Table of Contents

• All I really need to know (about creative thinking) I learned (by studying how children learn) in kindergartenMitchel Resnick. 1-6 [doi]
• Really, really small: the palpability of the invisibleThecla Schiphorst. 7-16 [doi]
• Surprising creativity: a cognitive framework for interactive exhibits designed for childrenSu Zheng, Adrian Bromage, Martin Adam, Stephen A. R. Scrivener. 17-26 [doi]
• Environments for creativity: a lab for making thingsEllen Yi-Luen Do, Mark D. Gross. 27-36 [doi]
• Group creativity in virtual math teams: interactional mechanisms for referencing, remembering and bridgingJohann W. Sarmiento, Gerry Stahl. 37-44 [doi]
• Propagating collaboration: an instructional methodology for artists and engineersElif E. Ayiter, Selim Balcisoy, Murat Germen, Selcuk Artut. 45-52 [doi]
• An in-depth case study of art-technology collaborationYun Zhang, Linda Candy. 53-62 [doi]
• Using empathy to research creativity: collaborative investigations into distributed digital textile art and design practiceCathy Treadaway. 63-72 [doi]
• Performative roles of materiality for collective creativityGiulio Jacucci, Ina Wagner. 73-82 [doi]
• Exact imagination and distributed creativity: a lesson from the history of animationMichael Century. 83-90 [doi]
• Spinning stories: the development of the small histories project as an online facilitator of multiple life storiesStefan Schutt. 91-98 [doi]
• ProdusageAxel Bruns. 99-106 [doi]
• Media for knowledge creation and dissemination: semantic model and narrations for a new accessibility to cultural heritageStefano Valtolina, Piero Mussio, Giovanna Gianni Bagnasco, Pietro Mazzoleni, Stefano Franzoni, Muriel Geroli, Cristina Ridi. 107-116 [doi]
• Promoting emergence in information discovery by representing collections with compositionAndruid Kerne, Eunyee Koh, Steven Smith, Hyun Choi, Ross Graeber, Andrew Webb. 117-126 [doi]
• Tool support for creativity using externalizationsAndrew Warr, Eamonn O Neill. 127-136 [doi]
• Designing for collaborative creative problem solvingOtmar Hilliges, Lucia Terrenghi, Sebastian Boring, David Kim, Hendrik Richter, Andreas Butz. 137-146 [doi]
• The drive to create: an investigation of tools to support disabled artistsDharani Priyahansika Perera, R. T. Jim Eales, Kathy Blashki. 147-152 [doi]
• Eco-visualization: combining art and technology to reduce energy consumptionTiffany Holmes. 153-162 [doi]
• The resourcefulness of everyday designRon Wakkary, Leah Maestri. 163-172 [doi]
• Using dramaturgical methods to gain more dynamic user understanding in user-centered designVesa Kantola, Sauli Tiitta, Katri Mehto, Tomi Kankainen. 173-182 [doi]
• Interactive evolution for industrial designBoris Georg Bezirtzis, Matthew Lewis, Cara Christeson. 183-192 [doi]
• TEAM STORM: demonstrating an interaction model for working with multiple ideas during creative group workJoshua M. Hailpern, Erik Hinterbichler, Caryn Leppert, Damon J. Cook, Brian P. Bailey. 193-202 [doi]
• A computational model of the music of Stevie Ray VaughanNaresh Vempala, Subrata Dasgupta. 203-212 [doi]
• Gestural hyper instrument collaboration with generative computation for real time creativityKirsty A. Beilharz, Sam Ferguson. 213-222 [doi]
• Exploring mutual engagement in creative collaborationsNick Bryan-Kinns, Patrick G. T. Healey, Joe Leach. 223-232 [doi]
• Instrumentness for creativity mediation, materiality & metonymyOlav W. Bertelsen, Morten Breinbjerg, Søren Pold. 233-242 [doi]
• Interactive experience in a public contextZafer Bilda, Ernest A. Edmonds, Deborah Turnbull. 243-244 [doi]
• Dynamic media arts programming in impromptuAndrew R. Brown, Andrew Sorensen. 245-246 [doi]
• Constrain yourselves: exploring end user development in support for musical creativityTim Coughlan, Peter Johnson. 247-248 [doi]
• Interfectio puerorum: digital projections and the 12th century fleury s massacreMargaret Dolinsky, Timothy Nelson. 249-250 [doi]
• Graph theory: linking online musical creativity to concert hall performanceJason Freeman. 251-252 [doi]
• Software for systematic and imaginative explorationDaryl H. Hepting. 253-254 [doi]
• Sonictecture: esthetic spatial conditioning through sound, computation and interactionJoanne Jakovich, Dagmar Reinhardt. 255-256 [doi]
• Partial reflections: interactive virtual instruments controlled by soundAndrew Johnston, Benjamin Marks. 257-258 [doi]
• A periscope for mobile discovery and narrativeEric Kabisch. 259-260 [doi]
• Reading and writing with Wikis: progress and plansClifton Kussmaul, Sharon Albert. 261-262 [doi]
• KMS models for video files using visual mnemonicsMike Leggett. 263-264 [doi]
• Eye-balls: juggling with the virtualJoe Marshall, Steve Benford, Tony P. Pridmore. 265-266 [doi]
• Goromi-Web: browsing for unexpected information on the webGoro Otsubo. 267-268 [doi]
• Dancing with wordsRaisa Rashid, Quoc V. Vy, Richard G. Hunt, Deborah I. Fels. 269-270 [doi]
• PLAYAS: critical reflection in an immersive spaceJack E. Stenner. 271-272 [doi]
• Tools in support of creative collaborationPiotr D. Adamczyk, Kevin Hamilton, Michael B. Twidale, Brian P. Bailey. 273-274 [doi]
• Design creativity workshopYong Se Kim, Toshiharu Taura. 275 [doi]
• Supporting creative acts beyond disseminationDavid A. Shamma, Ryan Shaw. 276-277 [doi]
• Art & complexity: an exploration of aestheticsGuy Birkin. 278 [doi]
• The knot of amateurs & professionals: untangling social roles in creative practiceEric C. Cook. 279 [doi]
• User engagement in physically embodied narrative experiencesSteven Dow. 280 [doi]
• Designing domestic photographic experiences to support autobiographical memoryAbigail Durrant. 281 [doi]
• A collaborative approach to the design of interactive systems for the documentation of danceNatalie Ebenreuter. 282 [doi]
• Distributed cognitive walkthrough (DCW): a walkthrough-style usability evaluation method based on theories of distributed cognitionJoel U. Eden. 283 [doi]
• Supporting creativity: investigating the role of computer-supported awareness in distributed collaborationUmer Farooq. 284 [doi]
• Towards expertise: the role of chunking in developing productive fluency in drawing (semester 1 summary)Sona L. Hairabedian. 285 [doi]
• Effects of visualizing participant contribution in electronic brainstormingAlex Ivanov. 286 [doi]
• The bodily aspect in computer-supported creativityAndré Knörig. 287 [doi]
• ::::syngva::::: an object that raises questions of agency, relationship, and controlNicholas Knouf. 288 [doi]
• Cognitive artifacts: an art-science engagementDerek Lomas. 289 [doi]
• Eye-balls: computer vision in the circusJoe Marshall. 290 [doi]
• Creativity in VR: constraint versus explorationLorna McKnight. 291-191 [doi]
• ::::Talk2Me::::: engaging interactive installation environmentsAnn Judith Morrison, Margot Brereton, Peta Mitchell. 292 [doi]
• Augmenting artistic realities: opportunities for creative and artistic practice in augmented realityHelen Papagiannis. 293 [doi]
• MULTI: multiple user interactive template installationNancy Paterson. 294 [doi]
• Design patterns: augmenting user intention in parametric design systemsCheryl Z. Qian. 295 [doi]
• How can technology support musical creativity for people with dementia?Philippa Riley. 296 [doi]
• Understanding and supporting the long-term creative work of virtual math teamsJohann W. Sarmiento. 297 [doi]
• Modular robotics as tools for designEric Schweikardt. 298 [doi]
• Creativity and categorisationBen Short. 299 [doi]
• IdeaMurals: supporting ideation in public policy knowledge workJennifer Stoll. 300 [doi]
• Designing hybrid interaction through an understanding of the affordances of physical and digital technologiesLucia Terrenghi. 301 [doi]
• Systems for artistic creation: creativity and engagementKarl D. D. Willis. 302 [doi]
• Understanding and evaluating creativityLinda Candy, Zafer Bilda. 303-304 [doi]
• Computer art: creativity and computabilityFrieder Nake. 305-306 [doi]
• Visualization and the art of metaphorJack Ox. 307-308 [doi]
• Bridging art and science with creativity support toolsBen Shneiderman, Rita R. Colwell, Sara Diamond, Paul Greenhalgh, William Wulf. 309 [doi]
• Speculative data and the creative imaginary: shared innovative visions between art and technologyPamela Jennings. 310-311 [doi]