In-Soo Choe found that in Korea, educators said the "least likely to be creative" students were seen as "selfish" and likely to "stay alone"; on the other hand, Korean adults associated creativity with "deviant loners", in line with the popular Confusion belief systems. Korean youth, Choe found, were more likely to agree with the educators - a view that might be adapted from Western thought.

to begin the creative process when a problem has occurred may also speak to disruptive innovation culture within the tech world and creative economy in business.

in critique, one might think of Audre Lorde's for the master's tools will never dismantle the master's house; in considering how designers define creativity, whose voices are amplified and laid as foundational groundwork is imperative to the conversation.

in Art on My Mind, bell hooks contends that discussing power and access related to race, gender, and class within the artworld is crucial in a time where nationalism, fascism, fundamentalism are on the rise;

this is as poignant as it was in 1995, nearly 30 years ago, as it is today; one might even argue even more critical to apply to the design/HCI world with the advent of internet and social media;

in Art on my Mind bell hooks challenges the assumption that Black artistic genius stems from the single person overcoming odds; here, the authors similarly recognize that in actuality, there are many societal, cultural, collaborative influence that shape creation.

numerous projects have show how new types of creation can stem by challenging norms; Margaret Boden calls this transformational creativity, as the creation is unable to be complete within existing structures.

similarly, Margaret Boden assigns this situated action into the conceptual space; in any field, there are underlying structures a person pulls from to create "spontaneously" - jazz, chess, and molecular structures are examples;

carl sagan famously relayed that we are all stardust; all of creation is the remix of the same chemicals that make up the entire universe.

novelty itself, similar to innovation or progress are value-driven terms that often have positive connotations; as designers, we may assume that novelty is always good; there are numerous examples of 'dark' or 'immoral' examples of creativity; this is especially poignant now at the intersection of creativity and technology due to how "creative" scam artists are becoming or how "creative" a scam is;

others posit that rather than value being inherently good, value can be assigned if it's *effective as a means to it's intended end" see Explicating ‘creativity’, Paisley Livingston

It is important to note that throughout the authors' research, novelty is an assumed quality interwoven into the concept of creativity. This assumption has been deeply explored by philosophers.

Margaret Boden, also mentioned by the authors in this research, relays that there are two types of "novelty": P-Creative ( psychologically creative) where something is new to one and H-Creative (historically creative) where something is new to all; much of the novelty talked about throughout this research is the striving toward historically creative ideas and endeavors; although one might argue that the psychologically creative is more accessible and common.

Graham Wallas' work was heavily influenced by many sources, including Aristotle, William James, John Dewey, Wilhelm Wundt, Sigmund Freud, Hermann von Helmholtz, Henri Poincaré; while Wallas' work is no doubt integral, it is important to note the structures of power and privilege that this list embodies.

Tim Coughlan, University at Bath; work is focused on the design and evaluation of systems that support inclusion, creativity, and openness in learning.

cognitive scientist Lee Gabora's work looks at how culture changes over time, how people come up with new ideas, and how this helps culture change.

there are two ways of thinking: the first assists in seeing creative links between ideas and the second assists in understanding how one idea leads to another (i.e cause and effect).

the 1950 speech on creativity by Guilford can also be looked at through a societal and cultural lens, as he made it at a crucial time - post WW2, the beginnings of Cold War tensions; a time where conformity was encouraged and critical thought / dissent was feared.

Joy Paul Guildford, American Psychologist

in exploring how our foundations of knowledge are built, we can dissect how we assign value or rank to knowledge - or generally accepted assumptions.

this is often seen in common design tools; is it a product of capitalism? Is the market afraid of standardization? In the transfer of one product to another?

designs solely generated by models are not informed by the complex human interaction in the design process, by designers.

tech is integral to creative process - well designed tech is about ease of use and integration.

focus on physical abilities / senses shape novelty in interaction.

focus on group work and social contexts of digital environments.

There are many philosophical theories that explore computers as a tool that are extensions of humans. In some circles, humans have become cyborgs in that sense - they cannot be separated from the tools they use every single day.

asking "where is creativity" de-centers individuals and centers collaboration. In building upon this foundation, it means that the designer is not designing in isolation but among others.

creativity research has evolved from simple, individual-focused approach to an increasingly complex, systems-oriented approach that centers social interactions and artifacts. This has attracted sociologists.

In the moment, creativity relies on constant adjustments based on intuition - an intuition that is formed based on prior experience.

Creativity benefits from interacting with the environmental and adapting to environmental changes.

Artifact interaction enriches design processes by grounding it in real world experience.

But what of the bias toward familiar materials? Asking a blacksmith to prototype a house and you might find yourself living in a tin can.

As mentioned earlier, creativity doesn't happen in a vacuum - there is a plethora of societal and culture context which any designer exists in.

Creativity comes from common mental processes that everyone uses - all creativity (aka problem-solving) relies on the same basic principles. Creativity is, then, accessible to anyone, because it just depends on how you mix and match those principles.

Intertwined within each person are emotional, cultural, and experiential factors that inform and, at times, limit their creativity.

Creativity may be deterministic - models are able to reproduce design, style, and recreate scenes - things that are associated with being inherently "human". Generative models are optimizing for a particular function - ultimately serving a higher purpose.

So much of "creative" innovation seems to be derived from capitalistic and nationalistic ideals that are driven by a fear of inferiority or destruction.

Not mentioned here by name is the race to dominate space flight from the mid-50s to mid-70s. It is also worth mentioning that industrialization, World War I, and World War II was heavily influenced by the very same rhetoric that came from post WWII thinking.

design isn't scientific but concedes that scientific methods can formalize design.

asks is creativity connected to science or science?

In creativity, problem solvers choose the best tool for the job using their own foundational knowledge they've acquired over their education or career. Building upon this, what tool an individual selects to solve a problem may be based on prior values and assumptions.

feminist political theory researcher Carol Bacchi is well known for her analytic strategy for policy theory.

convergent thinking refers to working through proposed ideas and finding the best option; divergent thinking refers to throwing any and all ideas to the wall to see what sticks.

Ben Shneiderman's work is deeply influential in HCI; his work has assisted in creating strong connections between tech and creativity, especially when applied to fostering innovation.

his 2007 national science foundation funded report on creativity support tools, led by UMD, provides a seminal overview of the definitions of creativity at that time.

in this context, flow is a psychological state of being completely absorbed in a activity that feels both effortless and challenging.

the full manuscript is dense, yet thoughtful and engaging.

Mihaly Csikszentmihaly's work is deeply influential in psychology, education, and HCI because he discusses how one can achieve higher levels of happiness by engaging in activities they find meaningful.

Margaret Boden, research professor at University of Sussex, has provided pivotal work in the exploration of creativity using interdisciplinary research across music, game, story, physics, and artificial intelligence to explore human creativity in arts, science, and life.

The Creative Mind is available to all on archive.org.

American AI researcher and humanities professor known for critiques of technology.

David Ribes' work explores the definition of domain in computing and data science; offers insight into how studying domains helps organize computational systems.

Work by ethnographer Annamarie Mol; in this context, the authors emphasize that understanding action in context involves exploring the rationale that guides the practice.

refers to the movement to consider broader impacts of design work on the world; to redefine design as an active and investigative process that addresses social issues and reflects both personal and cultural contexts.

Critical Fabulations

refers to how social theories and scientific approaches can enhance one another, leading to a more nuanced understanding of both.

Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter

related to how connections and dependencies between people shift over time due to changes in social structures, contexts change; also see Thiele, K. Figuration.

Springer Reference

the authors cite Sarah Harding, a feminist, antiracist philosopher who pioneered 'standpoint theory' to describe research based on experiences of people who have been excluded from knowledge creation in the past.

epistemic position is not simply limited how one approaches the topic of knowledge; in this context, the authors build upon previous frameworks that introduce the concept of epistemic positions to explore how knowledge is unequally valued, especially in regard to race and gender, in academia.

Epistemic injustice and epistemic positioning: towards an intersectional political economy

the study of knowledge; a matter of understanding what knowledge is, and how to distinguish between cases in which someone knows something and cases in which someone doesn't know something. Internet Encyclopedia of Philosophy

to generate new ideas, make associations, combine concepts in relation to ideation activities.

to engage with physical knowledge gained through experience and the material world around us.

loosely organized approach to the study of knowledge stemming from feminist theory about gender and traditional epistemology (Internet Encyclopedia of Philosophy); here, the author utilizes this framework as a tool to challenge common assumptions that knowledge, or definitions of creativity, are entirely objective, as social factors like gender, race, and class tend to inform who is seen as a "knower".

one's perception and interpretation of their own (or others') attributes or behavior.

APA Dictionary of Psychology

refers to pluralism; the idea that any one thing has many facets, causes, or meanings.

APA Dictionary of Psychology

pertaining to a particular standard of comparison for a person or group of people, especially when thinking of cultural ideas.

APA Dictionary of Psychology

there are many tensions, or issues, that come up when technology intersects with politics in the creative field; in doing this research, the authors hope to bring clarity or understanding to the intersection;

in this context, political dimensions refer to the ways societal norms and power impact creative technology.

it should be noted that feminist values is a broad topic; in this context, the author refers to the feminist school of thought that knowledge is not universal, objective, value-free, or context-independent; knowledge is influenced by what one wants, cares about, and believes.

in this section, the authors explain how they are academically positioned and make clear that their work is informed by their own backgrounds, assumptions, etc; they offer up their limitations for this research, including that the scope is limited to computing and digital tools; as well as drawing for a US-centric perspective.

In recent years, the human bias in creative computing has been in the forefront of ethics scholars - especially when it comes to reinforcing existing inequalities into creative computing such as design, algorithmic, or representation biases.

method

objective

deep understanding of a particular subject, including complexities and nuances.

CSI allows researchers to understand not just how well a tool supports creative work overall, but what aspects of creativity support may need attention.

current research looks to define creativity in hopes of understanding what parts of creation (iteration, design, execution) tech should help enhance, as well as which level of skill (beginner, intermediate, etc) tech should be catered towards.

the person (who) refers to one involved in the creative process while the activity (what) refers to creative activities being done.

creativity can mean different things at the same time.

to further simplify, creativity is used as a noun (a thing) but functions as an adjective (a descriptive word).

in evaluating computer-mediated creative work, does one focus on whether tech enhances the creator or that it facilitates the creative action?

the authors break down four ways that differing fields think about creativity and find connections between them.

the way one sees or understands something depends on their experiences, assumptions, and values;

in connecting theory to practice, the authors advance understanding toward the goals and roles of using computers in creative work.

Jonas Frich provides work on the intersection of creativity and HCI; discusses how technology advancements are redefining creative work; Christian Remy provides work on how one uses digital tools to enhance every day activities.

the authors outline questions related to the assumptions in various ways of understanding knowledge; in questioning these assumptions, the authors start a conversation about the trade-offs and politics in creative computing research.

how can one design tools when it is based on isolated moments of interaction (i.e in user studies, etc) when it ignores broader contexts of history and environment?

the "geniuses" of art are often seen as the ones who are rejecting how the prevailing, popular artists are creating. The most "successful" tech giants are "disrupting" structures that we are taught are "norms". How can we design tools that are "innovative" or "representative" if they are designed as if all designers are a monolith?

These interfaces are also seen in simulator games - both for fun and educational purposes.

In interaction design, this can be easily connected to the modern prevalence of "preview modes" or testing "views" - it puts the designer in the shoes of the people who will be interacting with their designs.

In considering that designers design "amidst others", what role do the "others" play in the design outcomes?

Mentioned at the beginning of this annotation, one could contend that art history is the "truest" form history because it is representative of both the artist and the interactions of the artist and the society in which he exists in.

It should be noted that emergence itself is both technical and conceptual.

In offering problematization the authors challenge commonly accepted assumptions or values and explore how that value is made. In doing this, they can reveal political aspects of creative computing.

Disc Jockey

Technology, Entertainment, Design

United States

Dvorak Simplified Keyboard

creativity support index

artificial intelligence

creativity support tools

Human Computer Interaction

refers to language not as a vocabulary but as patterns of how users engage with digital interfaces and systems

The language of interaction: Rich interfaces, networks and design patterns

system of naming things in a particular field

a 2019 interactive creative project where buyers participate in an auction of artificially-generated tulips on the blockchain, a decentralized system for online transactions; simply, the work explores how tech impacts the interplay of human want and economic behavior through artificial scarcity. Bloemenveiling

to perform creative tasks as mediated by tools in which you can develop expertise, e.g graphic design.