Bibliographies thématiques / Creative interface

Littérature scientifique sur le sujet « Creative interface »

Auteur : Grafiati
Publié le 25 mai 2024

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Articles de revues sur le sujet "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 et Fernando Garcia-Sanjuan. « Towards Creative Smart Learning Environments ». International Journal of Creative Interfaces and Computer Graphics 6, no 1 (janvier 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 et Blair MacIntyre. « Augmenting Creative Realities : The Second Life Performance Project ». Leonardo 42, no 1 (février 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 (octobre 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 (juillet 1987) : 44–56. http://dx.doi.org/10.1108/eum0000000004706.

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Halina, Emily, et 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 (4 octobre 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, et Yuqiang Dong. « AIGC Assisted Generation Craft Based on Dialogue Interface ». Highlights in Science, Engineering and Technology 57 (11 juillet 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 et Claude Houssemand. « Creativity in Humans, Robots, Humbots ». Creativity. Theories – Research - Applications 8, no 1 (1 juin 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 (29 avril 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 (7 octobre 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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Thèses sur le sujet "Creative interface"

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Jones, R. « Social media/ted practice @ the interface ». Thesis, University of Salford, 2013. http://usir.salford.ac.uk/29421/.

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This research contributes to the evolving field of New Media Studies through an empirical examination of social media design in real-time practice at the computer interface. In recent years questions of technology and design have started to figure more prominently in research into Social Network Sites (SNSs) but critical analysis of design in practice, at the interface remains under-researched. The interface is becoming an increasingly important analytical concept in the digital age as it is the space where machine readable code is translated into the cultural codes which are accessible to the everyday users of digital media technology. Furthermore, there have been recent calls for an expansion of the traditional media practice paradigm encouraging practice approaches to media which take seriously the mediating role of technologies in emergent forms of digital media practice. This thesis carries out empirical research into social media/ted practice; it critically examines sites and real-time interactions at the interface, to understand the interrelationships between the specific design of platforms and evolving forms of social media/ted practice. The thesis draws on Media Studies, New Media Studies, Sociology and Social Studies of Technology to explicate an original interdisciplinary analytical framework for studying people’s interactions with social media technologies at the interface. This framework is referred to as the triple articulation of social media/ted practice. The triple articulation of social media/ted practice acknowledges the interplay between the materiality of social media technologies, the cultural coding of social media technologies and active practice with social media technologies. The term social media/ted practice has been coined specifically to emphasise the mediating role of technology in social media use. Using SNSs as a case study the thesis combines critical site analysis with interviews at the interface which illuminate the interpretive and constructive elements of the micro-interactions between people and SNSs that underpin related forms of social media/ted practice. Whilst this thesis is focused on SNSs, the analytical framework has wider applicability in New Media Studies and media-orientated Sociology. The central argument of this thesis is that design matters for social media/ted practice. Site-specific ‘micro’ architectures, affordances and algorithmic processes continue to shape social media/ted practice at the interface. The user-interface works to render aspects of the technology visible, accessible, meaningful and useful. This thesis calls attention to the user-interface as a key site for: (1), mediating social practice (2), understanding emerging social trends (3), site governance and (4), developing critical digital media literacies.
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Gaist, Byron Jack. « Creative suffering and the wounded healer, exploring the interface of analytical psychology and Christian theology ». Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510517.

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Alazemi, T. R. « Users' information seeking behaviours, their interactions and experience with the academic library web interface ». Thesis, University of Salford, 2015. http://usir.salford.ac.uk/36705/.

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The websites provided by academic libraries are challenged by the rapid developments in information and communication technology (ICT). These developments have created diverse options and channels for information sources that can be accessed easily by users through the Internet. Because of these alternate sources, many users no longer physically visit the library. Instead, they depend on the library’s website to obtain information online, or they use Internet searches to obtain the information they require. This research addresses the following question: How do the users of academic libraries search for information and interact with the libraries’ web interfaces? The research draws on models from the disciplines of information-seeking behaviour (ISB) and human-computer interaction (HCI). A unified model based on the models in ISB and HCI is created and investigated. In addition, a qualitative study has been conducted to investigate users’ information needs, information-seeking behaviours, and difficulties and experiences with the websites of academic libraries. Interpretive case studies were conducted at two universities, one in the UK and one in Kuwait. Qualitative data were collected in interviews, focus groups, and observations of diverse groups of library users. Furthermore, a content analysis approach was applied to analyse the data. The findings revealed seven steps taken in searching for information and interacting with academic libraries’ web interfaces, but exposed variance in the order in which users executed these steps. The findings also revealed several issues regarding the use of library websites to search for information. In particular, these concerned the complexity of finding information, the content organisation of the library websites and the use of incomprehensible terms on the library websites. As a result, the library users relied heavily on Google to find information. The thesis concludes with suggested guidelines for how academic library interfaces can best support the way users search for information, as well as their interactions, experiences and needs. Keywords: information-seeking behaviour, human-computer interaction, users’ needs, user experience, academic library website, usability, content analysis, postgraduate students, academics, library staff, Kuwait, UK.
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Prax, Patrick. « Co-creative Game Design as Participatory Alternative Media ». Doctoral thesis, Uppsala universitet, Medier och kommunikation, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-287659.

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The possibility of co-creation exists for all media, but game design has developed a culture that is unusually open to co-creation. This dissertation investigates significant cases of co-creation in mainstream games in order to explore how games can be co-created as alternative or critical media by their players. The core argument in the dissertation is that players co-create the design of a game only if certain conditions are met, namely: (1) player creation of a text or communication infrastructure that modifies the properties of the game and from which play emerges; (2) that this is done for a considerable group of players who share a particular practice of play; (3) that this is done not only by playing the game but by changing how others play it in a distinct creative activity, and (4), with the potential to subvert or contest the original design of the game. This situation where player creators have influence over the design of the game (but little power to enforce their interests) is problematic from the perspective of alternative or critical media, as alternative, local, production is seen as one reason for why a medium can have an alternative message. The industrial production of games as cultural commodities does limit the potential of co-creative game design for subversion because it reduces the level of participation in the creation process, thus keeping player creators relatively disempowered. Player creators do have influence on the design of the game, while at the same time having very little power to enforce their interests and design visions. The influence of player creators comes from the consumer power of millions of players who use co-created assets and who want to them to continue exiting, and this creates a mutually dependent relationship (and even partnership), between co-creators and commercial owners. The dissertation concludes that co-creative game design, despite limitations related to the industrial production of games as cultural commodities, is already happening, and shows a potential for turning games into alternative media.
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Lavault, Antoine. « Generative Adversarial Networks for Synthesis and Control of Drum Sounds ». Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS614.

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Les synthétiseurs audio sont des systèmes électroniques capable de générer des sons artificiels sous un ensemble de paramètres dépendants de leur architecture. Quand bien même de multiples évolutions ont transformé les synthétiseurs de simples curiosités sonores dans les années 60 et précédentes à des instruments maîtres dans les productions musicales modernes, deux grands défis restent à relever: le développement d'un système de synthèse répondant à des paramètres cohérent avec leur perception par un humain et la conception d'une méthode de synthèse universelle, capable de modéliser n'importe quelle source et de la dépasser. Cette thèse étudie l'utilisation et la valorisation des réseaux antagonistes génératifs (Generative Adversarial Networks, abrégé en GAN) pour construire un système répondant aux deux problèmes exposés précédemment. L'objectif principal est ainsi de proposer un synthétiseur neuronal capable de générer des sons de batteries réalistes et contrôlable par un ensemble de paramètres de timbres prédéfinis, ainsi que de proposer un contrôle de la vélocité de la synthèse. La première étape dans le projet a été de proposer une approche basée sur les dernières avancées techniques au moment de sa conception pour générer des sons de batteries réalistes. A cette méthode de synthèse neuronale, nous avons aussi ajouter des capacités de contrôle du timbre en explorant une voie différente des solutions existantes: l'utilisation de descripteurs différentiables. Pour donner des garanties expérimentales à notre travail, nous avons réalisé des expériences d'évaluation à la fois via des métriques objectives basées sur les statistiques mais aussi des évaluations subjectives et psychoĥysiques sur la qualité perçue et la perception des erreurs de contrôle. Pour proposer un synthétiseur utilisable pour des performances musicales, nous avons aussi ajouter un contrôle de la vélocité. Toujours dans l'idée de poursuivre la réalisation d'un synthétiseur universel et à contrôle universel, nous avons créer ex-nihilo un jeu de données composé de sons de batteries dans le but avoué de créer une base exhaustive des sons accessibles dans l'immense majorité des conditions rencontrées dans le contexte de la production musicale. De ce jeu de données, nous présentons des résultats expérimentaux liés au contrôle de la dynamique, un des aspects phares de la performance musicale mais laissé de côté par la littérature. Pour justifier des capacités offertes par la méthode de synthèse par GANs, nous montrons qu'il est possible de marier les méthodes de synthèse classiques avec la synthèse neuronale en exploitant les limites et particularités des GANs pour obtenir des sons hybrides nouveaux et musicalement intéressants
Audio synthesizers are electronic systems capable of generating artificial sounds under parameters depending on their architecture. Even though multiple evolutions have transformed synthesizers from simple sonic curiosities in the 1960s and earlier to the main instruments in modern musical productions, two major challenges remain; the development of a system of sound synthesis with a parameter set coherent with its perception by a human and the design of a universal synthesis method, able to model any source and provide new original sounds. This thesis studies using and enhancing Generative Adversarial Networks (GAN) to build a system answering the previously-mentioned problems. The main objective is to propose a neural synthesizer capable of generating realistic drum sounds controllable by predefined timbre parameters and hit velocity. The first step in the project was to propose an approach based on the latest technological advances at the time of its conception to generate realistic drum sounds. We added timbre control capabilities to this method by exploring a different way from existing solutions, i.e., differentiable descriptors. To give experimental guarantees to our work, we performed evaluation experiments via objective metrics based on statistics and subjective and psychopĥysical evaluations on perceived quality and perception of control errors. These experiments continued to add velocity control to the timbral control. Still, with the idea of pursuing the realization of a versatile synthesizer with universal control, we have created a dataset ex-nihilo composed of drum sounds to create an exhaustive database of sounds accessible in the vast majority of conditions encountered in the context of music production. From this dataset, we present experimental results related to the control of dynamics, one of the critical aspects of musical performance but left aside by the literature. To justify the capabilities offered by the GANs synthesis method, we show that it is possible to marry classical synthesis methods with neural synthesis by exploiting the limits and particularities of GANs to obtain new and musically interesting hybrid sounds
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Wilson, Brian. « The creation of a functional mailing list server with a graphical user interface ». Ohio : Ohio University, 1997. http://www.ohiolink.edu/etd/view.cgi?ohiou1185208875.

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Silva, Daniel Corsi da. « Atos tridimensionais : manifestações da existência : interfaces entre a arquitetura e a escultura ». Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-22082012-103651/.

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Esta dissertação propõe-se a analisar possíveis interfaces entre a Arquitetura e a Escultura, abordando suas produções realizadas a partir da segunda metade do século XX, período que se caracterizou pelo rompimento de inúmeros paradigmas teóricos e conceituais. Considerando essas manifestações a partir de suas naturezas tridimensionais, busca-se, segundo um enfoque transdisciplinar, apurar significados e novos parâmetros de análise compartilhados por ambas expressões, num processo recíproco de influências conceituais e práticas. A pesquisa divide-se em duas partes. Na primeira delas - Conceitos Tridimensionais - são estudados os fatos históricos e os conceitos filosóficos que influenciaram as concepções teóricas das produções da arquitetura e da escultura desse período. Nesta parte também são estudadas algumas transformações específicas dos universos dessas manifestações, consideradas determinantes para a constituição das obras posteriormente destacadas. Na segunda parte - Processos Tridimensionais - é realizada a leitura de algumas obras arquitetônicas e escultóricas fundamentadas sobre novas organizações produtivas estabelecidas no período estudado. Partindo do repertório transdisciplinar apresentado na primeira parte sobre os conceitos criativos de ambas as manifestações, são definidos parâmetros de análise que abrangem temas fundamentais das interfaces mencionadas. Os conceitos de Paisagem, Tempo, Estrutura, Matéria e Forma são estendidos em definições que conduzem a leitura de cada uma das obras selecionadas. Com isso, são estabelecidos novos conceitos cognitivos dessas construções, demonstrando como se influenciam mutuamente, compartilhando ou não suas intenções. Também é revelado o potencial advindo da proximidade entre Arquitetura e Escultura, oferecendo referenciais teóricos e práticos para que possam ser explorados em futuras produções. Sintetizando os procedimentos específicos destes atos tridimensionais e os conceitos filosóficos de leitura, busca-se demonstrar, a partir da densidade das obras escolhidas, atos singulares da existência humana.
This dissertation aims to analyze possible interfaces between Architecture and Sculpture, approaching their productions made from the second half of the twentieth century, a period that was characterized by disruption of numerous theoretical and conceptual paradigms. Considering these manifestations from their three-dimensional nature, according to a transdisciplinary approach, it seeks to establish new meanings and analysis parameters shared by both expressions, in a reciprocal process of conceptual and practical influences. The research is divided into two parts. The first part - Three-Dimensional Concepts - refers to the historical facts and philosophical concepts that have influenced the theoretical concepts of architectural and sculptural production of this period. In this part are also studied some transformations of the specific universes of these manifestations, which are considered crucial to the creation of the works later analyzed. In the second part - Three-Dimensional Processes - it is presented a reading of some architectural and sculptural works based on new productive organizations established in the studied period. From the transdisciplinary repertoire presented in the first part about the creative concepts of both manifestations analysis, parameters are defined to embrace fundamental themes of the mentioned interfaces. The concepts of Landscape, Time, Structure, Matter and Form are extended in definitions that lead to the reading of each of the selected works. Thus, new cognitive concepts of these constructions are established demonstrating how they influence each other, sharing their intentions or not. The potential arising from the proximity of these two expressions is also shown, offering theoretical and practical references so that they can be explored in future productions. Summarizing the specific procedures of these three-dimensional acts and the philosophical reading concepts, it is aimed to show, from the profundity of the chosen works, single acts of human existence.
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Björk, Carl, et Per Salomonsson. « Creating Interface-Controllers using Model Driven Architecture ». Thesis, Blekinge Tekniska Högskola, Avdelningen för programvarusystem, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1594.

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In this thesis we will examine a telecom industry case, where combining synchronous and asynchronous interfaces causes problems. A solution to the problem is being presented in form of an interface controller framework that is based on patterns of common functionality of interface controllers. The solution is implemented using four different implementation methods (Java, Erlang, XDE, Executable UML), and compared in lines of code, performance and throughput.
I rapporten undersöks ett fall i telekominudstrin, där kombinerandet av synkrona och asynkrona interface orsakar problem. En lösning på problemet är presenterat i form av ett framework för interface controllers som är baserat på mönster som beskriver den gemensamma funktionaliten i interface controllers. Lösningen är implementerad med hjälp av fyra olika implementeringsmetoder (Java, Erlang, XDE och Executable UML), där rader kod och prestanda jämförs.
pt00cbj@student.bth.se pt00psa@student.bth.se
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Stewart, Robin S. (Robin Scott). « Interfaces for creating quantitative conceptual diagrams ». Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/44908.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2008.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Includes bibliographical references (p. 71-73).
Modern chart-making, illustration, and mathematical tools poorly support the use of conceptual components in quantitative graphs such as Economics diagrams. The substantial time those tools require to achieve the desired results leads many people to sketch their graphs with pencil and paper instead of using a computer. In this thesis, I address the challenge of designing a software user interface that not only includes all features necessary to create a wide range of quantitative conceptual diagrams, but also is dramatically more efficient to use than existing programs. My design takes several important interaction techniques that previous applications used separately and comprehensively integrates them in order to create new, flexible capabilities. I have implemented this design as a desktop application called Graph Sketcher, and I present results of studies which show that my interface halves the time required to complete several common graph creation tasks. I also show that the 700 students, teachers, professionals, and hobbyists worldwide who choose to use Graph Sketcher in their everyday work nd the interface intuitive, enjoyable, and empowering for generating many different types of graphs.
by Robin S. Stewart.
S.M.
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Ratchford, Tristan. « Creating application programming interface code templates from usage patterns ». Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106349.

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Application programing interfaces promote reuse by facilitating interaction between software components and/or software libraries. API code templates are parameterized API scenarios that can be quickly instantiated by copy-and-pasting or through support from integrated development environments. They provide the skeletal structure of an API coding scenario and let developers simply "fill in the blanks" with the details of their coding task. Unfortunately, creating relevant API code templates requires time and experience with the API. To address these problems we present a technique that mines API usage patterns and transforms them into API code templates. Our intuition is that API usage patterns are a solid basis for code templates because they are grounded by actual API usage. We evaluate our approach performing retroactive study on the Mammoth, ArgoUML, and Eclipse projects to see if API code templates created from earlier versions could have been helpful to developers in later versions. Our results show that, on average, each API code template our technique mined could have helped developers with creating six, nine, and twelve new methods in Mammoth, ArgoUML, and Eclipse, respectively. In our evaluation, we mined many API code templates from the three test projects that provide evidence that our technique could have helped developers learn and use an API faster in many opportunities.
Les interfaces de programmation (API) encouragent la réutilisation de code en facilitant l'interaction entre les composantes du logiciel et ses librairies. Les "templates" d'API sont des scénarios d'utilisation de l'API paramétrées pour êtres rapidement instanciés par copier-coller ou par le soutien intégré des environnements de développement. Ils fournissent le squelette d'un scénario d'utilisation de l'API et laissent au développeurs la simple tâche de "remplir les espace". Malheureusement, afin de créer des "templates" pertinents, du temps et de l'expérience avec l'API sont nécessaires. Pour résoudre ces problèmes, nous présentons une technique par laquelle les "templates" d'API sont découverts en analysant des scénarios d'utilisation existants. Notre intuition est que de tels scénarios sont une base valide pour la découverte de "templates" car ils sont une représentation existante de l'API en action. Nous évaluons notre méthode en effectuant une étude rétroactive sur les projets Mammoth, ArgoUML, et Eclipse pour voir si les modèles créés à partir de versions antérieures auraient été utiles aux développeurs dans les versions ultérieures. Nos résultats illustrent que, en moyenne, chaque "template" d'API créé par notre technique aurait permis aux développeurs de créer six, neuf et douze nouvelles méthodes dans les projets Mammoth, ArgoUML, et Eclipse, respectivement. De plus, dans notre évaluation, de nombreux modèles de code API ont été créé à partir des ces trois projets, ainsi prouvant que notre technique pourrait avoir aidée les développeurs à apprendre et utiliser une API plus rapidement dans de nombreuses occasions.
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Livres sur le sujet "Creative interface"

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Rosemary, Rivett, dir. Science & religion : Exploring the creative interface. Birmingham : Christian Education Publications, 2003.

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Malcolm, Betts, et Crosfield Electronics (Firm), dir. Operator interface for a creative design terminal. [UK] : Crosfield, 1986.

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Germany) Symposium on the Entrepreneurship-Innovation-Marketing Interface (3rd 2009 Cottbus. The entrepreneurship-innovation-marketing interface : 3rd symposium, Cottbus. Künzelsau : Swiridoff Verlag, 2010.

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Callard, B. G. The creative interface between design and marketing in the British carpet industry. Manchester : UMIST, 1994.

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Macro. Boston : Academic Press, 1988.

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Flavia, Zucco, et SpringerLink (Online service), dir. Women in Biotechnology : Creating Interfaces. Dordrecht : Springer Science + Business Media B.V, 2008.

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Myers, Brad A. Creating user interfaces by demonstration. Ottawa : National Library of Canada, 1988.

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Playful design : Creating game experiences in everyday interfaces. Brooklyn : Rosenfeld Media, 2012.

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1969-, Schwarz Adam J., dir. Creative 3-D display and interaction interfaces : A trans-disciplinary approach. Hoboken, N.J : John Wiley & Sons, 2005.

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Woods, Dan. APIs : A Strategy Guide : Creating Channels with Application Programming Interfaces. Sous la direction de Mary Treseler. Sebastopol, CA, USA : O'Reilly Media, 2011.

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Chapitres de livres sur le sujet "Creative interface"

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Garland, P., et D. Butler. « Interface between captive and wild populations of New Zealand fauna ». Dans Creative Conservation, 478–85. Dordrecht : Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-011-0721-1_29.

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Lee, Shu-Shing, Yin-Leng Theng, Dion Hoe-Lian Goh et Schubert Shou-Boon Foo. « Creative Information Seeking and Interface Design ». Dans Lecture Notes in Computer Science, 604–9. Berlin, Heidelberg : Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-27795-8_63.

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Lee, Shu-Shing. « Creative Interface Design for Information Seeking ». Dans Lecture Notes in Computer Science, 666–71. Berlin, Heidelberg : Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-27795-8_75.

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Soderquist, T. R., et M. Serena. « An experimental reintroduction programme for brush-tailed phascogales (Phascogale tapoatafa) : the interface between captivity and the wild ». Dans Creative Conservation, 431–38. Dordrecht : Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-011-0721-1_25.

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Neveux, Julie. « From Productive -ness Word-Formation to Creative Suffix -iness : The Case of Truthiness ». Dans Nouns and the Morphosyntax / Semantics Interface, 415–44. Cham : Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-44561-3_15.

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Hayashi, Maho, Yoshiyuki Miwa, Shiroh Itai, Hiroko Nishi et Yuto Yamakawa. « Creation of Shadow Media Using Point Cloud and Design of Co-creative Expression Space ». Dans Human Interface and the Management of Information : Applications and Services, 256–67. Cham : Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40397-7_25.

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Baumgartner, Wendel Henrique, et Eberhard Rothfuß. « Creative Inequality in the Mid-sized University City. Socio-spatial Reflections on the Brazilian Rural–Urban Interface : The Case of Cachoeira ». Dans Inequalities in Creative Cities, 217–37. New York : Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-349-95115-4_9.

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Mollá, Ramón, Virginia Santamarina-Campos, Francisco Abad et Giovanni Tipantuña. « Storyboarding as a Means of Requirements Elicitation and User Interface Design : An Application to the Drones’ Industry ». Dans Drones and the Creative Industry, 83–97. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95261-1_6.

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King, Robin G. « A Structural Model of Creative Process for Improved Interface Design ». Dans Advances in CAD/CAM Workstations, 127–43. Boston, MA : Springer US, 1986. http://dx.doi.org/10.1007/978-1-4613-2273-3_13.

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Roberts, Jonathan C., Christopher J. Headleand et Panagiotis D. Ritsos. « Social, Ethical and Other Considerations to Interface Design ». Dans Five Design-Sheets : Creative Design and Sketching for Computing and Visualisation, 85–118. Cham : Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55627-7_4.

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Actes de conférences sur le sujet "Creative interface"

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Terry, Michael, et Elizabeth D. Mynatt. « Recognizing creative needs in user interface design ». Dans the fourth conference. New York, New York, USA : ACM Press, 2002. http://dx.doi.org/10.1145/581710.581718.

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Valenti, Roberto, Alejandro Jaimes et Nicu Sebe. « Facial expression recognition as a creative interface ». Dans the 13th international conference. New York, New York, USA : ACM Press, 2008. http://dx.doi.org/10.1145/1378773.1378853.

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Tanaka, H., et S. Kuribayashi. « Botanical interface design - creative kits, tools, and methods ». Dans 3rd IET International Conference on Intelligent Environments (IE 07). IEE, 2007. http://dx.doi.org/10.1049/cp:20070429.

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Xu, Jiayi, et Yujian Yin. « Brain-Computer Music Interface (BCMI) : Exploring Creative Expression ». Dans 2023 IEEE International Conference on Systems, Man, and Cybernetics (SMC). IEEE, 2023. http://dx.doi.org/10.1109/smc53992.2023.10394228.

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Gelineck, Steven, Morten Büchert et Jesper Andersen. « Towards a more flexible and creative music mixing interface ». Dans CHI '13 Extended Abstracts on Human Factors in Computing Systems. New York, New York, USA : ACM Press, 2013. http://dx.doi.org/10.1145/2468356.2468487.

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Yamaguchi, Tomoyuki, et Hideki Kadone. « Supporting creative dance performance by grasping-type musical interface ». Dans 2014 IEEE International Conference on Robotics and Biomimetics (ROBIO). IEEE, 2014. http://dx.doi.org/10.1109/robio.2014.7090450.

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Imran, Nungky Amalia, Paulus Insap Santosa et Sri Suning Kusumawardani. « Implementation of VARK Learning Styles in the MOOC User Interface Design ». Dans International Conference on Creative Economics, Tourism & Information Management. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0009867502200223.

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Katsumata, Hiromi, et Bo Liu. « A drawing system with an interface that can be used to impose limits and unleash creativity ». Dans 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001503.

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In order to enjoy creativity, the creators need to be given environmental restrictions. For example, there are rules such as Japanese Haiku or Chinese Zeku for poetry, or musical grammar for music, and these rules are supposed to enhance the creativity of the creator. However, most existing drawing software focuses only on making the process of completing a work comfortable, and does not provide much support for the goal setting process that requires environmental restrictions. In this study, based on research on creativity, such as the idea method, we were able to show that developing a drawing system that imposes environmental restrictions, such as the appearance of obstacles on the canvas, causes changes in the creativity of the subjects. In conventional drawing software, it is common to start the creative process with a blank canvas so that the painter can paint freely. However, in our experiments, many of the participants said that they were able to come up with more ideas and enjoy painting more when obstacles appeared on the canvas. By creating obstacles, we succeeded in approaching the characteristics of human visual cognition and structuring the creative process. Digital creative activities give us more control than analog creative activities. This advantage can be used to make the first step of the creative process, the idea generation process, more convenient. In analog creation, you could not choose irreversible methods such as creating obstacles on the canvas. The drawing software of the future will emphasize the process of externalizing human images and make the creative process more enjoyable, without the need to stick to a blank canvas.
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Gonçalves, Frederica, et Pedro Campos. « Understanding and Evaluating the User Interface Design for Creative Writing ». Dans ECCE 2017 : European Conference on Cognitive Ergonomics 2017. New York, NY, USA : ACM, 2017. http://dx.doi.org/10.1145/3121283.3121298.

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Bougueng Tchemeube, Renaud, Jeffrey John Ens et Philippe Pasquier. « Calliope : A Co-creative Interface for Multi-Track Music Generation ». Dans C&C '22 : Creativity and Cognition. New York, NY, USA : ACM, 2022. http://dx.doi.org/10.1145/3527927.3535200.

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Rapports d'organisations sur le sujet "Creative interface"

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Kang, Ju-Young M. Customer Interface Design for Co-Creation in the Social Era. Ames : Iowa State University, Digital Repository, novembre 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-46.

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Idler, Garrett W. Creating a Vibration Data Visualization and Analysis Graphical User Interface in Matlab. Office of Scientific and Technical Information (OSTI), juillet 2013. http://dx.doi.org/10.2172/1088353.

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Haehnel, Robert, Scott Christensen, J. Whitlow, Andrew Bauer, Ari Meyer, Gautham Rangarajan, Yonghu Wenren et al. A computational prototyping environment interface for DoD CREATE™-AV Helios simulations. Engineer Research and Development Center (U.S.), mai 2021. http://dx.doi.org/10.21079/11681/40582.

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Computational Prototyping Environment (CPE) is a web-based portal designed to simplify running Department of Defense (DoD) modeling and simulation tools on the DoD Supercomputing Resource Center’s (DSRC) High Performance Computing (HPC) systems. The first of these tools to be deployed in the CPE is an application (app) to conduct parametric studies and view results using the CREATE-AV Helios CFD software. Initial capability includes hover (collective sweep) and forward flight (speed sweep) performance calculations. The CPE Helios app allows for job submission to a DSRC’s HPC system and for the viewing of results created by Helios, i.e., time series and volumetric data. Example data input and results viewing are presented. Planned future functionality is also outlined.
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Sunny, Yemuna. Redefining Sustainable Development : Co-Creation of Knowledge with the Bharia People. Indian Institute for Human Settlements, 2023. http://dx.doi.org/10.24943/tesf0706.2023.

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This study examines the lived experiences of the Bharia people of Patalkot with regard to ecology, society, and the modern school. The research methodology, attempting to keep the agency of the Bharia at the centre, has helped to evolve knowledge that is at once embedded and questioning. At the interface of the tribal and the non-tribal existences, like the market and the modern school, there are undercurrents of exploitation, alienation and a sense of being undervalued. The thriving forests of Patalkot enhance socio-cultural and ecological relationships of tribal society and help rethink development in terms of ecological restoration and egalitarian relationships, both of which are in decline in the contemporary phase of capital through liberalisation, globalisation and privatisation.
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Gobble, Allison N., et V. Ann Paulins. Investigating the Way Store Environment and Merchandise Assortment Interface to Create Effective Shopping Experiences. Ames : Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-649.

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Zaika, Oksana V., Tetiana A. Vakaliuk, Andrii V. Riabko, Roman P. Kukharchuk, Iryna S. Mintii et Serhiy O. Semerikov. Selection of online tools for creating math tests. [б. в.], 2021. http://dx.doi.org/10.31812/123456789/4594.

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The article considers online tools for creating tests, which should be used when teaching mathematics in both higher education and general secondary education. Among the variety of online means of creating tests by the method of expert evaluation, three were identified, which allow conducting various tests both in the classroom and remotely, which are free and do not require special conditions for their use and which work on smartphones. The advantages and disadvantages of three online tools for creating tests Kahoot!, Quizizz, Classtime are analyzed, and a comparative description of the selected tools is given. Criteria for the selection of such tools were identified – functional-didactic and organizational. The following indicators belong to the functional-didactic: the presence of different types of questions, including open-ended; use of formulas, both in questions and in answers; use of pictures, both in questions and in answers; no restrictions on the length of questions and answers; instant receipt of results by the teacher, their evaluation and analysis; instant receipt of results by the respondent; to the organizational: the availability of a free version; no need to install the program; ease of use – characterizes the convenience and clarity of the interface for creating tests and their use; possibility of testing in online and offline mode; time limits, both for a single question and the whole test; random order of questions/answer options; instant demonstration of the correct answer to the respondent. With the help of expert evaluation, it was found that according to these criteria, Quizizz is the most appropriate for testing.
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Hrebeniuk, Bohdan V., et Olena H. Rybalchenko. Development of an automated system for conducting, checking and evaluating programming competitions. CEUR Workshop Proceedings, mars 2021. http://dx.doi.org/10.31812/123456789/4429.

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The paper analyzes the existing platforms for conducting programming contests. Possible approaches are analyzed for creating isolated environments and running participants’ solutions, advantages and disadvantages of both approaches are highlighted. Requirements for the user interface are defined that must provide quick and convenient work in the system; the system was planned and developed. It was concluded that designed system has a potential for conducting contests and further development.
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Kharchenko, Yuliya V., Olena M. Babenko et Arnold E. Kiv. Using Blippar to create augmented reality in chemistry education. CEUR Workshop Proceedings, juillet 2021. http://dx.doi.org/10.31812/123456789/4630.

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This paper presents an analysis of the possibilities and advantages of augmented reality technologies and their implementation in training of future Chemistry and Biology teachers. The study revealed that the use of augmented reality technologies in education creates a number of advantages, such as: visualization of educational material; interesting and attractive learning process; increasing student motivation to study and others. Several augmented reality applications were analyzed. The Blippar app has been determined to have great benefits: it’s free; the interface is simple and user-friendly; the possibility of using different file types; the possibility of combining a large amount of information and logically structuring it; loading different types of information: video, images, 3D models, links to sites, etc. Thus, convenient interactive projects were developed using the Blippar application, which were called study guide with AR elements, and implemented in teaching chemical disciplines such as Laboratory Chemical Practice and Organic Chemistry. Using such study guide with AR elements during classes in a real chemical laboratory is safe and does not require expensive glassware. The student interviews revealed that the use of the Blippar application facilitated new material understanding, saved time needed to learn material, and was an effective addition to real-life learning.
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Camp, D. How to Create, Modify, and Interface Aspen In-House and User Databanks for System Configuration 2 :. Office of Scientific and Technical Information (OSTI), octobre 2000. http://dx.doi.org/10.2172/15004777.

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Camp, D. How to Create, Modify, and Interface Aspen In-House and User Databanks for System Configuration 1 :. Office of Scientific and Technical Information (OSTI), octobre 2000. http://dx.doi.org/10.2172/15004778.

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