Wiki source code of Lecture 13

Last modified by Hal Eden on 2010/10/08 16:10
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(% style="font-size:1.4em;" %)**Wisdom is not the product of schooling**

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(% style="font-size:1.4em;" %)**but the lifelong attempt to acquire it.**

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(% style="font-size:1.4em;" %)**- Albert Einstein**
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(% style="font-size:1.4em;font-size: 20pt" %)**Beyond Binary Choices: Integrating Individual and Social Creativity**


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(% style="font-size:1.2em;" %)**Gerhard Fischer, Hal Eden, and Holger Dick — Fall Semester 2010**

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(% style="color:#0000ff;" %)__[[(% style="font-size:1.2em;" %)**gerhard@colorado.edu**>>mailto:Gerhard@colorado.edu||class="western"]](%%)__(% style="font-size:1.2em;" %)**; **(% style="color:#0000ff;" %)__[[(% style="font-size:1.2em;" %)**haleden@colorado.edu**>>mailto:haleden@colorado.edu||class="western"]](%%)__(% style="font-size:1.2em;" %)**; **(% style="color:#0000ff;" %)__[[(% style="font-size:1.2em;" %)**holger.dick@gmail.com**>>mailto:holger.dick@gmail.com||class="western"]](%%)__(% style="font-size:1.2em;" %)**;  **

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(% style="font-size:1.2em;" %)**October 13, 2010**

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(% style="font-size:1.2em;font-size: 16pt" %)**source:** Fischer, G., Giaccardi, E., Eden, H., Sugimoto, M., & Ye, Y. (2005) "Beyond Binary Choices: Integrating Individual and Social Creativity," International Journal of Human-Computer Studies (IJHCS), 63(4-5), pp. 482-512.(%%) (% style="color:#0000ff;" %)__[[(% style="font-size:1.2em;font-size: 16pt" %)http:~~/~~/l3d.cs.colorado.edu/~~~~gerhard/papers/ind-social-creativity-05.pdf>>http://l3d.cs.colorado.edu/~~gerhard/papers/ind-social-creativity-05.pdf||class="western"]](%%)__

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(% style="font-size:1.6em;font-size: 23pt" %)**The Basic Message**


* (% style="font-size:1.4em;" %)Individual (% style="font-size:1.6em;" %)**versus**(%%) Social Creativity (% style="font-family:Wingdings;" %)?(%%) Individual (% style="font-size:1.6em;" %)**and**(%%) Social Creativity



* (% style="font-size:1.4em;" %)**why:** the **complexity** and **uniqueness** of design problems transcends the unaided, individual human mind (% style="font-family:Wingdings;" %)?(%%) it requires **social creativity**


* (% style="font-size:1.4em;" %)**example: **a movie (director and 300 contributors)

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(% style="font-size:1.6em;" %)**Research in Creativity**

* (% style="font-size:1.4em;" %)**a timely and hot topic**

* (% style="font-size:1.2em;font-size: 16pt" %)book: National-Research-Council (2003): “Beyond Productivity: Information Technology, Innovation, and Creativity”, National Academy Press, Washington, DC.
* (% style="font-size:1.2em;font-size: 16pt" %)September 2010: “Re/Search: Art, Science, and Information Technology”, A Joint Meeting of the National Science Foundation and the National Endowment for the Arts

* (% style="font-size:1.4em;" %)**workshop** supported by the National Science Foundation, June 2005

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(% style="color:#0000ff;" %)__[[http:~~/~~/www.cs.umd.edu/hcil/CST/>>http://www.cs.umd.edu/hcil/CST/||class="western"]]__

* (% style="font-size:1.4em;" %)**conference series:** “Creativity & Cognition”,

* (% style="font-size:1.2em;font-size: 16pt" %)June 2007: [[__http:~~/~~/www.cs.umd.edu/hcil/CC2007/__>>http://www.cs.umd.edu/hcil/CC2007/||class="western"]]
* (% style="font-size:1.2em;font-size: 16pt" %)October 2009: (% style="color:#0000ff;" %)__[[(% style="font-size:1.2em;font-size: 16pt" %)http:~~/~~/www.creativityandcognition09.org/>>http://www.creativityandcognition09.org/||class="western"]](%%)__

* (% style="font-size:1.4em;" %)**new program** “CreativeIT: Creativity and IT”; National Science Foundation (2007) (% style="font-family:Wingdings;" %)?(%%) (% style="color:#0000ff;" %)__[[http:~~/~~/swiki.cs.colorado.edu:3232/CreativeIT>>http://swiki.cs.colorado.edu:3232/CreativeIT||class="western"]]__

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(% style="font-size:1.4em;font-size: 20pt" %)**One of the Grand Challenges for the Future of Computer Science:
**(%%)**Beyond Productivity: Innovation and Creativity**

* (% style="font-size:1.4em;" %)challenge for the 21st century: **“**(% style="color:#0000ff;" %)**work smarter**(%%)**, not harder”**

* (% style="font-size:1.4em;" %)explore collaborative efforts between (% style="color:#0000ff;" %)**information technologies (IT)**(%%) and (% style="color:#800080;" %)**creative practices (CP;**(%%) fine arts, movie making, architecture, urban planning, software design) (% style="font-family:Wingdings;" %)?(%%) artists and technologists should find common ground

* (% style="font-size:1.4em;" %)**objective-1 (**(% style="color:#0000ff;" %)**IT**(%%)**  (% style="font-family:Wingdings;" %)?(%%) (% style="color:#800080;" %)CP(%%)):** how can IT provide new tools and media for artists and designers that enable new types of work?

* (% style="font-size:1.4em;" %)**objective-2 (**(% style="color:#800080;" %)**CP **(% style="font-family:Wingdings;" %)**?**(%%)** (% style="color:#0000ff;" %)IT)(%%): **how can CP raise important challenges for IT (new tools, new representations)?

* (% style="font-size:1.4em;" %)**objective-3 (**(% style="color:#0000ff;" %)**IT**(%%)** + (% style="color:#800080;" %)CP(%%)): **how can a successful collaboration of IT and CP be established? (% style="font-family:Wingdings;" %)?(%%) check out the ATLAS Institute at CU
(% style="color:#0000ff;" %)__[[http:~~/~~/www.colorado.edu/ATLAS/>>http://www.colorado.edu/ATLAS/||class="western"]]__

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(% style="font-size:1.6em;font-size: 23pt" %)**Creativity: Four Essential Attributes**


* (% style="font-size:1.4em;" %)**originality** means people having unique ideas // //or// //applying existing ideas to new contexts


* (% style="font-size:1.4em;" %)**expression** — ideas or new applications are of little use if they are only internalized; they need to be //expressed and externalized//


* (% style="font-size:1.4em;" %)**social evaluation** — externalizations allow other people (with different backgrounds and perspectives) to understand, reflect upon, and improve them


* (% style="font-size:1.4em;" %)**social appreciation within a community** —rewards, credits, and acknowledgements by others that motivate further creative activities

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(% style="font-size:1.6em;font-size: 23pt" %)**Historical versus **(% style="color:#800080;" %)**Psychological**(%%)** Creativity**


* (% style="font-size:1.4em;" %)//**historical creativity**// = ideas and discoveries that are fundamentally novel with respect to the whole of human history


* (% style="font-size:1.4em;" %)//**psychological creativity** = ideas and discoveries in everyday work practice that are novel with respect to an individual human mind or social community//

* (% style="font-size:1.2em;font-size: 16pt" %)a capacity inherent to varying degrees in all people
* (% style="font-size:1.2em;font-size: 16pt" %)needed in most problem-solving situations
* (% style="font-size:1.2em;font-size: 16pt" %)knowledge workers and designers have to engage in creative activities to cope with the unforeseen complexities of real-world tasks

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(% style="font-size:1.6em;font-size: 23pt" %)**Creativity —The “Wrong” Image?**

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(% style="color:#0000ff;" %)“(% style="font-size:1.4em;" %)**The Thinker” by Auguste Rodin**

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(% style="font-size:1.6em;font-size: 23pt" %)**Human Creativity = f{Medium}
**(%%)
\\

* (% style="font-size:1.4em;" %)Neil Postman, “Amusing Ourselves to Death”**: 
**(% style="color:#0000ff;" %)//“you cannot use smoke signals to do philosophy. Its form excludes the content”//


* (% style="font-size:1.4em;" %)**claim: **we cannot use most current computer systems to be creative


* (% style="font-size:1.4em;" %)**challenge: **design of socio-technical environments (% style="font-size:1.2em;font-size: 16pt" %)supporting creativity by allowing us

* (% style="font-size:1.2em;font-size: 16pt" %)to think previously **unthinkable thoughts**
* (% style="font-size:1.2em;font-size: 16pt" %)to do previously **undoable actions**, and
* (% style="font-size:1.2em;font-size: 16pt" %)to explore previously **unfeasible questions**

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(% style="font-size:1.6em;font-size: 23pt" %)**Individual Creativity**

* (% style="font-size:1.4em;" %)creative individuals can make a huge difference — for example: movie directors, champions of sports teams, leading scientists and politicians, architects and urban planners, ……….

* (% style="font-size:1.4em;" %)**foundations **for individual creativity:

* (% style="font-size:1.2em;font-size: 16pt" %)grounded in the unique perspective that an individual brings to bear in a specific problem
* (% style="font-size:1.2em;font-size: 16pt" %)results from the life experience, culture, education, and background knowledge of an individual

* (% style="font-size:1.4em;" %)**support mechanisms **for individual creativity:

* (% style="font-size:1.2em;font-size: 16pt" %)breakdowns as a source for creativity (“critiquing”)
* (% style="font-size:1.2em;font-size: 16pt" %)reflection-in-action (“making argumentation serve design”)
* (% style="font-size:1.2em;font-size: 16pt" %)domain-oriented design environments (DODEs) empower skilled domain workers by bringing task to the front with the support of human problem-domain interaction
* (% style="font-size:1.2em;font-size: 16pt" %)make information relevant to the task at hand
* (% style="font-size:1.2em;font-size: 16pt" %)seeding, evolutionary growth and reseeding (SER) process model (honor emerging phenomena)

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(% style="font-size:1.2em;font-size: 16pt" %)**A DODE for Kitchen Design: Construction**

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(% style="font-size:1.2em;font-size: 16pt" %)**A DODE for Kitchen Design: Argumentation**

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(% style="font-size:1.4em;font-size: 20pt" %)**Creativity oriented Assessment / Evaluation Issues in DODEs**

* (% style="font-size:1.4em;" %)do critics enhance or hinder creativity (e.g., Fosbury Flop)? — Stravinsky: “without constraints, there can be no creativity”

* (% style="font-size:1.4em;" %)differences in performance, quality, and creativeness as a function of critics, catalog, simulation component?

* (% style="font-size:1.4em;" %)trade-offs between critiquing (breakdowns occur) versus constraint (breakdowns are prevented)

* (% style="font-size:1.4em;" %)trade-offs between different intervention strategies (active versus passive)

* (% style="font-size:1.4em;" %)does “making information relevant to the task at hand” prevent serendipity?

* (% style="font-size:1.4em;" %)under which conditions will designers challenge or extend the knowledge represented in the system?

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(% style="font-size:1.6em;font-size: 23pt" %)**Individual Creativity has Limits**

* (% style="font-size:1.4em;" %)in today’s society, the Leonardesque aspiration to have people who are competent in all of science fails because the individual human mind is limited (“symmetry of ignorance”)

* “(% style="font-size:1.4em;" %)//An idea or product that deserves the label ‘creative’ arises from the synergy of many sources and not only from the mind of a single person”// — Mihaly Csikszentmihályi

* “(% style="font-size:1.4em;" %)//Great discoveries and improvements invariably involve the cooperation of many minds!” //— Alexander Graham Bell

* (% style="color:#0000ff;" %)“(% style="font-size:1.4em;" %)none of us is as smart as all of us”(%%) (% style="font-family:Wingdings;" %)?(%%) (% style="font-size:1.2em;font-size: 16pt" %)Bennis, W. & Biederman, P. W. (1997) Organizing Genius: The Secrets of Creative Collaboration

* (% style="color:#0000ff;" %)“(% style="font-size:1.4em;" %)Linux was the first project to make a concious and successful effort to use the entire world as a talent pool”(%%) (% style="font-family:Wingdings;" %)?(%%) (% style="font-size:1.2em;font-size: 16pt" %)Raymond, E. S. & Young, B. (2001) The Cathedral and the Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary, O'Reilly & Associates, Sebastopol, CA.

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(% style="font-size:1.6em;font-size: 23pt" %)**Social Creativity**


* (% style="font-size:1.4em;" %)the **Renaissance scholar **(who knows “everything”) does **not** exist anymore

* (% style="font-size:1.2em;font-size: 16pt" %)the individual, unaided human mind is limited
* (% style="font-size:1.2em;font-size: 16pt" %)the great individual? the great group/community


* (% style="font-size:1.4em;" %)**distinct domain of human knowledge exist **(% style="font-family:Wingdings;" %)?(%%) of critical importance: mutual appreciation, efforts to understand each other, increase in socially shared cognition and practice


* (% style="font-size:1.4em;" %)exploit the **“symmetry of ignorance”** as an opportunity

* (% style="font-size:1.2em;font-size: 16pt" %)none of the stakeholders solving a complex problem can guarantee that their knowledge is superior or more complete compared to other people’s knowledge
* (% style="font-size:1.2em;font-size: 16pt" %)to overcome the “symmetry of ignorance” ? activate as much knowledge from as many stakeholders as possible with the goal of achieving mutual education and shared understanding

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(% style="font-size:1.6em;font-size: 23pt" %)**Individual **(% style="color:#800080;" %)**versus**(%%)** / (% style="color:#0000ff;" %)and(%%) Social Creativity**

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(% style="color:#ff00ff;" %)“(% style="font-size:1.2em;font-size: 16pt" %)//**The strength of the wolf is in the pack,
and the strength of the pack is in the wolf.”— **//**Rudyard Kipling**



* (% style="font-size:1.4em;" %)**individual:**

* (% style="font-size:1.2em;font-size: 16pt" %)human collaboration is not only needed but central to social creativity
* (% style="font-size:1.2em;font-size: 16pt" %)individuals participating in collaborative inquiry and creation need the individual reflective time depicted by Rodin's sculpture
* (% style="font-size:1.2em;font-size: 16pt" %)without such reflection it is difficult to think about contributions to social creativity

* (% style="font-size:1.4em;" %)**social**

* (% style="font-size:1.2em;font-size: 16pt" %)Rodin's sculpture "The Thinker" dominates our collective imagination as the purest form of human inquiry — the lone, stoic thinker
* (% style="font-size:1.2em;font-size: 16pt" %)the reality is that scientific and artistic forms emerge from joint thinking, passionate conversations, and shared struggles

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(% style="font-size:1.6em;font-size: 23pt" %)**The Fish-Scale Model for Social Creativity**


* (% style="color:#0000ff;" %)“(% style="font-size:1.4em;" %)collective comprehensiveness through overlapping patterns of unique narrowness”(% style="color:#800080;" %) (% style="font-family:Wingdings;" %)?(% style="color:#0000ff;" %) (% style="font-size:1.2em;font-size: 16pt" %)Campbell, D. T. (1969) "Ethnocentrism of Disciplines and the Fish-Scale Model of Omniscience."


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(% style="font-size:1.6em;font-size: 23pt" %)**Conceptual Framework**

* 
** (% style="font-size:1.4em;" %)**distances in social creativity**

* (% style="font-size:1.2em;font-size: 16pt" %)spatial
* (% style="font-size:1.2em;font-size: 16pt" %)temporal
* (% style="font-size:1.2em;font-size: 16pt" %)conceptual
* (% style="font-size:1.2em;font-size: 16pt" %)technological



* 
** (% style="font-size:1.4em;" %)**details: **Fischer, G. (2005) "Distances and Diversity: Sources for Social Creativity," Proceedings of Creativity & Cognition, London, April, pp. 128-136

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(% style="font-size:1.6em;font-size: 23pt" %)**Distance “Spatial Dimension” — Voices from Far Away**


* (% style="font-size:1.4em;" %)bringing spatially distributed people together: supports the shift that **shared concerns rather than shared location** becomes the prominent defining feature of a group of people interacting with each other


* (% style="font-size:1.4em;" %)allows more people to be included, thus **exploiting local knowledge**


* (% style="font-size:1.4em;" %)success model: **open source communities**


* (% style="font-size:1.4em;" %)transcending the barrier of spatial distribution is of particular importance in **locally sparse populations**

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(% style="font-size:1.6em;font-size: 23pt" %)**Distance “Temporal Dimension” — Voices from the Past**


* (% style="font-size:1.4em;" %)design processes often take place over many years, with initial design followed by extended periods of **evolution and redesign**


* (% style="font-size:1.4em;" %)importance of

* (% style="font-size:1.2em;font-size: 16pt" %)design rationale
* (% style="font-size:1.2em;font-size: 16pt" %)redesign and reuse (“complex systems evolve faster if they can build on stable subsystems” )


* (% style="font-size:1.4em;" %)**compare: Lecture on Sept 29 about SER Model**

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(% style="font-size:1.4em;font-size: 20pt" %)**Distance “Conceptual Dimension” — Voices from Collaborators**



* (% style="font-size:1.4em;" %)//**Communities of Practice (CoPs)**//



* (% style="font-size:1.4em;" %)//**Communities of Interest**//** //(CoIs)//**



* (% style="font-size:1.4em;" %)//**more in lecture on October 27, 2010**//

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(% style="font-size:1.6em;font-size: 23pt" %)**Distance “Technological Dimension”
—
What are good Creativity Support Tools?**

* 
** (% style="font-size:1.4em;" %)Searching & browsing large information repositories (e.g.: Google Search)


* 
** (% style="font-size:1.4em;" %)Visualizing Data & Processes


* 
** (% style="font-size:1.4em;" %)Thinking by Free Associations


* 
** (% style="font-size:1.4em;" %)Exploring Solutions - What If Tools (Spreadsheets, Simulations)


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(% style="font-size:1.6em;font-size: 26pt" %)**Examples of Environments Supporting Creativity**

* (% style="font-size:1.4em;" %)**Craft Technology Group** (Michael Eisenberg) (% style="color:#0000ff;" %)__[[http:~~/~~/l3d.cs.colorado.edu/~~~~ctg/Craft_Tech.html>>http://l3d.cs.colorado.edu/~~ctg/Craft_Tech.html||class="western"]]__


* (% style="font-size:1.4em;" %)**Envisionment and Discovery Collaboratory and Caretta** — focused on social creativity in urban planning (% style="font-family:Wingdings;" %)**?**(% style="color:#800080;" %)** class meetings on October 18 and 20**


* {{id name="_Ref80773085"}}{{/id}} (% style="font-size:1.4em;" %)**CodeBroker:** Fostering Social Creativity by Facilitating Reuse in Open Source —(% style="font-size:1.2em;font-size: 16pt" %)Ye, Y., & Fischer, G. (2002) "Supporting Reuse by Delivering Task-Relevant and Personalized Information." In //Proceedings of 2002 International Conference on Software Engineering (Icse'02)//, Orlando, FL, pp. 513-523.


* (% style="font-size:1.4em;" %)**SketchUp, 3D Warehouse and Google Earth **— exploiting the power of mass collaboration (and Web 2.0 technologies) (% style="font-family:Wingdings;" %)**?**(% style="color:#800080;" %)** Guest Lecture in class meetings on October 25**

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(% style="font-size:1.6em;font-size: 23pt" %)**Craft Technology Group**

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[[image:output_html_6d848d8c.gif||border="0" height="489" name="graphics6" width="764"]]

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(% style="font-size:1.6em;font-size: 23pt" %)**The Envisionment and Discovery Collaboratory (EDC)**

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[[image:output_html_mddde0bc.gif||border="0" height="501" name="graphics7" width="670"]]

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(% style="font-size:1.6em;font-size: 23pt" %)**Boulder City Council and University of Colorado Regents**

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[[image:output_html_5d9db2b3.gif||border="0" height="496" name="graphics8" width="649"]]

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(% style="font-size:1.6em;font-size: 23pt" %)**Integrating Individual and Social Creativity: **(% style="color:#0000ff;" %)**Caretta**

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[[image:output_html_159ec328.gif||border="0" height="448" name="graphics9" width="575"]]

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(% style="font-size:1.6em;font-size: 23pt" %)**SketchUp + 3D Warehouse + Google Earth:
**(% style="color:#800080;" %)**CU Boulder in 3D**

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[[image:output_html_6fc3e9c0.gif||border="0" height="485" name="graphics10" width="751"]]

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(% style="font-size:1.6em;font-size: 23pt" %)**Downtown Denver in 3D**

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[[image:output_html_m4bcd1e03.jpg||border="0" height="498" name="graphics11" width="700"]]

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(% style="font-size:1.6em;font-size: 23pt" %)**Creativity and Productivity
—
Implications for Students in Computer Science**


* (% style="font-size:1.4em;" %)creativity and outsourcing


* (% style="font-size:1.4em;" %)exploiting the long tail for creativity, discovery, and innovation (% style="font-family:Wingdings;" %)?(%%) (% style="font-family:Wingdings;" %)**?**(% style="color:#800080;" %)** details in lecture on November 3, 2010**


* (% style="font-size:1.4em;" %)transdisciplinary education and collaboration (% style="font-family:Wingdings;" %)**?**(% style="color:#800080;" %)** details in lecture on December 1, 2010**

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(% style="font-size:1.6em;font-size: 23pt" %)**Outsourcing **(% style="font-family:Wingdings;" %)**?**(%%)** Economic Implications**

* (% style="font-size:1.2em;font-size: 16pt" %)**US tax returns in India** (tax returns: knowledge work, but rule-based)

* 
** (% style="font-size:1.2em;font-size: 16pt" %)2003: 25,000
** (% style="font-size:1.2em;font-size: 16pt" %)2004: 100,000
** (% style="font-size:1.2em;font-size: 16pt" %)2005: 400,000

* (% style="font-size:1.2em;font-size: 16pt" %)the **changing world** (in less than 50 years):

* 
** (% style="font-size:1.2em;font-size: 16pt" %)sold in China
** (% style="font-size:1.2em;font-size: 16pt" %)made in China
** (% style="font-size:1.2em;font-size: 16pt" %)designed in China
** (% style="font-size:1.2em;font-size: 16pt" %)dreamed up in China

* (% style="font-size:1.2em;font-size: 16pt" %)**basic assumption**: the more “creative work” will stay in the USA ? combine technical knowledge (e.g., how to write computer programs) with business, scientific knowledge, and take advantage of local contexts

* (% style="font-size:1.2em;font-size: 16pt" %)question: what are the **educational implications** of these changes? how do we educate students for finding a job in the world of tomorrow?

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(% style="font-size:1.6em;font-size: 23pt" %)**Democratizing Creativity — with Cultures of Participation and Meta-Design**

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(% style="font-size:1.2em;font-size: 16pt" %)**Hippel, E. v. (2005) Democratizing Innovation, MIT Press, Cambridge, MA.**

* (% style="font-size:1.2em;font-size: 16pt" %)creativity and innovation are being democratized — meaning: users of product and services are increasingly able to innovate for themselves

* (% style="font-size:1.2em;font-size: 16pt" %)integrate and complement manufacturer-creativity and user—creativity

* (% style="font-size:1.2em;font-size: 16pt" %)the needs of users for products are highly heterogeneous in many fields

* (% style="font-size:1.2em;font-size: 16pt" %)users may value the process of innovating and being creative because of the enjoyment and learning that it brings them ? in personally meaningful problems

* (% style="font-size:1.2em;font-size: 16pt" %)**claim:** users’ ability to innovate is improving radically and rapidly as a result of the steadily improving quality of computer software and hardware, improved access to easy-to-use tools and components for innovation, and access to a steadily richer innovation commons

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(% style="font-size:1.6em;font-size: 23pt" %)**Assessment of Social Creativity**


* (% style="font-size:1.4em;" %)**what will make people want to engage in social creativity?**

* (% style="font-size:1.2em;font-size: 16pt" %)requires: culture change, new mindsets, new reward systems
* (% style="font-size:1.2em;font-size: 16pt" %)organizational rewards
* (% style="font-size:1.2em;font-size: 16pt" %)social capital


* (% style="font-size:1.4em;" %)**self-application of this idea to L^^3^^D:**

* (% style="font-size:1.2em;font-size: 16pt" %)value gained by the individual to contribute to the social is greater than the effort expended
* (% style="font-size:1.2em;font-size: 16pt" %)barriers with creating and evolving organizational memories:
* (% style="font-size:1.2em;font-size: 16pt" %)individuals must perceive a direct benefit
* (% style="font-size:1.2em;font-size: 16pt" %)the effort required to contribute must be minimal so it will not interfere with getting the real work done


* (% style="color:#0000ff;" %)“(% style="font-size:1.4em;" %)**collaborative systems will not work in a non-collaborative society”**

* (% style="font-size:1.2em;font-size: 16pt" %)a student’s observation in one of our classes using technologies to enhance peer-to-peer learning, sharing of information, self-evaluation, etc.
* (% style="font-size:1.2em;font-size: 16pt" %)collaboration should not be considered as cheating

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(% style="font-size:1.6em;font-size: 23pt" %)**Conclusions**


* (% style="font-size:1.4em;" %)**the basic message**

* (% style="font-size:1.2em;font-size: 16pt" %)the complexity and uniqueness of design problems transcends the unaided, individual human mind
* (% style="font-size:1.2em;font-size: 16pt" %)support individual **and** social creativity


* (% style="font-size:1.4em;" %)linkage of **creativity** to **meta-design**, **cultures of participation**, and **human-centered computing**:

* (% style="font-size:1.2em;font-size: 16pt" %)creative people should use their creativity to create socio-technical environments in which other people can be creative

(% type="FOOTER" %)
(((
(% style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.15in; margin-bottom: 0in; line-height: 0.25in" %)
(% style="font-size:0.8em;" %)Fischer & Eden & Dick 33 HCC Course, Fall 2010
)))