In this chapter I present examples of art research that are significant from an HCI perspective, pointing out some of the main lessons that can be learnt.

The chapter reviews a personal history of research and art practice in which AI systems played a significant part. The key observation was that interacting with such systems provided support for creative thinking. This history is told in relation to a series of meetings held on Heron Island in Australia in which computational creativity was explored. Meetings were held over a 30-year period, the last one in 2019, where an earlier version of this chapter was presented. The chapter reports on those meetings and on the advances that have taken place since 1989.

conducted by the Charles Babbage Institute for ACM SIGCHI (Association for Computing Machinery Special Interest Group on Computer-Human Interaction).In this interview, Professor Edmonds reflects on early interests in drawing and art, his development of interactive art and his research on computer-human interaction support for creativity.He describes himself as an "artist by inclination, a logician by training, and a computer scientist by accident." The bulk of the interview explores these areas, his pioneering in work in computer based/algorithmic (from his influential Nineteen in the late 1960s forward) and interactive art (DataPack, in 1970 with Stroud Cornock, forward), as well as important contributions to computer science.This includes relating of influences of university mentors, the Constructivist school, and collaborations and friendships within the Systems Group of UK artists.He discusses his computer science contributions-at Leicester Polytechnic, Loughborough University, and University of Technology in Sydney-including his "adaptive approach" in 1970 software development challenging established "waterfall" techniques and anticipating and helping provide foundation to what later became termed as "agile." He also relates his contributions to fostering intellectual community with computer scientists and artists, including and especially with his and Linda Candy's impactful "Creativity and Cognition" an annual event launched 1993, becoming a SIGCHI Conference in 1997, and thriving to this day.In his career, thinking a step beyond current technology, and drawing on his concepts of "attractors, sustainers, and relators, " he has creatively advanced interaction between human and machine, and human interaction through machines.

research-article Open AccessA chronology of SIGCHI conferences: 1983 to 2022 Authors: Neha Kumar Georgia Institute of Technology Georgia Institute of TechnologyView Profile , Julie A. Adams Oregon State University Oregon State UniversityView Profile , Bill Buxton Microsoft Research Microsoft ResearchView Profile , Linda Candy ArtworksrActive ArtworksrActiveView Profile , Pablo Cesar Centrum Wiskunde & Informatica and Delft University of Technology Centrum Wiskunde & Informatica and Delft University of TechnologyView Profile , Leigh Clark Bold Insight UK Bold Insight UKView Profile , Benjamin R. Cowan University College Dublin University College DublinView Profile , Anind Dey Carnegie Mellon University Carnegie Mellon UniversityView Profile , Phoebe O. Toups Dugas New Mexico State University New Mexico State UniversityView Profile , Ernest Edmonds De Montfort University De Montfort UniversityView Profile , Michael A. Goodrich Brigham Young University Brigham Young UniversityView Profile , Mark Green Ontario Tech University Ontario Tech UniversityView Profile , Jonathan Grudin Microsoft and University of Washington Microsoft and University of WashingtonView Profile , Yoshifumi Kitamura Tohoku University Tohoku UniversityView Profile , Joe Konstan University of Minnesota University of MinnesotaView Profile , Celine Latulipe University of Manitoba University of ManitobaView Profile , Minha Lee Eindhoven University of Technology Eindhoven University of TechnologyView Profile , Tom Malone Massachusetts Institute of Technology Massachusetts Institute of TechnologyView Profile , Regan Mandryk University of Saskatchewan University of SaskatchewanView Profile , Panos Markopoulos Eindhoven University of Technology Eindhoven University of TechnologyView Profile , Michael Muller IBM Research IBM ResearchView Profile , Lennart Nacke University of Waterloo University of WaterlooView Profile , Yukiko Nakano Seikei University Seikei UniversityView Profile , Marianna Obrist University College London University College LondonView Profile , Martin Porcheron Swansea University Swansea UniversityView Profile , Aleksandra Sarcevic Drexel University Drexel UniversityView Profile , Johannes Schöning University of St.Gallen University of St.GallenView Profile , Stacey Scott University of Guelph and University of Waterloo University of Guelph and University of WaterlooView Profile , Bonita Sharif University of Nebraska - Lincoln University of Nebraska - LincolnView Profile , Frank Steinicke University of Hamburg University of HamburgView Profile , Simone Stumpf University of Glasgow University of GlasgowView Profile , Edward Tse NUITEQ NUITEQView Profile , Vinoba Vinayagamoorthy Samsung SamsungView Profile Authors Info & Claims InteractionsVolume 29Issue 6November - December 2022 pp 34–41https://doi.org/10.1145/3568732Published:03 November 2022Publication History 0citation707DownloadsMetricsTotal Citations0Total Downloads707Last 12 Months707Last 6 weeks47 Get Citation AlertsNew Citation Alert added!This alert has been successfully added and will be sent to:You will be notified whenever a record that you have chosen has been cited.To manage your alert preferences, click on the button below.Manage my AlertsNew Citation Alert!Please log in to your account Save to BinderSave to BinderCreate a New BinderNameCancelCreateExport CitationPublisher SiteView all FormatsPDF

Practice-based research is a principled approach to research by means of practice, in which the research and the practice operate as interdependent and complementary processes leading to new and original forms of knowledge. This chapter outlines the defining features of practice-based research as: the centrality of practice, the role of artefacts in research and the forms of knowledge that arise from it. We then consider some of the origins of practice-based research and how it has emerged in some practice-oriented disciplines and in inter-disciplinary research initiatives that have fostered the growth of community. Communities of practice-based research are dedicated to enabling and advancing community building and innovation, research training and cultural change. Throughout, we highlight areas of significance that are explored in contributor chapters that follow in the first section of the handbook.

This chapter presents organisational models of inter-disciplinary practice-based research designed for studio and public spaces in the field of art and technology. It charts the development of the 'studio as laboratory' approach to practice and research and its later association with a 'living laboratory' in a public museum. The foundational ideas arose at the first Creativity and Cognition conference, a forum for exchange between artists, technologists, scientists, engineers, historians and others, during which meetings outside the main conference programme took place. From this the Creativity and Cognition Research Studios (C&CRS) was created and later re-established at the University of Technology Sydney as the Creativity and Cognition Studios (CCS). In its new location, CCS continued the work initiated in C&CRS but with an enlarged and stronger PhD programme. Shortly after the inception of CCS, Beta_Space was established with the Powerhouse Museum (PHM), now the Museum for Applied Arts and Sciences (MAAS). The partnership between CCS and PHM constituted a new model for digital art practice that, in parallel, provided a vehicle for research. From the history of establishing such centres of practice-based research, strategies for running practice-based PhD programmes that include support for inter-disciplinary community building are described.

The talk will review Creativity and Cognition’s (C&C) history, from the start in 1993 at Loughborough University, through becoming a SIGCHI conference in 1999 to today. The blend of art, design, HCI and cognitive science remains unique and this combination will be stressed. C&C has led to outcomes beyond the conferences themselves and these will be discussed. The talk will take us back to a time when creativity was not a favoured subject in the HCI community and show how progress in this direction has unfolded. In particular, the talk will cover recent advances in the support of creativity and the wide use of interactive computing in the arts.

This paper includes summaries of keynote presentations and short biographies of the keynote speakers at the EVA London 2021 Conference on Electronic Visualisation and the Arts.The talks were delivered online due to the Covid-19 pandemic.EVA London broadly covers the digital arts and humanities, attracting a wide set of interdisciplinary participants.The keynote speakers, while largely affiliated with academic institutions, have wider interests as well.

The talk will review Creativity and Cognition’s (C&C) history, from the start in 1993 at Loughborough University, through becoming a SIGCHI conference in 1999 to today. The blend of art, design, HCI and cognitive science remains unique and this combination will be stressed. C&C has led to outcomes beyond the conferences themselves and these will be discussed. The talk will take us back to a time when creativity was not a favoured subject in the HCI community and show how progress in this direction has unfolded. In particular, the talk will cover recent advances in the support of creativity and the wide use of interactive computing in the arts.

In this chapter, we look at practice-based research from the practical perspective. Our aim is to provide practical guidance to all practice-based researchers, whether as PhD candidates and advisers or those planning written proposals for funding, or academic teachers designing new curricula for practice-based research in any discipline. We start by introducing the PhD and the specific nature of a practice-based research PhD. The subsequent topics parallel the journey that a practitioner researcher will take from inception through to final dissemination or examination of the thesis. This includes how to develop a systematic approach to designing the research methodology. We describe the challenges of a practice-based PhD and the role of the supervisor followed by guidance on the purpose of a literature review, the structure and purpose of a thesis, and the examination. Throughout this chapter, we introduce the contributor's chapters that form the rest of the section by way of highlighting areas of significance that are the focus of these chapters.

This artwork exploits recent research into augmented reality systems, such as the HoloLens, for building creative interaction in augmented reality. The work is being conducted in the context of interactive art experiences. The first version of the audience experience of the artwork, "H Space", was informally tested in the SIGGRAPH 2018 Art Gallery context. Experiences with a later, improved, version was evaluated at Tsinghua University. The latest distributed version will be shown in Sydney. The paper describes the concept, the background in both the art and the technological domain and points to some of the key computer human interaction art research issues that the work highlights.

February 01 2020 Erwin Schrödinger’s Color Theory: Translated with Modern Commentary Erwin Schrödinger’s Color Theory: Translated with Modern Commentary edited by Keith K.Niall. Springer International Publishing, New York, U.S.A., 2017. 193 pp., illus. Trade. ISBN: 9783319646190. Ernest Edmonds, Ernest Edmonds Creativity Cognition Studios, University of Technology Sydney. Email: legart@ozemail.com.au. Search for other works by this author on: This Site Google Scholar Mike Leggett Mike Leggett Creativity Cognition Studios, University of Technology Sydney. Email: legart@ozemail.com.au. Search for other works by this author on: This Site Google Scholar Author and Article Information Ernest Edmonds Creativity Cognition Studios, University of Technology Sydney. Email: legart@ozemail.com.au. Mike Leggett Creativity Cognition Studios, University of Technology Sydney. Email: legart@ozemail.com.au. Online Issn: 1530-9282 Print Issn: 0024-094X ©2020 ISAST2020ISAST Leonardo (2020) 53 (1): 107–108. https://doi.org/10.1162/leon_r_01847 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Ernest Edmonds, Mike Leggett; Erwin Schrödinger’s Color Theory: Translated with Modern Commentary. Leonardo 2020; 53 (1): 107–108. doi: https://doi.org/10.1162/leon_r_01847 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsLeonardo Search Advanced Search This content is only available as a PDF. ©2020 ISAST2020ISAST Article PDF first page preview Close Modal You do not currently have access to this content.

The paper reviews abstract films and the notions of time that occur in them, contrasting them with the use of time in digital art. Developments by the author in making various generative digital abstract, or concrete, works are described and compared to film. The generation of the time element of the works described is integral with the generation of images. It is shown how different approaches to dealing with time in the digital context have emerged. In particular, an integrated constructivist approach has built from concepts in abstract film to go beyond cinema in a way that makes significant use of digital media. It has been possible to develop these works into interactive pieces by using artificial intelligent methods in various ways. True to the spirit of the early work described, these interactive works are also concrete rather than virtual. The art uses artificial intelligence to make real realities.

There are various forms of computer art. This paper distinguishes the major categories, and asks whether the appropriate aesthetic criteria‐‐and the locus of creativity‐‐are the same in each case.