998): 122–25. http://dx.doi.org/10.1111/1467-8691.00099.

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Hall, Jennifer. "Creative orientations for interface design at Do While Studio." Interactions 2, no. 4 (October 1995): 31–35. http://dx.doi.org/10.1145/225362.225367.

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Rovetta, Davide, and Davide Rovetta. "Creative or Artificial, That’s the Question!" Global Trade and Customs Journal 5, Issue 2 (February 1, 2010): 71–78. http://dx.doi.org/10.54648/gtcj2010007.

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This article will show how the interface between trade and customs law can play a pivotal role for the everyday life of economic operators. This is done starting by an individual case and extending the research to the protection of Union financial interests and the general principle of abuse of rights in Community law.

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Frieß, Marc René, Georg Groh, Michael Reinhardt, Florian Forster, and Johann Schlichter. "Context-Aware Creativity Support for Corporate Open Innovation." International Journal of Knowledge-Based Organizations 2, no. 1 (January 2012): 38–55. http://dx.doi.org/10.4018/ijkbo.2012010103.

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This article discusses how creativity in corporate Open Innovation processes can be supported by IT, especially regarding the situative long- and short-term social context of users. Therefore, the authors first define and formalize a model for creative processes. From evidence gained through qualitative interviews with managers from companies of the German ITC sector, they derive insights on creative situations and contexts as well as the current state of IT support for creativity in these companies. On the basis of these insights and guided by the design science methodology, the paper shows the development of a social-software based creativity support system and infrastructure. Furthermore, the authors discuss how appropriate IT tools can incorporate situative and social contexts for creativity support. Examples are a tabletop-based interface for co-located creativity and a web-based, mobile-enabled interface for distributed creativity. As a partial evaluation of the ideas, the article concludes with an experimental comparison of different interfaces to a non-IT scenario.

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Kreminski, Max, Melanie Dickinson, Noah Wardrip-Fruin, and Michael Mateas. "Loose Ends: A Mixed-Initiative Creative Interface for Playful Storytelling." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 18, no. 1 (October 11, 2022): 120–28. http://dx.doi.org/10.1609/aiide.v18i1.21955.

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We present Loose Ends, a mixed-initiative co-creative storytelling play experience in which a human player and an AI system work together to compose a story. Loose Ends specifically aims to provide computational support for managing multiple parallel plot threads and bringing these threads to satisfying conclusions—something that has proven difficult in past attempts to facilitate playful mixed-initiative storytelling. We describe the overall human-AI interaction loop in Loose Ends, including the implementation of the rules-based AI system that enables this interaction loop; discuss four examples of desirable mixed-initiative interactions that are possible in Loose Ends, but not in similar systems; and present results from a preliminary expert evaluation of Loose Ends. Altogether, we find that Loose Ends shows promise for creating a sense of coauthorship in the player while also mitigating the directionlessness reported by players of earlier systems.

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Ikonomov, Nikola, Boyan Simeonov, Jana Parvanova, and Vladimir Alexiev. "Europeana Creative. EDM Endpoint. Custom Views." Digital Presentation and Preservation of Cultural and Scientific Heritage 3 (September 30, 2013): 35–43. http://dx.doi.org/10.55630/dipp.2013.3.3.

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The paper discusses the Europeana Creative project which aims to facilitate re-use of cultural heritage metadata and content by the creative industries. The paper focuses on the contribution of Ontotext to the project activities. The Europeana Data Model (EDM) is further discussed as a new proposal for structuring the data that Europeana will ingest, manage and publish. The advantages of using EDM instead of the current ESE metadata set are highlighted. Finally, Ontotext’s EDM Endpoint is presented, based on OWLIM semantic r epository and SPARQL query language. A user-friendly RDF view is presented in order to illustrate the possibilities of Forest - an extensible modular user interface framework for creating linked data and semantic web applications.

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WANG, XIAOTONG, MING-XI TANG, and JOHN FRAZER. "Creative stimulator: An interface to enhance creativity in pattern design." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 15, no. 5 (November 2001): 433–40. http://dx.doi.org/10.1017/s089006040115506x.

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Creative Stimulator (CreaStim) is an intelligent interface for pattern design that behaves as a semiactive partner to human designers rather than as a passive graphical or computational tool. By making adjustments to psychological differentials and/or design parameters, CreaStim is able to help designers to explore innovative pattern designs and to get inspiration, producing different types of novel designs. In this article, the mechanism, the technique, the implementation, and the testing of CreaStim are described. The basic principle of CreaStim is the catastrophe theory, which implies that sudden realization in the thinking process of design may lead to creativity. CreaStim tries to stimulate and/or impact designers' creativity in design process using the output of it, rather than to simulate the sudden realization. The core of the CreaStim is a neural network-based imagining engine, a data repository, and its learning strategies considering psychological factors. The psychological factors, which are thought one of the key influences to creative design, are based on the questionnaires completed by designers about the existing successful designs. The repository contains not only a traditional database storing functional attributes, economic attributes, graphic description, structural description, and psychological attributes, but also methods, rule-based knowledge, and pattern-type knowledge. And it is managed by an application program called Design Template Group (DTG) manager. Trained with 12 pieces of successful pattern designs and 528 pieces of pseudo-examples produced and evaluated by the authors, CreaStim is implemented for a PC and an evaluation poll from five designers shows that designers may most likely get some inspiration from the produced patterns and some of them can even be adopted as the design alternatives directly.

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Tubb, Robert, and Simon Dixon. "A Zoomable Mapping of a Musical Parameter Space Using Hilbert Curves." Computer Music Journal 38, no. 3 (September 2014): 23–33. http://dx.doi.org/10.1162/comj_a_00254.

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This article presents an interface for navigating a musical parameter space. The entire combinatorial space of a ten-parameter synthesizer is laid out as a two-dimensional surface on a multi-touch screen. The surface can be scrolled and zoomed using touch-screen swipe and pinch gestures, reminiscent of a map application. The user can place markers on the surface to flag favorites and to explore regions of different sizes around these points. The mapping from the two-dimensional surface to the higher-dimensional parameter space uses a space-filling curve. Hilbert curves constructed from Gray codes with long bit runs can be used to preserve locality as much as is possible, while still maintaining access to all possibilities. A user study was performed to compare this parameter mapping with a more traditional one-slider-per-parameter interface. Questionnaire responses indicate that different mapping strategies suit different stages of the creative process. The combination of the two interfaces was deemed more useful than either individually, reinforcing the notion that a combination of divergent and convergent processes is important for creative tasks.

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Gong, Haomin. "The Chinese Character as an Interface for Artistic Creation: Re-Cognition of Graphics and Phonetics." Comparative Literature Studies 60, no. 4 (November 2023): 621–46. http://dx.doi.org/10.5325/complitstudies.60.4.0621.

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ABSTRACT This article examines two modern artistic explorations of the Chinese character. It takes Xu Bing’s Square Word Calligraphy and Jonathan Stalling’s Sinophonic English Poetry as examples and investigate how contemporary art reimagines and reconstructs the “potential” of Chinese characters and what ideological and political implications these processes may have for transcultural communication in today’s world. Situating the production of both works in Xu’s and Stalling’s respective creative experiences and larger sociocultural conditions, this article shows how both works, which deploy the graphics and the phonetics of the Chinese character as interfaces, engage in the politics of transcultural art creation and communication, and achieve their generative effects. Through this investigation, it hopes to illuminate the critical power of the Chinese character used as an interface in challenging linguistic, ideological, and cultural “norms” and questioning racial, national, and political prejudice.

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Wibowo, Bambang Setia. "PENGARUH WEBSITE INTERFACE FEATURES, BRAND AMBASSADOR DAN CREATIVE ADVERTISING TERHADAP ADVERTISING EFFECTIVENESS SERTA DAMPAKNYA TERHADAP ONLINE SHOPPING INTENTION." MODUS 28, no. 2 (December 21, 2016): 169. http://dx.doi.org/10.24002/modus.v28i2.849.

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This study examined the influence of brand ambassador reputation, websiteinterface features and creative advertising to advertising effectiveness and its impact toonline shopping intention. This study is the integration of previous studies to determinethe effect of simultaneous between variables and the variable advertising effectiveness asa mediating variable in the influence of brand ambassador reputation, website interfacefeatures and creative advertising to online shopping intention. Respondents of this studywere 115 university students who have ever seen e-commerce advertisements on electronicmedia participated in this reseach. There are several findings in this study. First, brandambassador reputation has positive effect to advertising effectiveness. Second, website interface features has positive influence to the advertising effectiveness. Third, creativeadvertising has positive effect to advertising effectiveness. Fourth, advertising effectivenesshas positive effect on online shopping intention. Fifth, advertising effectiveness perfectlymediate the effect of brand ambassador reputation, website interface features and creativeadvertising to the online shopping intention.Keywords : brand ambassador reputation, website interface features, creative advertising,advertising effectiveness, online shopping intention

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Berndt, Axel, Nadia Al-Kassab, and Raimund Dachselt. "The Sonic Affordances of a System for Multitouch Manipulation of Stereophonic Noise Spectra." Computer Music Journal 41, no. 4 (January 2018): 32–44. http://dx.doi.org/10.1162/comj_a_00438.

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TouchNoise is a multitouch interface for creative work with noise. It allows direct and indirect manipulation of sound particles, which are added together in a panning and frequency space. Based on the mechanics of a multiagent system and flocking algorithms, novel possibilities for the creation and modulation of noise and harmonic spectra are supported. TouchNoise underwent extensive revisions and extensions throughout a three-year, iterative development process. This article provides a comprehensive overview of the final TouchNoise concept and its approach to mapping and interaction, from which a variety of unique sonic capabilities derives. This article is based on our experiences with a fully functional prototype implementation, and focuses on the systematic exploration and discussion of these new sonic capabilities and corresponding playing techniques, which differ strongly from traditional synthesis interfaces.

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Dodds, Colin, and Ahmed Kharrufa. "Show-and-Tell: An Interface for Delivering Rich Feedback upon Creative Media Artefacts." Multimodal Technologies and Interaction 8, no. 3 (March 14, 2024): 23. http://dx.doi.org/10.3390/mti8030023.

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In this paper, we explore an approach to feedback which could allow those learning creative digital media practices in remote and asynchronous environments to receive rich, multi-modal, and interactive feedback upon their creative artefacts. We propose the show-and-tell feedback interface which couples graphical user interface changes (the show) to a text-based explanations (the tell). We describe the rationale behind the design and offer a tentative set of design criteria. We report the implementation and deployment into a real-world educational setting using a prototype interface developed to allow either traditional text-only feedback or our proposed show-and tell feedback across four sessions. The prototype was used to provide formative feedback upon music students’ coursework resulting in a total of 103 pieces of feedback. Thematic analysis was used to analyse the data obtained through interviews and focus groups with both educators and students (i.e., feedback givers and receivers). Recipients considered show-and-tell feedback to possess greater clarity and detail in comparison with the single modality text-only feedback they are used to receiving. We also report interesting emergent issues around control and artistic vision, and we discuss how these issues could be mitigated in future iterations of the interface.

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Sandercock, Leonie. "Interface: A New Spin on the Creative City: Artist/Planner Collaborations." Planning Theory & Practice 6, no. 1 (March 2005): 101–3. http://dx.doi.org/10.1080/1464935042000334985.

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Guzdial, Matthew, Jonathan Chen, Shao-Yu Chen, and Mark Riedl. "A General Level Design Editor for Co-Creative Level Design." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 13, no. 2 (June 25, 2021): 81–83. http://dx.doi.org/10.1609/aiide.v13i2.12980.

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In this paper we describe a level design editor designed as an interface to allow different AI agents to creatively collaborate on level design problems with human designers. We intend to investigate the comparative impacts of different AI techniques on user experience in this context.

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Domínguez-Lloria, Sara, Rut Martínez López de Castro, Sara Fernández-Aguayo, and Margarita Pino-Juste. "Content Analysis of Mobile Device Applications for Artistic Creation for Children between 4 and 12 Years of Age." Applied Sciences 11, no. 23 (November 30, 2021): 11327. http://dx.doi.org/10.3390/app112311327.

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This article presents the results of the content analysis of 32 painting and drawing mobile applications aimed at children between 4 and 12 years old. The characteristics of the artistic dimension were studied, such as the possibilities of drawing, color, and experimentation, as well as the characteristics of the technical dimension related to the visual design of the interface, usability, and adaptability to users. The results collected show that mobile apps offer tools that have great potential for artistic and creative development, but also reveal certain limitations and problems in the quality of the graphic tools and interface design. One of the central problems of the interfaces of these apps is related to decontextualization and the lack of attention to the diversity and the heterogeneity of users in that age group.

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Lin, Zhiyu, Rohan Agarwal, and Mark Riedl. "Creative Wand: A System to Study Effects of Communications in Co-creative Settings." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 18, no. 1 (October 11, 2022): 45–52. http://dx.doi.org/10.1609/aiide.v18i1.21946.

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Recent neural generation systems have demonstrated the potential for procedurally generating game content, images, stories, and more. However, most neural generation algorithms are “uncontrolled” in the sense that the user has little say in creative decisions beyond the initial prompt specification. Co-creative, mixed-initiative systems require user-centric means of influencing the algorithm, especially when users are unlikely to have machine learning expertise. The key to co-creative systems is the ability to communicate ideas and intent from the user to the agent, as well as from the agent to the user. Key questions in co-creative AI include: How can users express their creative intentions? How can creative AI systems communicate their beliefs, explain their moves, or instruct users to act on their behalf? When should creative AI systems take initiative? The answer to such questions and more will enable us to develop better co-creative systems that make humans more capable of expressing their creative intents. We introduce CREATIVE-WAND, a customizable framework for investigating co-creative mixed-initiative generation. CREATIVE-WAND enables plug-and-play injection of generative models and human-agent communication channels into a chat-based interface. It provides a number of dimensions along which an AI generator and humans can communicate during the co-creative process. We illustrate the CREATIVE-WAND framework by using it to study one dimension of co-creative communication—global versus local creative intent specification by the user—in the context of storytelling.

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Berthelsen, Chris. "Distributed Resource Centre: A Soft Infrastructure for Neighbourhood Creativity." Asylum 1 (November 22, 2023): 3–12. http://dx.doi.org/10.34074/aslm.2023102.

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This article presents the Distributed Resource Centre as a soft, low-cost, generative, and fun decentralised infrastructure for neighbourhood creativity. The article defines the concept (as flow vs stock), outlines some broad benefits (increased interfaces and resource availability, fostering of creative capability, and cost reductions), discusses the pilot and development projects which were involved in the development of the concept, and presents tentative findings for further exploration and discussion (making friends, porous, asynchronous and uncertain activity, neighbourhood = resource centre, berm = interface, multidimensional art centre). The submission ends with a coda and an invitation.

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Yasmine, Hasna Tania, and Wahyu Tisno Atmojo. "UI/UX Design for Tourism Village Website Using the User Centered Design Method." TIERS Information Technology Journal 3, no. 2 (December 25, 2022): 100–114. http://dx.doi.org/10.38043/tiers.v3i2.3871.

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The importance of creative and innovative technology applies to any sector of industry. Technology offers a lot to improve performance in general. In the tourism sector, creative and innovative technology affects how the welfare of the community and businesses increase significantly. The use of technology can create exposure to enhance, and gain the interest of many people to the tourism itself. Developing a website or mobile based application is a way to be creative and innovative about the solution to increase the number of tourist visits. In addition to reaching the expected number of tourist visits, the application needs to be both effective and efficient in obtaining the up-to-date information regarding the destination. In this study, the User Centered Design method is used to obtain descriptive information to be used as a User Interface and User Experience design guidelines, also the User Experience Questionnaire method to assess the evaluated User Interface and User Experience outputs. One descriptive questionnaire is used as the implementation of User Centered Design, and the two User Experience Questionnaires afterward are used to assess User Interface and User Experience. The second design is appointed to be the final design of User Interface and User Experience based on the end comparison result of User Experience Questionnaire. These design methods produce a more effective output because the process involves direct evaluation from users in order to fulfill the needs and demands more precisely without overdoing the process.

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Wood, Christopher, Alasdair King, Ruth Catlow, and Brett Scott. "Terminal value: Building the alternative Bloomberg." Finance and Society 2, no. 2 (December 19, 2016): 138–50. http://dx.doi.org/10.2218/finsoc.v2i2.1727.

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In this essay we propose a reframing of the Bloomberg Terminal, an interface used to track financial trades and values, by using it as a creative, critical and curatorial device to explore the relationship between the art and finance. To contextualise this approach, we offer a history of the Bloomberg Terminal alongside an analysis of the power of interfaces to shape both the user and the represented information. We use the terminal as a way to critique the relationship between art acquisition and financial trading companies. We then describe some outcomes of a series of workshops themed around the idea of ‘building an alternative Bloomberg’. We conclude by offering some potential applications of a re-framed Bloomberg Terminal as an open and modular interface for engaging with issues around art and finance, both in terms of content and curation.

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Fillis, Ian. "Being Creative at the Marketing/Entrepreneurship Interface: Lessons from the Art Industry." Journal of Research in Marketing and Entrepreneurship 2, no. 2 (July 2000): 125–37. http://dx.doi.org/10.1108/14715200080001543.

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Graham, Rylan. "Calgary and the 'creative class': The interface between public policy and gentrification." City, Culture and Society 32 (March 2023): 100489. http://dx.doi.org/10.1016/j.ccs.2022.100489.

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Conklin, Darrell, Martin Gasser, and Stefan Oertl. "Creative Chord Sequence Generation for Electronic Dance Music." Applied Sciences 8, no. 9 (September 19, 2018): 1704. http://dx.doi.org/10.3390/app8091704.

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This paper describes the theory and implementation of a digital audio workstation plug-in for chord sequence generation. The plug-in is intended to encourage and inspire a composer of electronic dance music to explore loops through chord sequence pattern definition, position locking and generation into unlocked positions. A basic cyclic first-order statistical model is extended with latent diatonicity variables which permits sequences to depart from a specified key. Degrees of diatonicity of generated sequences can be explored and parameters for voicing the sequences can be manipulated. Feedback on the concepts, interface, and usability was given by a small focus group of musicians and music producers.

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Lee, Young S. "Creative workplace characteristics and innovative start-up companies." Facilities 34, no. 7/8 (May 3, 2016): 413–32. http://dx.doi.org/10.1108/f-06-2014-0054.

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Purpose This study aims to investigate the characteristics of the physical work environment that are known and used in practice to promote creativity for innovative start-up workplaces. The first part of the study identified these characteristics from a content and visual analysis, and examined the current state of implementation of these characteristics in the work environments of innovative start-up companies. The second part of the study examined criticalness and practicality of these characteristics in the workplace with a group of experts in the workplace design, evaluation and management. Design/methodology/approach A content and visual analysis for written and visual images was conducted to identify a comprehensive list of characteristics of the physical work environment critical to creativity of the workplace. With the seven characteristics identified, an instrument was developed and interviews were conducted to assess the physical work environments of 22 innovative start-up companies in Michigan. Following up the interviews, an expert group was formed with 26 professionals including architects, interior designers, facility managers and CEOs. A survey was conducted with them to understand the significance and implementation issues among the seven characteristics. Findings The most frequently incorporated characteristics in the innovative start-up companies in Michigan were spaces for idea generation, technology interface for collaboration and spaces for a short mental break or social hangout. The three most important physical work environmental characteristics for companies to produce creative, innovative ideas and products/services for growth and market competitiveness were balanced layout, technology interface for collaboration and spaces for idea generation. Originality/value The study provides a comprehensive framework to evaluate creative workplace regarding the physical environment. It also offers insights on the work environments of the innovative start-up companies for increased creativity and innovation performance in the workplace.

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Wienroth, Matthias, and Pippa Goldschmidt. "Facilitating Creative Equality in Art-Science: A Methodological Experiment." Leonardo 50, no. 1 (February 2017): 42–46. http://dx.doi.org/10.1162/leon_a_01058.

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In this article the authors discuss facilitation as a way to develop creative equality in art-science based on their experiences working on an art-science project. They suggest that the space in which representatives from the domains of sciences and arts come together to collaborate is a trading zone in which novel links and relationships can be created. They introduce the notion of “boundary method” to describe facilitation as a method that can endure different meaning-making strategies and meanings employed by stakeholders yet still retain its utility for encouraging creativity at a cross-disciplinary interface rather than within a dominant discipline.

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Kępińska, Agata, and Rafał Wiśniewski. "Metaverse and its creative potential for visual arts." Acta Universitatis Lodziensis. Folia Sociologica, no. 85 (July 10, 2023): 57–75. http://dx.doi.org/10.18778/0208-600x.85.04.

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The National Centre for Culture is conducting a foresight research project on the impact of emerging technologies on the arts. The article presents the first findings brought by the analysis of opportunities created by the development of virtual spaces accessible to artists and the public – which are expected to create the Metaverse and promote a new form of ownership, NFT. The text is dedicated to the potential of new tools and media – the positive side of the interface between modern technologies and art. The article offers definitions of the Metaverse, NFT and digital art. Apparently, these elements of social (and technological) reality not only overlap, but also complement each other. The text attempts to answer the question of what potential the next phase of digital transformation brings for visual artists.

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Maçãs, Catarina, Ana Rodrigues, Gilberto Bernardes, and Penousal Machado. "MixMash." International Journal of Art, Culture and Design Technologies 8, no. 2 (July 2019): 20–40. http://dx.doi.org/10.4018/ijacdt.2019070102.

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This article presents MixMash, an interactive tool which streamlines the process of music mashup creation by assisting users in the process of finding compatible music from a large collection of audio tracks. It extends the harmonic mixing method by Bernardes, Davies and Guedes with novel degrees of harmonic, rhythmic, spectral, and timbral similarity metrics. Furthermore, it revises and improves some interface design limitations identified in the former model software implementation. A new user interface design based on cross-modal associations between musical content analysis and information visualisation is presented. In this graphic model, all tracks are represented as nodes where distances and edge connections display their harmonic compatibility as a result of a force-directed graph. Besides, a visual language is defined to enhance the tool's usability and foster creative endeavour in the search of meaningful music mashups.

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Felgendreher, Daniel. "Soft, Sexy, Fantastic. Inflating public space." Journal of Public Space, Vol. 3 n. 2 | 2018 | FULL ISSUE (August 31, 2018): 41–74. http://dx.doi.org/10.32891/jps.v3i2.1109.

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Plastique Fantastique has been operating as a platform for temporary architecture at the interface between art, architecture and urban practice since its founding 1999 in Berlin. Influenced by the unique cultural and spatial conditions that made Berlin a laboratory for testing new ways of acting in public space at the time, the studio has specialised in creating immersive, pneumatic installations made of plastic film as mutant, low energy architectures for ephemeral activities. With their temporary urban interventions they intend to involve citizens in creative processes provoking them to activate, and enjoy public space.

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Susanto, Eko Heri, Ahmad Faisal Rizal, and I. Putu Indra Wijaya Suwina. "IMPROVING EXAMPLE-PROBLEM-BASED-LEARNING (EPBL) WITH GROW COACHING MODEL AND DESIGN SPRINT TO OPTIMIZE PRE-INCUBATION CURRICULUM: CASE STUDY OF USER INTERFACE DESIGN." TEKNOKOM 6, no. 2 (July 8, 2023): 69–77. http://dx.doi.org/10.31943/teknokom.v6i2.139.

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Learning to develop user interfaces is one of the subject matter in startup business pre-incubation activities in PT. Tunas Inkubator Creative Startup. The Example-Problem Based Learning (EPBL) learning method is proven to be able to improve students' cognitive abilities (hard skills). However, hard skill competence alone is not enough to measure one's ability. This research aims to improve the hard skill competencies, as well as the soft skills of the tenants. The contribution to this research is that researchers apply the GROW coaching model method to measure tenant motivation and insert design sprints into the Example-Problem-Based Learning method. Where the function of the design sprint is to improve the attitude of cooperation between teams. The improvisation of learning methods in this study aims to measure students' speed in mastering user interface design subjects. From the trial results it is known that tenants can complete the user interface design within 2 weeks.

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Petty, Sheila, and Luigi Benedicenti. "Interpretive Strategies for Screen-Based Creative Technologies." International Journal of Information System Modeling and Design 7, no. 1 (January 2016): 32–48. http://dx.doi.org/10.4018/ijismd.2016010103.

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This paper brings together the disciplines of media and creative technologies studies and software systems engineering; it focuses on the challenge of finding methodologies to measure, test and decode meaning in digital cultural objects. Just as rough set theory is a mathematical tool to deal with vagueness and uncertainty in artificial intelligence, and approximation accuracy and knowledge granularity are approaches to uncertainty research, the authors argue that découpage analytique is a possible method for decoding screen-based information. They draw on a variety of examples: interactive online digital art projects; an interactive, immersive screen-based art installation; re-mediated digital art installation; expanded cinema; a videogame; and a medical interface example, in order to determine if it is possible to map interpretive strategies that include a blending of old and new criteria, but ultimately promoting an equal partnership between artist and audience, and thus, a community of co-creators. Additionally, the authors present experimental evidence on the difference introduced by the screen size to further qualify the effectiveness of découpage analytique in relation to the amount of screen real estate afforded.

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Varela, Miguel Escobar. "Hacking and Rehearsing: Experiments in Creative Tinkering." New Theatre Quarterly 32, no. 1 (January 7, 2016): 68–77. http://dx.doi.org/10.1017/s0266464x15000871.

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Hacking – improving software through a process of trial and error – is a mode of rehearsal. Such is the claim made by Miguel Escobar Varela in this article, which he furthers by exploring the similarities between the ways theatre makers and software programmers speak about their crafts. Understanding software programming as an essentially creative process should be of interest for theatre scholars, who are constantly searching for modes of academic discourse that are sensitive to the specificity of theatre. By offering examples from interface design for the study of Javanese theatre, Escobar argues that creating software, through an iterative process of trial and error, can become part of the methodological palette of theatre scholars. Miguel Escobar Varela is Assistant Professor of Theatre Studies at the National University of Singapore, and has worked as a theatre researcher, computer programmer and translator in Mexico, the Netherlands, Indonesia, and Singapore. His articles on the intersection of digital technology and theatre studies have been published in Digital Scholarship in the Humanities, Asian Theatre Journal, Performance Research, Contemporary Theatre Review and are forthcoming in TDR and Theatre Research International.

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Wang, Z., W. P. He, D. H. Zhang, H. M. Cai, and S. H. Yu. "Creative design research of product appearance based on human–machine interaction and interface." Journal of Materials Processing Technology 129, no. 1-3 (October 2002): 545–50. http://dx.doi.org/10.1016/s0924-0136(02)00631-3.

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Erren, Thomas C. "On gestation periods of creative work: An interface of Doig’s art and science." Medical Hypotheses 74, no. 1 (January 2010): 4–6. http://dx.doi.org/10.1016/j.mehy.2009.09.037.

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Riveline, Daniel, and Karsten Kruse. "Interface between Physics and Biology: Training a New Generation of Creative Bilingual Scientists." Trends in Cell Biology 27, no. 8 (August 2017): 541–43. http://dx.doi.org/10.1016/j.tcb.2017.05.002.

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Schieman, Scott, and Marisa Young. "The demands of creative work: Implications for stress in the work–family interface." Social Science Research 39, no. 2 (March 2010): 246–59. http://dx.doi.org/10.1016/j.ssresearch.2009.05.008.

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Ugorji, Michael Odichi-Dan, and Lincoln Geraghty. "Audience involvement in creative media for development: Making sense of the semiotic interface." Cogent Arts & Humanities 4, no. 1 (January 1, 2017): 1284374. http://dx.doi.org/10.1080/23311983.2017.1284374.

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Krogmeier, Claudia, Esteban García Bravo, and Christos Mousas. "Using Experimental Filmmaking to Create an Engaging Brain-Computer Interface." Proceedings of the ACM on Computer Graphics and Interactive Techniques 6, no. 2 (August 12, 2023): 1–10. http://dx.doi.org/10.1145/3597624.

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Inspired by storytelling ideas in surrealist creative productions and experimental films, we created a brain-computer interface (BCI) designed to offer users an exercise of the imagination. While many previous BCIs have used simple visual interfaces, we wanted to understand if an open-ended, story-based BCI experience could be helpful for allowing users to effectively interact with the story using their brain activity. We employed experimental storytelling techniques to prompt users to explore new thought patterns and ideas for changing brain activity. In our BCI, users were able to change the color of the main character in the story using their thoughts. We found that many users were able to change brain activity and enjoyed the BCI experience, while others were primarily frustrated. Based on our results, we offer ideas for future contributions to the development of engaging, story-based BCI applications.

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Cardoso, Mab. "A dança como interface: um exemplo de práticas criativas em dança com mediação tecnológica." Repertório, no. 28 (December 5, 2017): 313. http://dx.doi.org/10.9771/r.v0i28.25013.

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Resumo: Este artigo tem como ponto de partida investigar as práticas criativas no campo da dança com mediação tecnológica e suas imbricações com conceitos da performance. Consciente das potencialidades deste campo emergente e híbrido, este estudo é baseado na observação de algumas práticas artísticas e tem como objetivo refletir acerca do corpo como interface, bem como seus potenciais criativos no campo da arte e tecnologia. Palavras-chave: Dança. Interface. Tecnologia. Performance. Mídia. DANCE AS INTERFACE: AN EXAMPLE OF CREATIVE PRACTICES IN DANCE AND TECHNOLOGICAL MEDIATIONAbstract: The starting point of this article is the investigation of creative practices in the field of dance with technological mediation and its imbrications with the concepts of performance. Aware of its potencialities as a hybrid field, this study is based on the observation of some artistic practices. It aims to reflect on the body as an interface, as well its creative potencial in the field of art and technology.Keywords:Dance. Interface. Tecnology. Performance. Media.

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Schenk, Kevin, Adel Lari, Matthew Church, Eric Graves, Jason Duncan, Robin Miller, Neesha Desai, et al. "ScriptEase II: Platform Independent Story Creation Using High-Level Patterns." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, no. 1 (June 30, 2021): 170–76. http://dx.doi.org/10.1609/aiide.v9i1.12672.

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As the video game industry grows, both developers and creative authors seek new ways to simplify the process of controlling story content using scripts. This paper describes a story model and its software implementation, ScriptEase II, designed to solve this game design bottleneck. ScriptEase II is the second generation of the ScriptEase system, whose goal was to enable game authors with no programming ability to generate scripting code from high-level game patterns. ScriptEase II differs from the original in two important ways. First, ScriptEase II uses game-dependent translators to generate scripts for any game engine. Second, ScriptEase II uses a drag-and-drop interface that simplifies the story component creation menus that grew cumbersome in the original ScriptEase. The feasibility of code generation has been validated using three different game engines and the advantages of the simple drag-and-drop interface have been validated by a user study.

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Jengo, Elias Eliezar. "THE INTERFACE BETWEEN HISTORY AND ALLIED SCIENCES: THE CASE OF HISTORY AND CREATIVE ARTS." Tanzania Zamani: A Journal of Historical Research and Writing 9, no. 1 (June 1, 2017): 51–77. http://dx.doi.org/10.56279/tza20210914.

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This paper argues that there is a strong interface between History and the Creative Arts such as Drawing, Design, Painting and Sculpture among other arts. By its very nature, the History discipline acts as a mirror of human existence providing answers to most aspects of human life. Such answers help in drawing lessons from the thoughts and actions of the past to guide us in our present ways of life. As an indispensable field in the humanities, History interacts with a host of other fields such as the arts, aesthetics, philosophy, archaeology and anthropology, to mention only a few, in developing patriotism and awareness in the importance of cultural heritage. The ways in which History and the Creative Arts affect each other as discussed in this article demonstrate how contemporary art in East Africa has been shaped by different events most of which can be described only historically.

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Journal articles on the topic 'Creative interface'

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