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Journal articles on the topic 'Creative interface'

Author: Grafiati

Published: 25 May 2024

Last updated: 31 July 2025

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1

Catala, Alejandro, Javier Jaen, Patricia Pons, and Fernando Garcia-Sanjuan. "Towards Creative Smart Learning Environments." International Journal of Creative Interfaces and Computer Graphics 6, no. 1 (2015): 56–71. http://dx.doi.org/10.4018/ijcicg.2015010104.

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The creation of artefacts and entities to be used in simulated worlds and games has been used in practice to foster creativity in informal activities. Motivational issues and entertainment have therefore been combined along with creative tasks. The systems with higher complexity and more creative capabilities are usually based on WIMP interfaces, which negatively impact on the role of collaboration and active participation. This paper summarizes the main findings and the authors' experiences in the project CreateWorlds, which relies on an interactive tabletop interface in order to support the

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Dhobi, Saleem. "Interface between Professional Writing and Creative Composition." Journal of Population and Development 6, no. 1 (2025): 96–106. https://doi.org/10.3126/jpd.v6i1.80649.

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This article encompasses a comparative outlook of professional writing and creative writing. The purpose of the paper is to explore multiple dimensions of writing especially of scientific and creative writing. The professional writing incorporates resume, official letters, business letters, annual reports, grant proposal, memorandum, medical report, audit report, infrastructural design documents etc. Creative writing entails the writings such as stories, fairy tales, novels, epics, dramas, film scripts, reality show scripts, news etc. Both of the writing types are mostly sought after across th

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Poustinchi, Ebrahim. "Mixed Robotic Interface Г : Searching for a hybrid cyber-physical design/experience interface using virtual/actual robots". SHS Web of Conferences 64 (2019): 01008. http://dx.doi.org/10.1051/shsconf/20196401008.

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Mixed Robotic Interface is a project-based design-research investigation, studying new ways of creating hybridized cyber-physical design and experience interfaces, at the intersection of robotics—as its core component, and augmented reality, game design, projection mapping, and digital fabrication. Mixed Robotic Interface Г—as part of Mixed Robotic Interface series of research projects, focuses on using “actual” and “virtual” robot arms as a possible creative medium and extensions of design/gaming environment creating immersive atmospheres for “experiencing” design. This research questions the

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Sørensen, Jannick Kirk. "Exploring Constrained Creative Communication." International Journal of E-Services and Mobile Applications 9, no. 4 (2017): 1–23. http://dx.doi.org/10.4018/ijesma.2017100101.

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Creative collaboration via online tools offers a less ‘media rich' exchange of information between participants than face-to-face collaboration. The participants' freedom to communicate is restricted in means of communication, and rectified in terms of possibilities offered in the interface. How do these constraints influence the creative process and the outcome? In order to isolate the communication problem from the interface- and technology problem, we examine via a design game the creative communication on an open-ended task in a highly constrained setting, a design game. Via an experiment

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Bestin, Bakti, Juju Masunah, and Zakaria S. Soetedja. "Web user interface design as a promotional strategy creative product sales." SHS Web of Conferences 197 (2024): 05001. http://dx.doi.org/10.1051/shsconf/202419705001.

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Frequent communication problems related to web use can be explained as challenges related to the interaction and communication between the user and the platform/web. Users often have difficulty navigating or using features correctly, resulting in misunderstandings about the purpose and information conveyed. The role of the user interface (UI) is seen from a visual communication design perspective. The aim of this research is to determine the role of the user interface on the happy go lucky website as a creative product promotion strategy. This research uses a qualitative approach, with descrip

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Farley, Kathryn, Michael Nitsche, Jay Bolter, and Blair MacIntyre. "Augmenting Creative Realities: The Second Life Performance Project." Leonardo 42, no. 1 (2009): 96–97. http://dx.doi.org/10.1162/leon.2009.42.1.96.

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This article discusses the development of a new interface that allows for the creation of mixed-reality performances. It details the features of the new technology, charts the ways in which the interface has been used in rehearsal sessions and describes how the technology functions as an innovative tool for creative expression.

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Michell, Paul C. "Creativity Training: Developing the Agency‐Client Creative Interface." European Journal of Marketing 21, no. 7 (1987): 44–56. http://dx.doi.org/10.1108/eum0000000004706.

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Feng, Chung-Shun. "From User Experience to Environmentally Sustainable Markets: Exploring the Sustainability Innovation of Cultural and Creative Market Mobile Interfaces." International Journal of Innovation, Management and Technology 15, no. 4 (2024): 90–99. https://doi.org/10.18178/ijimt.2024.15.4.968.

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In recent years, the concept of achieving net-zero carbon emissions by 2050 and the trend of carbon border adjustment mechanisms in Europe and America have been advocated worldwide. Cultural and creative markets have already assumed a highly significant role in people’s daily lives. Consequently, cultural and creative market activities also need to align with the concept of the “Net Zero Carbon Emission Wave.” By implementing net-zero carbon emission activities within small groups of cultural and creative markets, it becomes possible to achieve environmental sustainability. Cultural and creati

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Nikolaou, Maria-Stella, and Chronis Kynigos. "From Novice Players to Creative Designers: A Constructionist Attempt with SorBET." Constructionism Conference Proceedings 8 (June 24, 2025): 97–108. https://doi.org/10.21240/constr/2025/56.x.

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This paper presents a small-scale, exploratory study investigating how eight middle school students shifted from passive engagement to reflective designers of their own learning experiences. Utilizing “SorBET”, a digital tool that enables learners to both play classification-based games and modify their underlying structures, students were observed through three phases: initial gameplay, adaptive modifications and eventual design of new game content within a design-based research (DBR) framework. The intervention involved two distinct interaction modalities: one group of students engaged with

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Frieß, Marc René, Georg Groh, Michael Reinhardt, Florian Forster, and Johann Schlichter. "Context-Aware Creativity Support for Corporate Open Innovation." International Journal of Knowledge-Based Organizations 2, no. 1 (2012): 38–55. http://dx.doi.org/10.4018/ijkbo.2012010103.

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This article discusses how creativity in corporate Open Innovation processes can be supported by IT, especially regarding the situative long- and short-term social context of users. Therefore, the authors first define and formalize a model for creative processes. From evidence gained through qualitative interviews with managers from companies of the German ITC sector, they derive insights on creative situations and contexts as well as the current state of IT support for creativity in these companies. On the basis of these insights and guided by the design science methodology, the paper shows t

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Rahayu, Titis Esti, Endi Sailul Haq, and Khoirul Umam. "Perancangan User Interface Pada Website Promosi Ekonomi Kreatif Menggunakan Metode Design Thinking Di Banyuwangi." Jikom: Jurnal Informatika dan Komputer 15, no. 1 (2024): 13–24. https://doi.org/10.55794/jikom.v15i1.157.

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Creative economy is a sustainable economic development concept based on creativity, encompassing arts, culture, science, technology, engineering, and telecommunications. In Banyuwangi, the creative economy is facilitated by the Banyuwangi Youth Creative Festival (BYCN), supported by the Department of Culture and Tourism. However, many creative economy players in Banyuwangi still lack promotional design plans, including websites. This study aims to design a user interface for a creative economy promotion website using the design thinking method, which includes five stages: Empathy, Definition,

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Aufderheide, Patricia. "Understanding the industry/state interface in creative industries studies." Media International Australia 182, no. 1 (2021): 28–34. http://dx.doi.org/10.1177/1329878x211043904.

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It is time to transcend the cultural studies vs. media industries debate in media industries studies. To take advantage of the exemplary focus on real-world behavior of media industries that Stuart Cunningham brought to the field, scholars need to articulate the normative values informing their media industries research. This is necessary in order to preserve academics’ intellectual autonomy, and to maintain scholarly rigor.

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Chang, Tsen Yao. "Creative Drawings as Intuitive Probes for Evaluating Interface Preferences." Applied Mechanics and Materials 311 (February 2013): 360–65. http://dx.doi.org/10.4028/www.scientific.net/amm.311.360.

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Achieving a balance between visual aesthetics and usability to enhance user experience has enjoyed an increasing popularity in Web design. This study combines creative drawings as intuitive probes to investigate users’ emotional reactions and needs. The basic purpose of these creative exercises is to inspire design researchers and practitioners into applying a strategy in practicable design research to probe real user experiences and create an enjoyable and effective user environment. Emotional engagement with design is vital in design research. Unfortunately, laboratory usability tests often

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Nyström, Harry. "The Dynamic Marketing–Entrepreneurship Interface: A Creative Management Approach." Creativity and Innovation Management 7, no. 3 (1998): 122–25. http://dx.doi.org/10.1111/1467-8691.00099.

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Hall, Jennifer. "Creative orientations for interface design at Do While Studio." Interactions 2, no. 4 (1995): 31–35. http://dx.doi.org/10.1145/225362.225367.

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Rovetta, Davide, and Davide Rovetta. "Creative or Artificial, That’s the Question!" Global Trade and Customs Journal 5, Issue 2 (2010): 71–78. http://dx.doi.org/10.54648/gtcj2010007.

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This article will show how the interface between trade and customs law can play a pivotal role for the everyday life of economic operators. This is done starting by an individual case and extending the research to the protection of Union financial interests and the general principle of abuse of rights in Community law.

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Tubb, Robert, and Simon Dixon. "A Zoomable Mapping of a Musical Parameter Space Using Hilbert Curves." Computer Music Journal 38, no. 3 (2014): 23–33. http://dx.doi.org/10.1162/comj_a_00254.

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This article presents an interface for navigating a musical parameter space. The entire combinatorial space of a ten-parameter synthesizer is laid out as a two-dimensional surface on a multi-touch screen. The surface can be scrolled and zoomed using touch-screen swipe and pinch gestures, reminiscent of a map application. The user can place markers on the surface to flag favorites and to explore regions of different sizes around these points. The mapping from the two-dimensional surface to the higher-dimensional parameter space uses a space-filling curve. Hilbert curves constructed from Gray co

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Wibowo, Bambang Setia. "PENGARUH WEBSITE INTERFACE FEATURES, BRAND AMBASSADOR DAN CREATIVE ADVERTISING TERHADAP ADVERTISING EFFECTIVENESS SERTA DAMPAKNYA TERHADAP ONLINE SHOPPING INTENTION." MODUS 28, no. 2 (2016): 169. http://dx.doi.org/10.24002/modus.v28i2.849.

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This study examined the influence of brand ambassador reputation, websiteinterface features and creative advertising to advertising effectiveness and its impact toonline shopping intention. This study is the integration of previous studies to determinethe effect of simultaneous between variables and the variable advertising effectiveness asa mediating variable in the influence of brand ambassador reputation, website interfacefeatures and creative advertising to online shopping intention. Respondents of this studywere 115 university students who have ever seen e-commerce advertisements on elect

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Kreminski, Max, Melanie Dickinson, Noah Wardrip-Fruin, and Michael Mateas. "Loose Ends: A Mixed-Initiative Creative Interface for Playful Storytelling." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 18, no. 1 (2022): 120–28. http://dx.doi.org/10.1609/aiide.v18i1.21955.

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We present Loose Ends, a mixed-initiative co-creative storytelling play experience in which a human player and an AI system work together to compose a story. Loose Ends specifically aims to provide computational support for managing multiple parallel plot threads and bringing these threads to satisfying conclusions—something that has proven difficult in past attempts to facilitate playful mixed-initiative storytelling. We describe the overall human-AI interaction loop in Loose Ends, including the implementation of the rules-based AI system that enables this interaction loop; discuss four examp

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WANG, XIAOTONG, MING-XI TANG, and JOHN FRAZER. "Creative stimulator: An interface to enhance creativity in pattern design." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 15, no. 5 (2001): 433–40. http://dx.doi.org/10.1017/s089006040115506x.

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Creative Stimulator (CreaStim) is an intelligent interface for pattern design that behaves as a semiactive partner to human designers rather than as a passive graphical or computational tool. By making adjustments to psychological differentials and/or design parameters, CreaStim is able to help designers to explore innovative pattern designs and to get inspiration, producing different types of novel designs. In this article, the mechanism, the technique, the implementation, and the testing of CreaStim are described. The basic principle of CreaStim is the catastrophe theory, which implies that

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He, Jieling. "Research On the Effect of Unconsciousness on Human-Computer Interaction in Web Interfaces." Highlights in Science, Engineering and Technology 103 (June 26, 2024): 374–80. http://dx.doi.org/10.54097/c6ccdb07.

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Unconscious interaction design can enhance the readability and learnability of web browsing to a certain extent, and it helps users achieve a natural and smooth interactive experience. At present, more and more researchers are involved in the study of unconscious interaction design. This paper argues that web interface design should focus on understanding the potential needs of users during the design process of human-computer interaction. It proposes researching the unconscious behavior of users while browsing and utilizing this research in combination with the design of the three modules in

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Domínguez-Lloria, Sara, Rut Martínez López de Castro, Sara Fernández-Aguayo, and Margarita Pino-Juste. "Content Analysis of Mobile Device Applications for Artistic Creation for Children between 4 and 12 Years of Age." Applied Sciences 11, no. 23 (2021): 11327. http://dx.doi.org/10.3390/app112311327.

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This article presents the results of the content analysis of 32 painting and drawing mobile applications aimed at children between 4 and 12 years old. The characteristics of the artistic dimension were studied, such as the possibilities of drawing, color, and experimentation, as well as the characteristics of the technical dimension related to the visual design of the interface, usability, and adaptability to users. The results collected show that mobile apps offer tools that have great potential for artistic and creative development, but also reveal certain limitations and problems in the qua

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Dodds, Colin, and Ahmed Kharrufa. "Show-and-Tell: An Interface for Delivering Rich Feedback upon Creative Media Artefacts." Multimodal Technologies and Interaction 8, no. 3 (2024): 23. http://dx.doi.org/10.3390/mti8030023.

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In this paper, we explore an approach to feedback which could allow those learning creative digital media practices in remote and asynchronous environments to receive rich, multi-modal, and interactive feedback upon their creative artefacts. We propose the show-and-tell feedback interface which couples graphical user interface changes (the show) to a text-based explanations (the tell). We describe the rationale behind the design and offer a tentative set of design criteria. We report the implementation and deployment into a real-world educational setting using a prototype interface developed t

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Ikonomov, Nikola, Boyan Simeonov, Jana Parvanova, and Vladimir Alexiev. "Europeana Creative. EDM Endpoint. Custom Views." Digital Presentation and Preservation of Cultural and Scientific Heritage 3 (September 30, 2013): 35–43. http://dx.doi.org/10.55630/dipp.2013.3.3.

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The paper discusses the Europeana Creative project which aims to facilitate re-use of cultural heritage metadata and content by the creative industries. The paper focuses on the contribution of Ontotext to the project activities. The Europeana Data Model (EDM) is further discussed as a new proposal for structuring the data that Europeana will ingest, manage and publish. The advantages of using EDM instead of the current ESE metadata set are highlighted. Finally, Ontotext’s EDM Endpoint is presented, based on OWLIM semantic r epository and SPARQL query language. A user-friendly RDF view is pres

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Gunaratne, Madhumini, Senal Weerasekara, Dehemi Weerakkody, Nisal Sashmitha, Rivoni De Zoysa, and Nuwan Kodagoda. "Web Block Craft: web development for children using Google Blockly." International Journal of Electrical and Computer Engineering (IJECE) 14, no. 5 (2024): 5585. http://dx.doi.org/10.11591/ijece.v14i5.pp5585-5592.

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Web Block Craft is an innovative educational application that uses the Google Blockly framework to teach web development to children aged eleven and above. The application serves as a comprehensive learning tool, allowing users to explore both frontend project and backend project development. The frontend project includes HTML, CSS, JavaScript, and DOM manipulation, while the backend project covers server building, web app security, application programming interfaces (APIs), and database management. Web Block Craft's unique block-based interface allows users to easily drag and drop components

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Yasmine, Hasna Tania, and Wahyu Tisno Atmojo. "UI/UX Design for Tourism Village Website Using the User Centered Design Method." TIERS Information Technology Journal 3, no. 2 (2022): 100–114. http://dx.doi.org/10.38043/tiers.v3i2.3871.

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The importance of creative and innovative technology applies to any sector of industry. Technology offers a lot to improve performance in general. In the tourism sector, creative and innovative technology affects how the welfare of the community and businesses increase significantly. The use of technology can create exposure to enhance, and gain the interest of many people to the tourism itself. Developing a website or mobile based application is a way to be creative and innovative about the solution to increase the number of tourist visits. In addition to reaching the expected number of touri

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Sandercock, Leonie. "Interface: A New Spin on the Creative City: Artist/Planner Collaborations." Planning Theory & Practice 6, no. 1 (2005): 101–3. http://dx.doi.org/10.1080/1464935042000334985.

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Berthelsen, Chris. "Distributed Resource Centre: A Soft Infrastructure for Neighbourhood Creativity." Asylum 1 (November 22, 2023): 3–12. http://dx.doi.org/10.34074/aslm.2023102.

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This article presents the Distributed Resource Centre as a soft, low-cost, generative, and fun decentralised infrastructure for neighbourhood creativity. The article defines the concept (as flow vs stock), outlines some broad benefits (increased interfaces and resource availability, fostering of creative capability, and cost reductions), discusses the pilot and development projects which were involved in the development of the concept, and presents tentative findings for further exploration and discussion (making friends, porous, asynchronous and uncertain activity, neighbourhood = resource ce

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Guzdial, Matthew, Jonathan Chen, Shao-Yu Chen, and Mark Riedl. "A General Level Design Editor for Co-Creative Level Design." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 13, no. 2 (2021): 81–83. http://dx.doi.org/10.1609/aiide.v13i2.12980.

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In this paper we describe a level design editor designed as an interface to allow different AI agents to creatively collaborate on level design problems with human designers. We intend to investigate the comparative impacts of different AI techniques on user experience in this context.

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Wood, Christopher, Alasdair King, Ruth Catlow, and Brett Scott. "Terminal value: Building the alternative Bloomberg." Finance and Society 2, no. 2 (2016): 138–50. http://dx.doi.org/10.2218/finsoc.v2i2.1727.

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In this essay we propose a reframing of the Bloomberg Terminal, an interface used to track financial trades and values, by using it as a creative, critical and curatorial device to explore the relationship between the art and finance. To contextualise this approach, we offer a history of the Bloomberg Terminal alongside an analysis of the power of interfaces to shape both the user and the represented information. We use the terminal as a way to critique the relationship between art acquisition and financial trading companies. We then describe some outcomes of a series of workshops themed aroun

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Wang, Yani, and Yuqiang Dong. "AIGC Assisted Generation Craft Based on Dialogue Interface." Highlights in Science, Engineering and Technology 57 (July 11, 2023): 242–46. http://dx.doi.org/10.54097/hset.v57i.10008.

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Design requires a new model to help creators continuously generate, iterate, and evaluate ideas, i.e. process reengineering based on the raw materials of generated content, as AIGC becomes increasingly involved in the creative generation of digital content. This paper derives the human-machine collaborative process of AIGC assisted generation based on dialogue interface from the entire process of creating the prototype of usable dialogue interface generated by AIGC and creates a global reference for AI-assisted tool interface design based on particularity.

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Lubart, Todd, Dario Esposito, Alla Gubenko, and Claude Houssemand. "Creativity in Humans, Robots, Humbots." Creativity. Theories – Research - Applications 8, no. 1 (2021): 23–37. http://dx.doi.org/10.2478/ctra-2021-0003.

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Abstract This paper examines three ways that robots can interface with creativity. In particular, social robots which are designed to interact with humans are examined. In the first mode, human creativity can be supported by social robots. In a second mode, social robots can be creative agents and humans serve to support robot’s productions. In the third and final mode, there is complementary action in creative work, which may be collaborative co-creation or a division of labor in creative projects. Illustrative examples are provided and key issues for further discussion are raised.

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Amanda, Zuhreini, Moh Isa Pramana Koesoemadinata, Joko Rurianto, Bimahadi Ilmawan Ronggowarsito, and Fatwa Amin Rais. "PERANCANGAN REDESAIN USER INTERFACE WEBSITE KAMPUNG WISATA KREATIF CIGADUNG BANDUNG MENGGUNAKAN METODE USER CENTERED DESIGN." ANDHARUPA 10, no. 02 (2024): 256–71. http://dx.doi.org/10.33633/andharupa.v10i02.10471.

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Abstrak Industri kreatif menjadi salah satu pilar utama pertumbuhan ekonomi Indonesia, khususnya di Kota Bandung. Oleh karena itu, Kampung Wisata Kreatif telah dihadirkan oleh Pemerintah Kota Bandung sebagai upaya pengembangan pariwisata dengan konsep Community Based Tourism (CBT), salah satunya adalah KWKC (Kampung Wisata Kreatif Cigadung). KWKC merupakan kawasan wisata kreatif dan seni budaya dengan konsep CBT yang berlokasi di Kelurahan Cigadung, Bandung. Meskipun KWKC telah memiliki website resmi, hasil survei menunjukkan bahwa website tersebut masih memiliki kekurangan pada tiga aspek des

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Garg, Dr Sweety, and Mr Adeen Shaikh. "AI Image Generator Utilizing OpenAI and Replit." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 09 (2024): 1–15. http://dx.doi.org/10.55041/ijsrem37566.

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In this research, we leverage OpenAI's DALL- E 3 API in the assistance of generating images from a web interface which has been built on Replit. DALL-E 3 is a very advanced generative AI model due to its ability of generating complex and creative images from textual inputs. We intend to make use of the capabilities of DALL-E 3 and have it available to users in the generation of high-quality, custom images. Replit-the popular cooperative programming platform-secures the setup of the development environment, API request and response management, and user interfaces which allow users to interact w

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Lin, Zhiyu, Rohan Agarwal, and Mark Riedl. "Creative Wand: A System to Study Effects of Communications in Co-creative Settings." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 18, no. 1 (2022): 45–52. http://dx.doi.org/10.1609/aiide.v18i1.21946.

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Recent neural generation systems have demonstrated the potential for procedurally generating game content, images, stories, and more. However, most neural generation algorithms are “uncontrolled” in the sense that the user has little say in creative decisions beyond the initial prompt specification. Co-creative, mixed-initiative systems require user-centric means of influencing the algorithm, especially when users are unlikely to have machine learning expertise. The key to co-creative systems is the ability to communicate ideas and intent from the user to the agent, as well as from the agent t

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Karimi, Mohammad Zia. "A Case Study on (EAVIBA) Enhanced Accessibility for Visually Impaired & Blind Artists using Machine Learning." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 06 (2024): 1–5. http://dx.doi.org/10.55041/ijsrem35763.

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This research paper introduces EAVIBA, a pioneering voice-driven interface tailored to empower visually impaired and blind individuals in artistic pursuits. Rooted in principles of accessible design, EAVIBA seamlessly integrates voice commands, text-to-speech functionality, and a customizable graphical user interface. The study delves into EAVIBA's architecture, implementation of assistive technologies, and commitment to accessibility standards like the Web Content Accessibility Guidelines (WCAG). Through a robust iterative testing process, the paper evaluates the program, soliciting both qual

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Conklin, Darrell, Martin Gasser, and Stefan Oertl. "Creative Chord Sequence Generation for Electronic Dance Music." Applied Sciences 8, no. 9 (2018): 1704. http://dx.doi.org/10.3390/app8091704.

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This paper describes the theory and implementation of a digital audio workstation plug-in for chord sequence generation. The plug-in is intended to encourage and inspire a composer of electronic dance music to explore loops through chord sequence pattern definition, position locking and generation into unlocked positions. A basic cyclic first-order statistical model is extended with latent diatonicity variables which permits sequences to depart from a specified key. Degrees of diatonicity of generated sequences can be explored and parameters for voicing the sequences can be manipulated. Feedba

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Fillis, Ian. "Being Creative at the Marketing/Entrepreneurship Interface: Lessons from the Art Industry." Journal of Research in Marketing and Entrepreneurship 2, no. 2 (2000): 125–37. http://dx.doi.org/10.1108/14715200080001543.

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Graham, Rylan. "Calgary and the 'creative class': The interface between public policy and gentrification." City, Culture and Society 32 (March 2023): 100489. http://dx.doi.org/10.1016/j.ccs.2022.100489.

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Susanto, Eko Heri, Ahmad Faisal Rizal, and I. Putu Indra Wijaya Suwina. "IMPROVING EXAMPLE-PROBLEM-BASED-LEARNING (EPBL) WITH GROW COACHING MODEL AND DESIGN SPRINT TO OPTIMIZE PRE-INCUBATION CURRICULUM: CASE STUDY OF USER INTERFACE DESIGN." TEKNOKOM 6, no. 2 (2023): 69–77. http://dx.doi.org/10.31943/teknokom.v6i2.139.

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Learning to develop user interfaces is one of the subject matter in startup business pre-incubation activities in PT. Tunas Inkubator Creative Startup. The Example-Problem Based Learning (EPBL) learning method is proven to be able to improve students' cognitive abilities (hard skills). However, hard skill competence alone is not enough to measure one's ability. This research aims to improve the hard skill competencies, as well as the soft skills of the tenants. The contribution to this research is that researchers apply the GROW coaching model method to measure tenant motivation and insert des

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Lee, Young S. "Creative workplace characteristics and innovative start-up companies." Facilities 34, no. 7/8 (2016): 413–32. http://dx.doi.org/10.1108/f-06-2014-0054.

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Purpose This study aims to investigate the characteristics of the physical work environment that are known and used in practice to promote creativity for innovative start-up workplaces. The first part of the study identified these characteristics from a content and visual analysis, and examined the current state of implementation of these characteristics in the work environments of innovative start-up companies. The second part of the study examined criticalness and practicality of these characteristics in the workplace with a group of experts in the workplace design, evaluation and management

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Cardoso, Mab. "A dança como interface: um exemplo de práticas criativas em dança com mediação tecnológica." Repertório, no. 28 (December 5, 2017): 313. http://dx.doi.org/10.9771/r.v0i28.25013.

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<p class="p1">Resumo:<span class="Apple-converted-space"> </span></p><p class="p2">Este artigo tem como ponto de partida investigar as práticas criativas no campo da dança com mediação tecnológica e suas imbricações com conceitos da <em>performance</em>. Consciente das potencialidades deste campo emergente e híbrido, este estudo é baseado na observação de algumas práticas artísticas e tem como objetivo refletir acerca do corpo como interface, bem como seus potenciais criativos no campo da arte e tecnologia.<span class="Apple-converted-space"> &lt

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Lohith DK, Sharath M N, and Hemalatha B M. "Metamorphose AI: Creative AI for Media Designs." World Journal of Advanced Engineering Technology and Sciences 15, no. 3 (2025): 1859–65. https://doi.org/10.30574/wjaets.2025.15.3.1022.

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Metamorphose AI is a cutting-edge project developed to revolutionize the way users generate images through artificial intelligence. Utilizing OpenAI's DALL-E-2 model, this platform enables users to create high-quality, precise images based on textual prompts, significantly reducing the need to hire professional photographers or purchase stock images. Built using Django and SQLite, Metamorphose AI features a streamlined user interface that includes secure login functionality, a comprehensive contact form, and an intuitive image generation process. By offering an affordable and efficient solutio

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Halina, Emily, and Matthew Guzdial. "A Demonstration of KiaiTime: A Mixed-Initiative PCGML Rhythm Game Editor." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 17, no. 1 (2021): 240–42. http://dx.doi.org/10.1609/aiide.v17i1.18916.

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Chart creation for rhythm action games is a time consuming task that requires specialized design knowledge. While chart generation systems have been explored in the past, there are currently no co-creative chart authoring systems. In this paper, we present KiaiTime, a mixed-initiative, co-creative PCGML editor for the rhythm game Taiko no Tatsujin. KiaiTime allows the user to interface with an AI partner that acts as a source of guidance and inspiration in the chart creation process.

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Wienroth, Matthias, and Pippa Goldschmidt. "Facilitating Creative Equality in Art-Science: A Methodological Experiment." Leonardo 50, no. 1 (2017): 42–46. http://dx.doi.org/10.1162/leon_a_01058.

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In this article the authors discuss facilitation as a way to develop creative equality in art-science based on their experiences working on an art-science project. They suggest that the space in which representatives from the domains of sciences and arts come together to collaborate is a trading zone in which novel links and relationships can be created. They introduce the notion of “boundary method” to describe facilitation as a method that can endure different meaning-making strategies and meanings employed by stakeholders yet still retain its utility for encouraging creativity at a cross-di

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Krogmeier, Claudia, Esteban García Bravo, and Christos Mousas. "Using Experimental Filmmaking to Create an Engaging Brain-Computer Interface." Proceedings of the ACM on Computer Graphics and Interactive Techniques 6, no. 2 (2023): 1–10. http://dx.doi.org/10.1145/3597624.

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Inspired by storytelling ideas in surrealist creative productions and experimental films, we created a brain-computer interface (BCI) designed to offer users an exercise of the imagination. While many previous BCIs have used simple visual interfaces, we wanted to understand if an open-ended, story-based BCI experience could be helpful for allowing users to effectively interact with the story using their brain activity. We employed experimental storytelling techniques to prompt users to explore new thought patterns and ideas for changing brain activity. In our BCI, users were able to change the

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Tomasetti, Matteo, Bavo Van Kerrebroeck, Marcelo M. Wanderley, Domenico Stefani, and Luca Turchet. "A Virtual Reality Interface for the Creation of 3D Spatial Audio Trajectories." Journal of the Audio Engineering Society 73, no. 7/8 (2025): 481–92. https://doi.org/10.17743/jaes.2022.0215.

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This paper presents SonoSpatia, a virtual reality (VR) system designed for creating 3D spatial audio trajectories. SonoSpatia leverages the immersive capabilities of VR technology to facilitate an intuitive and expressive approach for composers and sound designers willing to control positioning parameters in 3D space via gesture-based interactions. The authors conducted a user study with 12 expert composers, sound engineers, and sound designers to assess the ability of the VR interface to enhance the creative process of spatial audio trajectory creation via a more embodied interaction with the

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Krämer, Sybille. "Übertragen als Transfiguration oder: Wie ist die Kreativität von Medien erklärbar?" Zeitschrift für Medien- und Kulturforschung 1, no. 2 (2010): 77–94. http://dx.doi.org/10.28937/1000107504.

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The social media of the Web can be understood as tools for the personal and social management of knowledge. In this framework, the creative exchange provides an active interface which transforms the empirical and local stocks of knowledge into explicit and globally shared knowledge. In a further step, it allows to transport the memory, once being made explicit, into personal and practically applicable knowledge. This paper presents the vision of a new symbolic medium which would increase the efficiency of creative online-exchange.

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Sagatova, Slavka. "The Impact of globalization on the development of creative industries businesses." SHS Web of Conferences 74 (2020): 04023. http://dx.doi.org/10.1051/shsconf/20207404023.

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The creative industry represents the potential for economic growth worldwide. Even though there is no single definition of it, it can be generally said that these are the economic sectors in which the primary production factor are people, their individual creativity, ability, and talent. Creative industries can also be said to be created at the interface of innovation and culture, where they overlap. The article focuses on the analysis of the creative industries development in the Slovak Republic in the context of the development of creative industries in other European Union countries. Based

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Kępińska, Agata, and Rafał Wiśniewski. "Metaverse and its creative potential for visual arts." Acta Universitatis Lodziensis. Folia Sociologica, no. 85 (July 10, 2023): 57–75. http://dx.doi.org/10.18778/0208-600x.85.04.

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The National Centre for Culture is conducting a foresight research project on the impact of emerging technologies on the arts. The article presents the first findings brought by the analysis of opportunities created by the development of virtual spaces accessible to artists and the public – which are expected to create the Metaverse and promote a new form of ownership, NFT. The text is dedicated to the potential of new tools and media – the positive side of the interface between modern technologies and art. The article offers definitions of the Metaverse, NFT and digital art. Apparently, these

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