Abstract
This chapter explores the concept of evaluation and its potential Âcontribution to creativity. The particular focus is on evaluation within those areas of creative practice where the interaction between human beings and digital systems is a central goal. A multi-dimensional model of creativity is introduced that provides a holistic framework for evaluating the actors and elements in creativity. The approach is informed by studies arising from practice-based research, a form of research adopted by creative practitioners for whom the artifact, for example an artwork, is a central concern. The domain from which the ideas and examples are derived is the interactive digital arts, a vibrant, emerging field that affords rich opportunities for interaction design to explore criteria for evaluation arising directly from designing interactive systems that engage people in creative ways.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
References
Amabile, T. M. (1985). Motivation and creativity: Effects of motivational orientation on creative writing. Journal of Personality and Social Psychology, 48, 393–399.
Bevan, N., & Macleod, M. (1994). Usability measurement in context. Behaviour and Information Technology, 13, 132–145.
Bilda, Z. (2011). Designing for audience engagement. In L. Candy & E. Edmonds (Eds.), Interacting: Art, research and the creative practitioner (pp. 163–181). Oxfordshire: Libri Publishing.
Bilda, Z., Costello, B., & Amitani, S. (2006). Collaborative analysis framework for evaluating interactive art experience. International Journal of CoDesign, 2(4), 238–255.
Bilda, Z., Candy, L., & Edmonds, E. A. (2008). Designing for creative engagement, in interaction design and creative practice special issue. Design Studies, 29(6), 525–540.
Boden, M. A. (1990). The creative mind: Myths and mechanisms. London: George Weidenfeld and Nicolson Ltd.
Boden, M. A. (1998). Creativity and artificial intelligence. Artificial Intelligence, 103(1–2), 347–356.
Boden, M. A. (2010). Aesthetics and interaction. In: Creativity and art: Three roads to surprise (Chapter 11, pp. 210–234). Oxford: Oxford University Press.
Candy, L. (1993, August). Hypothetical design in the perfect world: Observations on design rationale in knowledge support systems development. In 5th International Conference on Human-Computer Interaction (p. 222). Poster Sessions: Abridged Proceedings, Orlando.
Candy, L. (1997). Computers and creativity support: Knowledge, visualization and collaboration. Knowledge Based Systems, 10(1), 3–13.
Candy, L. (2002). Collaboration. In L. Candy, & E. Edmonds (Eds.), Explorations in art and technology (Chapter 4, pp. 56–66). London: Springer.
Candy, L. (2011). Research and creative practice. In L. Candy & E. Edmonds (Eds.), Interacting: Art, research and the creative practitioner (pp. 33–59). Oxfordshire: Libri Publishing.
Candy, L., & Bilda, Z. (2007, June). Understanding and evaluating creativity. In Creativity and cognition 2007. Washington, DC/New York: ACM Press.
Candy, L., & Bilda, Z. (2009, October). Understanding and evaluating creativity. In Creativity and cognition 2009. UC Berkeley/New York: ACM Press.
Candy, L., & Edmonds, E. A. (1993). Collaborative design in system development: What place for design rationale? In AAAI-93 Workshop Program, Working Notes on the 11th National Conference on Artificial Intelligence (pp. 283–285). Washington, DC: American Association for Artificial Intelligence.
Candy, L., & Edmonds, E. A. (1994). Artefacts and the designer’s process: Implications for computer support to design. Journal of Design Sciences and Technology, 3(1), 11–31.
Candy, L., & Edmonds, E. A. (1995). Creativity in knowledge work: A process model and requirements for support. In H. Hassan, & C. Nicastri (Ed.), Proceedings OZCHI’95, HCI A Light into the Future. New York: ACM Press.
Candy, L., & Edmonds, E. A. (1996). Creative design of the lotus bicycle: Implications for knowledge support system research. Design Studies, 17(1), 71–90.
Candy, L., & Edmonds, E. A. (2002a). Modeling co-creativity in art and technology. In T. T. Hewett & T. Kavanagh (Eds.), Proceedings of the fourth international conference on creativity and cognition (pp. 134–141). New York: ACM Press.
Candy, L., & Edmonds, E. A. (2002b). Explorations in art and technology. London: Springer.
Candy, L., & Edmonds, E. A. (2011). Interacting: Art, research and the creative practitioner. Oxfordshire: Libri Publishing.
Carroll, J. M., & Campbell, R. L. (1989). Artifacts as psychological theories: The case of human-computer interaction. Behaviour and Information Technology, 8(4), 247–256.
Cockton, G. (2008). Revisiting usability’s three key principles. In CHI08 extended abstracts in CHI2008. New York: ACM.
Collins, M. A., & Amabile, T. M. (1999). Motivation and creativity. In R. J. Sternberg (Ed.), Handbook of creativity (pp. 297–312). Cambridge: Cambridge University Press.
Costello, B. (2007). A pleasure framework. Leonardo, 40(4), 370–371.
Costello, B. (2011). Many voices, one project. In L. Candy & E. A. Edmonds (Eds.), Interacting: Art, research and the creative practitioner (pp. 182–194). Oxford: Libri Publishing.
Cross, N., Christiaans, H., & Dorst, K. (1996). Introduction: The Delft protocols workshop. In N. Cross, H. Christiaans, & K. Dorst (Eds.), Analysing design activity (pp. 1–14). Chichester: Wiley.
Edmonds, E. A. (2007). The art of programming or programs as art. In H. Fujita & D. Pisanelli (Eds.), Proceedings of the 6th new trends in software methodologies, tools and techniques (SoMeT_07) (pp. 119–125). Washington, DC: Ios Press.
Edmonds, E. A. (2010). The art of interaction. Digital Creativity, 21(4), 257–264.
Edmonds, E. A. (2011). Art, interaction and engagement. In L. Candy & E. Edmonds (Eds.), Interacting: Art, research and the creative practitioner (pp. 228–241). Oxfordshire: Libri Publishing.
Edmonds, E. A., & Candy, L. (2002). Creativity, art practice and knowledge. Communications of the ACM Special Section on Creativity and Interface, 45(10), 91–95.
Edmonds, E. A., & Candy, L. (2010). Relating theory, practice and evaluation in practitioner research. Leonardo Journal, 43(5), 470–476.
Edmonds, E. A., Candy, L., Fell, M., Pauletto, S., & Weakley, A. (2005). The studio as laboratory: Combining creative practice and digital technology research. International Journal of Human-Computer Studies Special Issue on Creativity and Computational Support, 63(4), 452–481.
Finke, R. A., Ward, T. B., & Smith, S. M. (1992). Creative cognition: Theory, research and application. Cambridge, MA: MIT Press.
Gardner, H. (1989). To open minds. New York: Basic Books, Inc.
Greenberg, S., & Buxton, B. (2008). Usability evaluation considered harmful (some of the time). In Proceedings of CHI2008. New York: ACM Press.
Harris, C. (1999). Art and innovation: The Xerox PARC artist-in-residence program. Cambridge, MA: MIT Press.
Hassenzahl, M. (2004). The interplay of beauty, goodness, and usability in interactive products. Human-Computer Interaction, 19(4), 311–318.
Jordan, P. W. (2000). Designing pleasurable products. London: Taylor & Francis.
Leggett, M. (2011). Memory, schema and interactive video. In L. Candy & E. Edmonds (Eds.), Interacting: Art, research and the creative practitioner (pp. 282–294). Oxfordshire: Libri Publishing.
Lubart, T. I. (1999). Creativity across cultures. In R. J. Sternberg (Ed.), Handbook of creativity. Cambridge, UK: Cambridge University Press.
Muller, L., Edmonds, E., & Connell, M. (2006). Living laboratories for interactive art, in CoDesign. International Journal of Co-Creation in Design and the Arts 2(4), 195–207. Taylor & Francis Group, UK.
Partridge, D., & Rowe, J. (1994). Computers and creativity. Oxford: Intellect.
Perkins, D. N. (1981). The mind’s best work. Cambridge: Harvard University Press.
Phalip, J. (2011). Creative communication in film scoring. In L. Candy & E. Edmonds (Eds.), Interacting: Art, research and the creative practitioner (pp. 136–149). Oxfordshire: Libri Publishing.
Polyani, M. (1966). The tacit dimension. New York: Doubleday & Company Inc.
Prix Ars Electronica: http://www.aec.at/prix/en/. Accessed 23 Feb 2012.
Reeves, S. (2011). Designing interfaces in public settings. London: Springer.
Rhodes, M. (1961). An analysis of creativity. The Phi Delta Kappan, 42, 305–310.
Schön, D. A. (1983). The reflective practitioner: How professionals think in action. New York: Basic Books. (Reprinted Aldershot: Ashgate Publishing Ltd., 1991, 2003)
Schön, D. A. (1992). Designing as reflective conversation with the materials of a design situation. Knowledge-Based Systems, 5(1), 3–14.
Shneiderman, B. (2002). Creativity support tools. Communications of the ACM, 45(10), 116–120.
Shneiderman, B., Fischer, G., Czerwinski, M., Resnick, M., Myers, B., Candy, L., Edmonds, E., Eisenberg, M., Giaccardi, E., Hewett, T., Jennings, P., Kules, B., Nakakoji, K., Nunamaker, J., Pausch, R., Selker, T., Sylvan, E., & Terry, M. (2006). Creativity support tools: Report from a U.S. National Science Foundation sponsored workshop. International Journal of Human-Computer Interaction, 20(2), 61–77.
Sternberg, R. J. (Ed.). (1999). Handbook of creativity. Cambridge, UK: Cambridge University Press.
Sydenham, P. H. (2003). Relationship between measurement, knowledge and advancement. Measurement, 34, 3–16.
Tractinsky, N., Adi, S. K., & Ikar, D. (2000). What is beautiful is usable. Interacting with Computers, 13(2), 127–145.
Turnbull, D., & Connell, M. (2011). Prototyping places: The museum. In L. Candy & E. Edmonds (Eds.), Interacting: Art, research and the creative practitioner (pp. 79–93). Oxfordshire: Libri Publishing.
Weisberg, R. W. (2006). Creativity: Understanding innovation in problem solving, science, invention and the arts. Hoboken: Wiley.
Williams, A., Ostwald, M. J., & Askland, H. H. (2010). Creativity, design and education. NSW: Australian Learning & Teaching Council, Sydney, Print National.
Zhang, Y., & Candy, L. (2007a). An in-depth case study of art- technology collaboration. In Proceedings of creativity and cognition 2007 (pp. 53–62). New York: ACM Press.
Zhang, Y., & Candy, L. (2007b). A communicative behaviour analysis of art-technology collaboration. In M. J. Smith & G. Salvendy (Eds.), Proceedings of the 12th international conference on human-computer interaction, 2007 (pp. 212–221). Beijing: Springer.
Zhang, Y. (2011). Investigating collaboration in art and technology. In L. Candy & E. Edmonds (Eds.), Interacting: Art, research and the creative practitioner (pp. 122–135). Oxfordshire: Libri Publishing.
Acknowledgements
The author is profoundly grateful to the artists and researchers who worked at the Creativity and Cognition Studios, University of Technology and Beta-Space, The Powerhouse Museum, Sydney. Special thanks are due to Dr Zafer Bilda for his important contribution to the creativity evaluation model through his studies of interactive art experience and the development of the Creative Engagement Model.
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2013 Springer-Verlag London
About this chapter
Cite this chapter
Candy, L. (2013). Evaluating Creativity. In: Carroll, J. (eds) Creativity and Rationale. Human–Computer Interaction Series, vol 20. Springer, London. https://doi.org/10.1007/978-1-4471-4111-2_4
Download citation
DOI: https://doi.org/10.1007/978-1-4471-4111-2_4
Published:
Publisher Name: Springer, London
Print ISBN: 978-1-4471-4110-5
Online ISBN: 978-1-4471-4111-2
eBook Packages: Computer ScienceComputer Science (R0)