Wiki source code of Lecture 13

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  1: [[[[image:http://wwwimages.adobe.com/www.adobe.com/ubi/template/identity/adobe/screen/icon/pdf.gif||alt="pdf file"]]pdf version>>attach:L13-social-creativity-oct13.pdf]]
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 11: (% align="RIGHT" class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in" %)
 12: (% style="font-size:1.4em;" %)**Wisdom is not the product of schooling**
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 14: (% align="RIGHT" class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in" %)
 15: (% style="font-size:1.4em;" %)**but the lifelong attempt to acquire it.**
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 17: (% align="RIGHT" class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in" %)
 18: (% style="font-size:1.4em;" %)**- Albert Einstein**
 19: )))
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 22: (% align="CENTER" class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in; background: #e5e5e5; border: 1.00pt solid #000000; padding: 0in; line-height: 0.25in" %)
 23: (% style="font-size:1.4em;font-size: 20pt" %)**Beyond Binary Choices: Integrating Individual and Social Creativity**
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 26: (% align="CENTER" class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in; line-height: 0.25in" %)
 27: (% style="font-size:1.2em;" %)**Gerhard Fischer, Hal Eden, and Holger Dick — Fall Semester 2010**
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 29: (% align="CENTER" class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in; line-height: 0.25in" %)
 30: (% 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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 32: (% align="CENTER" class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in; line-height: 0.25in" %)
 33: (% style="font-size:1.2em;" %)**October 13, 2010**
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 35: (% class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in; line-height: 0.25in" %)
 36: (% 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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 38: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in" %)
 39: (% style="font-size:1.6em;font-size: 23pt" %)**The Basic Message**
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 41: 
 42: * (% 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
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 44: 
 45: 
 46: * (% 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**
 47: 
 48: 
 49: * (% style="font-size:1.4em;" %)**example: **a movie (director and 300 contributors)
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 51: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
 52: (% style="font-size:1.6em;" %)**Research in Creativity**
 53: 
 54: * (% style="font-size:1.4em;" %)**a timely and hot topic**
 55: 
 56: * (% 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.
 57: * (% 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
 58: 
 59: * (% style="font-size:1.4em;" %)**workshop** supported by the National Science Foundation, June 2005
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 61: (% class="western" style="margin-left: 0.75in; text-indent: 0.25in; margin-bottom: 0in; line-height: 0.25in" %)
 62: (% style="color:#0000ff;" %)__[[http:~~/~~/www.cs.umd.edu/hcil/CST/>>http://www.cs.umd.edu/hcil/CST/||class="western"]]__
 63: 
 64: * (% style="font-size:1.4em;" %)**conference series:** “Creativity & Cognition”,
 65: 
 66: * (% 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"]]
 67: * (% 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"]](%%)__
 68: 
 69: * (% 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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 72: (% style="font-size:1.4em;font-size: 20pt" %)**One of the Grand Challenges for the Future of Computer Science:
 73: **(%%)**Beyond Productivity: Innovation and Creativity**
 74: 
 75: * (% style="font-size:1.4em;" %)challenge for the 21st century: **“**(% style="color:#0000ff;" %)**work smarter**(%%)**, not harder”**
 76: 
 77: * (% 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
 78: 
 79: * (% 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?
 80: 
 81: * (% 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)?
 82: 
 83: * (% 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
 84: (% style="color:#0000ff;" %)__[[http:~~/~~/www.colorado.edu/ATLAS/>>http://www.colorado.edu/ATLAS/||class="western"]]__
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 87: (% style="font-size:1.6em;font-size: 23pt" %)**Creativity: Four Essential Attributes**
 88: 
 89: 
 90: * (% style="font-size:1.4em;" %)**originality** means people having unique ideas // //or// //applying existing ideas to new contexts
 91: 
 92: 
 93: * (% 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//
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 95: 
 96: * (% style="font-size:1.4em;" %)**social evaluation** — externalizations allow other people (with different backgrounds and perspectives) to understand, reflect upon, and improve them
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 98: 
 99: * (% 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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101: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
102: (% style="font-size:1.6em;font-size: 23pt" %)**Historical versus **(% style="color:#800080;" %)**Psychological**(%%)** Creativity**
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105: * (% style="font-size:1.4em;" %)//**historical creativity**// = ideas and discoveries that are fundamentally novel with respect to the whole of human history
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107: 
108: * (% 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//
109: 
110: * (% style="font-size:1.2em;font-size: 16pt" %)a capacity inherent to varying degrees in all people
111: * (% style="font-size:1.2em;font-size: 16pt" %)needed in most problem-solving situations
112: * (% 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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114: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
115: (% style="font-size:1.6em;font-size: 23pt" %)**Creativity —The “Wrong” Image?**
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117: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0.06in; line-height: 0.25in" %)
118: (% style="color:#0000ff;" %)“(% style="font-size:1.4em;" %)**The Thinker” by Auguste Rodin**
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120: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in" %)
121: [[image:output_html_m34bb6d33.gif||border="0" height="419" name="graphics2" width="309"]]
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123: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
124: (% style="font-size:1.6em;font-size: 23pt" %)**Human Creativity = f{Medium}
125: **(%%)
126: \\
127: 
128: * (% style="font-size:1.4em;" %)Neil Postman, “Amusing Ourselves to Death”**: 
129: **(% style="color:#0000ff;" %)//“you cannot use smoke signals to do philosophy. Its form excludes the content”//
130: 
131: 
132: * (% style="font-size:1.4em;" %)**claim: **we cannot use most current computer systems to be creative
133: 
134: 
135: * (% style="font-size:1.4em;" %)**challenge: **design of socio-technical environments (% style="font-size:1.2em;font-size: 16pt" %)supporting creativity by allowing us
136: 
137: * (% style="font-size:1.2em;font-size: 16pt" %)to think previously **unthinkable thoughts**
138: * (% style="font-size:1.2em;font-size: 16pt" %)to do previously **undoable actions**, and
139: * (% style="font-size:1.2em;font-size: 16pt" %)to explore previously **unfeasible questions**
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141: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
142: (% style="font-size:1.6em;font-size: 23pt" %)**Individual Creativity**
143: 
144: * (% 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, ……….
145: 
146: * (% style="font-size:1.4em;" %)**foundations **for individual creativity:
147: 
148: * (% style="font-size:1.2em;font-size: 16pt" %)grounded in the unique perspective that an individual brings to bear in a specific problem
149: * (% style="font-size:1.2em;font-size: 16pt" %)results from the life experience, culture, education, and background knowledge of an individual
150: 
151: * (% style="font-size:1.4em;" %)**support mechanisms **for individual creativity:
152: 
153: * (% style="font-size:1.2em;font-size: 16pt" %)breakdowns as a source for creativity (“critiquing”)
154: * (% style="font-size:1.2em;font-size: 16pt" %)reflection-in-action (“making argumentation serve design”)
155: * (% 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
156: * (% style="font-size:1.2em;font-size: 16pt" %)make information relevant to the task at hand
157: * (% style="font-size:1.2em;font-size: 16pt" %)seeding, evolutionary growth and reseeding (SER) process model (honor emerging phenomena)
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159: (% align="CENTER" class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in; line-height: 0.25in; page-break-before: always" %)
160: (% style="font-size:1.2em;font-size: 16pt" %)**A DODE for Kitchen Design: Construction**
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162: (% align="CENTER" class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in; line-height: 0.25in" %)
163: [[image:output_html_m30974b30.gif||border="0" height="512" name="graphics3" width="766"]]
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165: (% align="CENTER" class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in; line-height: 0.25in; page-break-before: always" %)
166: (% style="font-size:1.2em;font-size: 16pt" %)**A DODE for Kitchen Design: Argumentation**
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168: (% align="CENTER" class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in; line-height: 0.25in" %)
169: [[image:output_html_4d1b1fd0.gif||border="0" height="462" name="graphics4" width="695"]]
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171: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
172: (% style="font-size:1.4em;font-size: 20pt" %)**Creativity oriented Assessment / Evaluation Issues in DODEs**
173: 
174: * (% style="font-size:1.4em;" %)do critics enhance or hinder creativity (e.g., Fosbury Flop)? — Stravinsky: “without constraints, there can be no creativity”
175: 
176: * (% style="font-size:1.4em;" %)differences in performance, quality, and creativeness as a function of critics, catalog, simulation component?
177: 
178: * (% style="font-size:1.4em;" %)trade-offs between critiquing (breakdowns occur) versus constraint (breakdowns are prevented)
179: 
180: * (% style="font-size:1.4em;" %)trade-offs between different intervention strategies (active versus passive)
181: 
182: * (% style="font-size:1.4em;" %)does “making information relevant to the task at hand” prevent serendipity?
183: 
184: * (% style="font-size:1.4em;" %)under which conditions will designers challenge or extend the knowledge represented in the system?
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186: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
187: (% style="font-size:1.6em;font-size: 23pt" %)**Individual Creativity has Limits**
188: 
189: * (% 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”)
190: 
191: * “(% 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
192: 
193: * “(% style="font-size:1.4em;" %)//Great discoveries and improvements invariably involve the cooperation of many minds!” //— Alexander Graham Bell
194: 
195: * (% 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
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197: * (% 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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199: (% align="CENTER" style="margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
200: (% style="font-size:1.6em;font-size: 23pt" %)**Social Creativity**
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202: 
203: * (% style="font-size:1.4em;" %)the **Renaissance scholar **(who knows “everything”) does **not** exist anymore
204: 
205: * (% style="font-size:1.2em;font-size: 16pt" %)the individual, unaided human mind is limited
206: * (% style="font-size:1.2em;font-size: 16pt" %)the great individual? the great group/community
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208: 
209: * (% 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
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211: 
212: * (% style="font-size:1.4em;" %)exploit the **“symmetry of ignorance”** as an opportunity
213: 
214: * (% 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
215: * (% 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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217: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
218: (% style="font-size:1.6em;font-size: 23pt" %)**Individual **(% style="color:#800080;" %)**versus**(%%)** / (% style="color:#0000ff;" %)and(%%) Social Creativity**
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220: (% align="RIGHT" class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in; line-height: 0.25in" %)
221: (% style="color:#ff00ff;" %)“(% style="font-size:1.2em;font-size: 16pt" %)//**The strength of the wolf is in the pack,
222: and the strength of the pack is in the wolf.”— **//**Rudyard Kipling**
223: 
224: 
225: 
226: * (% style="font-size:1.4em;" %)**individual:**
227: 
228: * (% style="font-size:1.2em;font-size: 16pt" %)human collaboration is not only needed but central to social creativity
229: * (% 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
230: * (% style="font-size:1.2em;font-size: 16pt" %)without such reflection it is difficult to think about contributions to social creativity
231: 
232: * (% style="font-size:1.4em;" %)**social**
233: 
234: * (% 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
235: * (% 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
236: 
237: (% align="CENTER" class="western" style="margin-left: 0.75in; text-indent: -0.25in; margin-bottom: 0in; line-height: 0.25in; page-break-before: always" %)
238: (% style="font-size:1.6em;font-size: 23pt" %)**The Fish-Scale Model for Social Creativity**
239: 
240: 
241: * (% 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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244: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in" %)
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247: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
248: (% style="font-size:1.6em;font-size: 23pt" %)**Conceptual Framework**
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250: * 
251: ** (% style="font-size:1.4em;" %)**distances in social creativity**
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253: * (% style="font-size:1.2em;font-size: 16pt" %)spatial
254: * (% style="font-size:1.2em;font-size: 16pt" %)temporal
255: * (% style="font-size:1.2em;font-size: 16pt" %)conceptual
256: * (% style="font-size:1.2em;font-size: 16pt" %)technological
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258: 
259: 
260: * 
261: ** (% 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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263: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
264: (% style="font-size:1.6em;font-size: 23pt" %)**Distance “Spatial Dimension” — Voices from Far Away**
265: 
266: 
267: * (% 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
268: 
269: 
270: * (% style="font-size:1.4em;" %)allows more people to be included, thus **exploiting local knowledge**
271: 
272: 
273: * (% style="font-size:1.4em;" %)success model: **open source communities**
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275: 
276: * (% style="font-size:1.4em;" %)transcending the barrier of spatial distribution is of particular importance in **locally sparse populations**
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278: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
279: (% style="font-size:1.6em;font-size: 23pt" %)**Distance “Temporal Dimension” — Voices from the Past**
280: 
281: 
282: * (% style="font-size:1.4em;" %)design processes often take place over many years, with initial design followed by extended periods of **evolution and redesign**
283: 
284: 
285: * (% style="font-size:1.4em;" %)importance of
286: 
287: * (% style="font-size:1.2em;font-size: 16pt" %)design rationale
288: * (% style="font-size:1.2em;font-size: 16pt" %)redesign and reuse (“complex systems evolve faster if they can build on stable subsystems” )
289: 
290: 
291: * (% style="font-size:1.4em;" %)**compare: Lecture on Sept 29 about SER Model**
292: 
293: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
294: (% style="font-size:1.4em;font-size: 20pt" %)**Distance “Conceptual Dimension” — Voices from Collaborators**
295: 
296: 
297: 
298: * (% style="font-size:1.4em;" %)//**Communities of Practice (CoPs)**//
299: 
300: 
301: 
302: * (% style="font-size:1.4em;" %)//**Communities of Interest**//** //(CoIs)//**
303: 
304: 
305: 
306: * (% style="font-size:1.4em;" %)//**more in lecture on October 27, 2010**//
307: 
308: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
309: (% style="font-size:1.6em;font-size: 23pt" %)**Distance “Technological Dimension”
310: —
311: What are good Creativity Support Tools?**
312: 
313: * 
314: ** (% style="font-size:1.4em;" %)Searching & browsing large information repositories (e.g.: Google Search)
315: 
316: 
317: * 
318: ** (% style="font-size:1.4em;" %)Visualizing Data & Processes
319: 
320: 
321: * 
322: ** (% style="font-size:1.4em;" %)Thinking by Free Associations
323: 
324: 
325: * 
326: ** (% style="font-size:1.4em;" %)Exploring Solutions - What If Tools (Spreadsheets, Simulations)
327: 
328: 
329: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
330: (% style="font-size:1.6em;font-size: 26pt" %)**Examples of Environments Supporting Creativity**
331: 
332: * (% 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"]]__
333: 
334: 
335: * (% 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**
336: 
337: 
338: * {{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.
339: 
340: 
341: * (% 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**
342: 
343: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
344: (% style="font-size:1.6em;font-size: 23pt" %)**Craft Technology Group**
345: 
346: (% class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in; line-height: 0.25in" %)
347: [[image:output_html_6d848d8c.gif||border="0" height="489" name="graphics6" width="764"]]
348: 
349: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
350: (% style="font-size:1.6em;font-size: 23pt" %)**The Envisionment and Discovery Collaboratory (EDC)**
351: 
352: (% align="CENTER" class="western" style="margin-bottom: 0in; line-height: 0.25in" %)
353: [[image:output_html_mddde0bc.gif||border="0" height="501" name="graphics7" width="670"]]
354: 
355: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
356: (% style="font-size:1.6em;font-size: 23pt" %)**Boulder City Council and University of Colorado Regents**
357: 
358: (% align="CENTER" class="western" style="margin-bottom: 0in; line-height: 0.25in" %)
359: [[image:output_html_5d9db2b3.gif||border="0" height="496" name="graphics8" width="649"]]
360: 
361: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
362: (% style="font-size:1.6em;font-size: 23pt" %)**Integrating Individual and Social Creativity: **(% style="color:#0000ff;" %)**Caretta**
363: 
364: (% align="CENTER" class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0in; line-height: 0.25in" %)
365: [[image:output_html_159ec328.gif||border="0" height="448" name="graphics9" width="575"]]
366: 
367: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0.06in; line-height: 0.25in; page-break-before: always" %)
368: (% style="font-size:1.6em;font-size: 23pt" %)**SketchUp + 3D Warehouse + Google Earth:
369: **(% style="color:#800080;" %)**CU Boulder in 3D**
370: 
371: (% class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.04in; margin-bottom: 0.04in; line-height: 0.25in" %)
372: [[image:output_html_6fc3e9c0.gif||border="0" height="485" name="graphics10" width="751"]]
373: 
374: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-bottom: 0.06in; line-height: 0.25in; page-break-before: always" %)
375: (% style="font-size:1.6em;font-size: 23pt" %)**Downtown Denver in 3D**
376: 
377: (% align="CENTER" class="western" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.04in; margin-bottom: 0.04in; line-height: 0.25in" %)
378: [[image:output_html_m4bcd1e03.jpg||border="0" height="498" name="graphics11" width="700"]]
379: 
380: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
381: (% style="font-size:1.6em;font-size: 23pt" %)**Creativity and Productivity
382: —
383: Implications for Students in Computer Science**
384: 
385: 
386: * (% style="font-size:1.4em;" %)creativity and outsourcing
387: 
388: 
389: * (% 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**
390: 
391: 
392: * (% style="font-size:1.4em;" %)transdisciplinary education and collaboration (% style="font-family:Wingdings;" %)**?**(% style="color:#800080;" %)** details in lecture on December 1, 2010**
393: 
394: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
395: (% style="font-size:1.6em;font-size: 23pt" %)**Outsourcing **(% style="font-family:Wingdings;" %)**?**(%%)** Economic Implications**
396: 
397: * (% style="font-size:1.2em;font-size: 16pt" %)**US tax returns in India** (tax returns: knowledge work, but rule-based)
398: 
399: * 
400: ** (% style="font-size:1.2em;font-size: 16pt" %)2003: 25,000
401: ** (% style="font-size:1.2em;font-size: 16pt" %)2004: 100,000
402: ** (% style="font-size:1.2em;font-size: 16pt" %)2005: 400,000
403: 
404: * (% style="font-size:1.2em;font-size: 16pt" %)the **changing world** (in less than 50 years):
405: 
406: * 
407: ** (% style="font-size:1.2em;font-size: 16pt" %)sold in China
408: ** (% style="font-size:1.2em;font-size: 16pt" %)made in China
409: ** (% style="font-size:1.2em;font-size: 16pt" %)designed in China
410: ** (% style="font-size:1.2em;font-size: 16pt" %)dreamed up in China
411: 
412: * (% 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
413: 
414: * (% 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?
415: 
416: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
417: (% style="font-size:1.6em;font-size: 23pt" %)**Democratizing Creativity — with Cultures of Participation and Meta-Design**
418: 
419: (% align="CENTER" class="western" style="margin-bottom: 0in; line-height: 0.25in; widows: 0; orphans: 0" %)
420: (% style="font-size:1.2em;font-size: 16pt" %)**Hippel, E. v. (2005) Democratizing Innovation, MIT Press, Cambridge, MA.**
421: 
422: * (% 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
423: 
424: * (% style="font-size:1.2em;font-size: 16pt" %)integrate and complement manufacturer-creativity and user—creativity
425: 
426: * (% style="font-size:1.2em;font-size: 16pt" %)the needs of users for products are highly heterogeneous in many fields
427: 
428: * (% 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
429: 
430: * (% 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
431: 
432: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
433: (% style="font-size:1.6em;font-size: 23pt" %)**Assessment of Social Creativity**
434: 
435: 
436: * (% style="font-size:1.4em;" %)**what will make people want to engage in social creativity?**
437: 
438: * (% style="font-size:1.2em;font-size: 16pt" %)requires: culture change, new mindsets, new reward systems
439: * (% style="font-size:1.2em;font-size: 16pt" %)organizational rewards
440: * (% style="font-size:1.2em;font-size: 16pt" %)social capital
441: 
442: 
443: * (% style="font-size:1.4em;" %)**self-application of this idea to L^^3^^D:**
444: 
445: * (% style="font-size:1.2em;font-size: 16pt" %)value gained by the individual to contribute to the social is greater than the effort expended
446: * (% style="font-size:1.2em;font-size: 16pt" %)barriers with creating and evolving organizational memories:
447: * (% style="font-size:1.2em;font-size: 16pt" %)individuals must perceive a direct benefit
448: * (% 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
449: 
450: 
451: * (% style="color:#0000ff;" %)“(% style="font-size:1.4em;" %)**collaborative systems will not work in a non-collaborative society”**
452: 
453: * (% 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.
454: * (% style="font-size:1.2em;font-size: 16pt" %)collaboration should not be considered as cheating
455: 
456: (% align="CENTER" style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.03in; margin-bottom: 0.17in; line-height: 0.25in; page-break-before: always" %)
457: (% style="font-size:1.6em;font-size: 23pt" %)**Conclusions**
458: 
459: 
460: * (% style="font-size:1.4em;" %)**the basic message**
461: 
462: * (% style="font-size:1.2em;font-size: 16pt" %)the complexity and uniqueness of design problems transcends the unaided, individual human mind
463: * (% style="font-size:1.2em;font-size: 16pt" %)support individual **and** social creativity
464: 
465: 
466: * (% style="font-size:1.4em;" %)linkage of **creativity** to **meta-design**, **cultures of participation**, and **human-centered computing**:
467: 
468: * (% 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
469: 
470: (% type="FOOTER" %)
471: (((
472: (% style="margin-left: 0.25in; text-indent: -0.25in; margin-top: 0.15in; margin-bottom: 0in; line-height: 0.25in" %)
473: (% style="font-size:0.8em;" %)Fischer & Eden & Dick 33 HCC Course, Fall 2010
474: )))
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