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Peter Dalsgaard <[log in to unmask]>
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Tue, 25 Feb 2014 20:35:20 +0100
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[our apologies if you receive multiple copies of this CfP]



DIS 2014 workshop, Vancouver: June 22, 2014


The field of interaction design deals with the development and use of
interactive products, systems and services. It is an interventionist
discipline in that it aims at transforming the current state of events
through the introduction of something novel. Some interaction design
projects radically rethink and transform the situation, whereas others
incrementally develop existing systems and practices; however, creativity
plays a crucial role in most interaction design projects due to this
transformative agenda.

In this workshop, we will explore how insights into the creative nature of
design can inform the ways we set up the environments and spaces in which
design processes unfold.

As an example of how we may think about improving the environments for
creative design, consider the role of IT in creative processes. Today, more
and more forms of creative design practice involve a repertoire of digital
devices ranging from tablets over desktop computers to electronic
whiteboards and wall-sized displays. But still, many creative practices to
a large extent still rely on physical materials and tools like for instance
pen and paper, Post-It notes and whiteboards, which are not connected to
nor supported by digital means. A particular challenge could then be to
examine how physical environments may be augmented by ICT to blend the
power of digital computing and the physical environment.

In this context, the workshop will explore a number of themes related to
creative design processes, and then follow up with activities to discuss
how these insights can help us sett up environments or spaces that support
creative activities. The themes of the workshop include, but are not
limited to, the following aspects.

1. Blended interaction environments. Blended Interaction is interaction in
physical environments augmented by ICT to blend the power of digital
computing and the physical environment. Blended Interaction seeks to
combine the virtues of physical and digital artifacts in a complimentary
way, so that the desired properties of each are preserved. Blended
Interaction Spaces bridge personal and collaborative computing, e.g. by
letting personal devices such as phones and tablets be used as interaction
devices for large shared displays, or by combining interactive tables and
white-boards with physical tools such as pen and paper.

2. Individual and social activities. While creativity research has
historically focused on the individual lone genius creator that notion has
recently been challenged by researchers arguing for team-based creativity
[7]. But the individual vs. social creation dichotomy is artificial:
real-life creativity almost always takes place in both spheres, albeit at
different times, at the workshop we will investigate how digitally
augmented design environments may facilitate seamless integration of
individual creative sessions (e.g. using iPads and mobile phones) with
collaborative ones (e.g. using wall sized displays in combination with
iPads), hereby allowing for ideas to travel across platforms and contextual

3. Creativity constraints. Leading creativity scholars argue that
constraints are integral to the creative process; in spite of this,
research into constraints has been limited and it will therefore be at the
vanguard of future creativity research [9]. Although constraints act as
obstructions in a process by determining what cannot be done, they also
give rise to new opportunities and inspire creative breakthroughs [2], but
what is the nature of creativity constraints and how can they be balanced
and managed in a creative process?

4. Transformation of design ideas. It is generally acknowledged that
sources of inspiration plays as crucial role in creative processes, and
Eckert and Stacey [3] distinguish between the various specific roles of
sources of inspiration: starting point in design; precedents; reuse of an
existing component; and prime generators. The workshop will investigate the
emergence of design ideas [5] and study the transformation of design ideas
across digital devices and physical material.

5. Generative design materials. Schön [8] coined the term generative
metaphors, generative in the sense that "it generated new perceptions,
explanations, and inventions" (ibid 259). But the concept may be extended
to generative design materials in order to examine how generative design
materials, digital as well as physical, spur ideation and create momentum
in a creative process.

6. Creativity methods. A number of interaction design methods support
ideation and creativity [1] e.g. Future Workshops [6] and Inspiration Card
Workshops [4].Methods differ in several ways, for instance with respect to
degree of structure, convergence and divergence, and the role of sources of
inspiration. Of particular interest in the context of the workshop is how
methods be supported in a digitally augmented design environment.


In order to address various perspectives on and approaches to creativity in
interaction design processes, and to promote cross-pollination of ideas
across these varying perspectives in the workshop, we invite contributions
in the following categories:

1) Design methods and techniques

Specific methods or techniques, preferably well-tested in practice, that
are intended to facilitate creativity and innovation in design processes.
These may address ways of involving users throughout all or stretches of a
design process, or they may focus on specific events such as workshops,
mock-up sessions etc. Contribu-tions may also present methods or techniques
that facilitate turning creative and innovative user input into viable
design solutions.

2) Theoretical perspectives

We also invite contributions that address ways of understanding, analysing
and discussing creativity and innovation in the design process. These may
address the nature of creativity, theories on collaborative innovation,
transformation of ideas into design solutions, artefact-mediated innovation

3) Case studies

We further invite participants to contribute with case studies including
micro-analytic studies of design sessions that present examples of
processes leading to successful innovative design solutions. The case
studies should focus on the process by which the innovative solutions came
forth rather than on the resulting products or prototypes. Through the
selection of participants for the workshop we will strive to cover a broad
range of domains from urban settings, the workplace, the home, as well as
digital art.

We are also soliciting proposals for hand-on activities in which a specific
method for collaborative design innovation is carried out by workshop

The format for position paper is 2-4 pages in the ACM Extended Abstract

Submissions must be mailed to

[log in to unmask]

Deadline: March 28, 2014.


Kim Halskov, Aarhus University, CAVI-PIT,  has been active in the area of
co-operative design for the past 25 years and is currently director of CAVI
and Center for Participatory IT.

Peter Dalsgaard, Aarhus University, CAVI-PIT, combines practice-based
experimental interaction design research and theoretical develop-ments
aimed at improving the understanding of design processes.


Biskjaer, M., Dalsgaard, : & Halskov, K. : Creativity methods in
interaction design. In the proceedings of DESIRE 2010.

Biskjær, M.B. and Halskov, K.: Decisive constraints as a creative resource
in interaction design. Digital Creativity vol 25, 1, 2014, (27-61).

Eckert, C., & Stacey, M. Sources of inspiration: A language of design.
Design Studies 21, (5), 2000, 523-38.

Halskov, K. & Dalsgaard, P. Inspiration Card Workshops. Proceedings of DIS
2006, 2006, 2-11.

Halskov, K., Dalsgaard, P. The Emergence of Ideas: The interplay between
sources of inspiration and emerging design concepts. Journal of CoDesign, 3
(4), 2007, 185-211.

Jungk, R. & Müllert, N. Future Workshops: How to create desirable futures.
Institute for Social Inventions, London, 1987.

Sawyer, K. (2012). Explaining creativity. The science of human innovation.
2nd edition. Oxford University Press.

Schön, D. (1979): Generative Metaphor: A perspective on Problem-Setting in
Social Policy. In Ortony, A. (ed) (1979): Metaphor and Thought. Cambridge:
Cambridge University Press (254-283).

Sternberg, R. J. & Kaufman, J. C. (2010). Constraints on creativity:
Obvious and not so obvious . In J. C. Kaufman & R. J. Sternberg (Eds.), The
Cambridge Handbook of Creativity. (pp. 467-482). Cambridge, UK: Cambridge
University Press.

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