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|a Creativity and Rationale; Contents; Contributors; Chapter 1: Creativity and Rationale: The Essential Tension; 1.1 Introduction; 1.2 A Workshop on Creativity and Rationale in Software Design; 1.3 This Book; References; Chapter 2: Critical Conversations: Feedback as a Stimulus to Creativity in Software Design; 2.1 Introduction; 2.2 Historical Background; 2.3 A Prescriptive and Process-Oriented Approach; 2.4 Ideation and Evaluation: From Separation to Intertwining; 2.4.1 Ideation and Evaluation in Design Rationale; 2.4.2 The Separation of Ideation from Evaluation
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|a 2.4.2.1 The Separation of Ideation and Evaluation in Approaches to Creativity2.4.2.2 The Separation of Ideation and Evaluation in Rationale Research; 2.4.3 The Intertwining of Ideation and Evaluation in Design Discussion; 2.5 Design: From Planning to Situated Cognition; 2.5.1 Two Views of Design; 2.5.1.1 Rittel's View of Design as Planning; 2.5.1.2 Schön's View of Design as Situated Cognition; 2.5.1.3 Implications of the Two Views; 2.5.2 From Viewing Design as Planning to Viewing It as Situated Cognition; 2.5.2.1 Limitations of MIKROPLIS; 2.5.2.2 Ideas for PHIDIAS
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|a 2.5.2.3 Unexpected Problems in Creating PHIDIAS2.5.2.4 CRACK; 2.5.2.5 JANUS and PHIDIAS; 2.5.2.6 From Argumentative Planning to Reflective Practice; 2.5.3 Software Design as Situated Cognition; 2.5.3.1 How Our Experiences Differ from Rittel's Description of Design; 2.5.3.2 How Feedback from Implementation Led to New Design Ideas; 2.5.3.3 How Feedback from Use Led to New Design Ideas; 2.5.4 Extending Schön's Theory to Feedback from Implementation and Use; 2.6 Implications for Rationale That Promotes Design Creativity; 2.6.1 Critical Conversations That Promote Creativity in Software Design
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|a 2.6.2 What Rationale Needs to Do to Support Critical Conversations2.7 Conclusions and Future Work; References; Chapter 3: A Micro View of Design Reasoning: Two-Way Shifts Between Embodiment and Rationale; 3.1 Introduction; 3.2 Analyzing the Process of Designing: Moves and Arguments; 3.2.1 Units of Analysis: Moves and Arguments; 3.3 Design Reasoning at the Level of Moves; 3.4 Design Reasoning at the Level of Arguments: Embodiment and Rationale; 3.5 Embodiment-Rationale Shifts; 3.5.1 Shift Index; 3.5.2 Creativity and Multi-Modal Reasoning in Design; 3.6 In Conclusion; References
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|a Chapter 4: Evaluating Creativity4.1 Introduction; 4.2 Creativity and Creativity in Design; 4.2.1 Creativity Research; 4.2.2 Creativity in Design; 4.2.3 Can Creativity Be Evaluated?; 4.3 Evaluation; 4.3.1 Evaluation and Human-Computer Interaction; 4.3.2 Evaluation, Design Rationale and Reflective Practice; 4.4 Dimensions of Creativity and Evaluation: A Multi-dimensional Model; 4.5 Actors and Elements for Evaluating Creativity; 4.5.1 People as Creators: Who Is Involved in Creativity?; 4.5.1.1 Studies Related to Creator Capability
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|a Creativity and rationale comprise an essential tension in design. They are two sides of the coin; contrary, complementary, but perhaps also interdependent. Designs always serve purposes. They always have an internal logic. They can be queried, explained, and evaluated. These characteristics are what design rationale is about. But at the same time designs always provoke experiences and insights. They open up possibilities, raise questions, and engage human sense making. Design is always about creativity. Creativity and Rationale: Enhancing Human Experience by Design comprises 19 complementary chapters by leading experts in the areas of human-computer interaction design, sociotechnical systems design, requirements engineering, information systems, and artificial intelligence. Researchers, research students and practitioners in human-computer interaction and software design will find this state of the art volume invaluable.
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Creativity and Rationale; Contents; Contributors; Chapter 1: Creativity and Rationale: The Essential Tension; 1.1 Introduction; 1.2 A Workshop on Creativity and Rationale in Software Design; 1.3 This Book; References; Chapter 2: Critical Conversations: Feedback as a Stimulus to Creativity in Software Design; 2.1 Introduction; 2.2 Historical Background; 2.3 A Prescriptive and Process-Oriented Approach; 2.4 Ideation and Evaluation: From Separation to Intertwining; 2.4.1 Ideation and Evaluation in Design Rationale; 2.4.2 The Separation of Ideation from Evaluation, 2.4.2.1 The Separation of Ideation and Evaluation in Approaches to Creativity2.4.2.2 The Separation of Ideation and Evaluation in Rationale Research; 2.4.3 The Intertwining of Ideation and Evaluation in Design Discussion; 2.5 Design: From Planning to Situated Cognition; 2.5.1 Two Views of Design; 2.5.1.1 Rittel's View of Design as Planning; 2.5.1.2 Schön's View of Design as Situated Cognition; 2.5.1.3 Implications of the Two Views; 2.5.2 From Viewing Design as Planning to Viewing It as Situated Cognition; 2.5.2.1 Limitations of MIKROPLIS; 2.5.2.2 Ideas for PHIDIAS, 2.5.2.3 Unexpected Problems in Creating PHIDIAS2.5.2.4 CRACK; 2.5.2.5 JANUS and PHIDIAS; 2.5.2.6 From Argumentative Planning to Reflective Practice; 2.5.3 Software Design as Situated Cognition; 2.5.3.1 How Our Experiences Differ from Rittel's Description of Design; 2.5.3.2 How Feedback from Implementation Led to New Design Ideas; 2.5.3.3 How Feedback from Use Led to New Design Ideas; 2.5.4 Extending Schön's Theory to Feedback from Implementation and Use; 2.6 Implications for Rationale That Promotes Design Creativity; 2.6.1 Critical Conversations That Promote Creativity in Software Design, 2.6.2 What Rationale Needs to Do to Support Critical Conversations2.7 Conclusions and Future Work; References; Chapter 3: A Micro View of Design Reasoning: Two-Way Shifts Between Embodiment and Rationale; 3.1 Introduction; 3.2 Analyzing the Process of Designing: Moves and Arguments; 3.2.1 Units of Analysis: Moves and Arguments; 3.3 Design Reasoning at the Level of Moves; 3.4 Design Reasoning at the Level of Arguments: Embodiment and Rationale; 3.5 Embodiment-Rationale Shifts; 3.5.1 Shift Index; 3.5.2 Creativity and Multi-Modal Reasoning in Design; 3.6 In Conclusion; References, Chapter 4: Evaluating Creativity4.1 Introduction; 4.2 Creativity and Creativity in Design; 4.2.1 Creativity Research; 4.2.2 Creativity in Design; 4.2.3 Can Creativity Be Evaluated?; 4.3 Evaluation; 4.3.1 Evaluation and Human-Computer Interaction; 4.3.2 Evaluation, Design Rationale and Reflective Practice; 4.4 Dimensions of Creativity and Evaluation: A Multi-dimensional Model; 4.5 Actors and Elements for Evaluating Creativity; 4.5.1 People as Creators: Who Is Involved in Creativity?; 4.5.1.1 Studies Related to Creator Capability, 4.5.1.2 Evaluating People as Creators: Artists, Designers, Participants, Performers, Creativity and rationale comprise an essential tension in design. They are two sides of the coin; contrary, complementary, but perhaps also interdependent. Designs always serve purposes. They always have an internal logic. They can be queried, explained, and evaluated. These characteristics are what design rationale is about. But at the same time designs always provoke experiences and insights. They open up possibilities, raise questions, and engage human sense making. Design is always about creativity. Creativity and Rationale: Enhancing Human Experience by Design comprises 19 complementary chapters by leading experts in the areas of human-computer interaction design, sociotechnical systems design, requirements engineering, information systems, and artificial intelligence. Researchers, research students and practitioners in human-computer interaction and software design will find this state of the art volume invaluable. |
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Carroll, John M. 1950- (DE-588)129004111 (DE-627)387601015 (DE-576)187792658 aut, Creativity and Rationale Enhancing Human Experience by Design edited by John M. Carroll, London Springer 2013, Online-Ressource (VIII, 453 p. 70 illus, digital), Text txt rdacontent, Computermedien c rdamedia, Online-Ressource cr rdacarrier, Human–Computer Interaction Series 20, SpringerLink Bücher, Description based upon print version of record, Creativity and Rationale; Contents; Contributors; Chapter 1: Creativity and Rationale: The Essential Tension; 1.1 Introduction; 1.2 A Workshop on Creativity and Rationale in Software Design; 1.3 This Book; References; Chapter 2: Critical Conversations: Feedback as a Stimulus to Creativity in Software Design; 2.1 Introduction; 2.2 Historical Background; 2.3 A Prescriptive and Process-Oriented Approach; 2.4 Ideation and Evaluation: From Separation to Intertwining; 2.4.1 Ideation and Evaluation in Design Rationale; 2.4.2 The Separation of Ideation from Evaluation, 2.4.2.1 The Separation of Ideation and Evaluation in Approaches to Creativity2.4.2.2 The Separation of Ideation and Evaluation in Rationale Research; 2.4.3 The Intertwining of Ideation and Evaluation in Design Discussion; 2.5 Design: From Planning to Situated Cognition; 2.5.1 Two Views of Design; 2.5.1.1 Rittel's View of Design as Planning; 2.5.1.2 Schön's View of Design as Situated Cognition; 2.5.1.3 Implications of the Two Views; 2.5.2 From Viewing Design as Planning to Viewing It as Situated Cognition; 2.5.2.1 Limitations of MIKROPLIS; 2.5.2.2 Ideas for PHIDIAS, 2.5.2.3 Unexpected Problems in Creating PHIDIAS2.5.2.4 CRACK; 2.5.2.5 JANUS and PHIDIAS; 2.5.2.6 From Argumentative Planning to Reflective Practice; 2.5.3 Software Design as Situated Cognition; 2.5.3.1 How Our Experiences Differ from Rittel's Description of Design; 2.5.3.2 How Feedback from Implementation Led to New Design Ideas; 2.5.3.3 How Feedback from Use Led to New Design Ideas; 2.5.4 Extending Schön's Theory to Feedback from Implementation and Use; 2.6 Implications for Rationale That Promotes Design Creativity; 2.6.1 Critical Conversations That Promote Creativity in Software Design, 2.6.2 What Rationale Needs to Do to Support Critical Conversations2.7 Conclusions and Future Work; References; Chapter 3: A Micro View of Design Reasoning: Two-Way Shifts Between Embodiment and Rationale; 3.1 Introduction; 3.2 Analyzing the Process of Designing: Moves and Arguments; 3.2.1 Units of Analysis: Moves and Arguments; 3.3 Design Reasoning at the Level of Moves; 3.4 Design Reasoning at the Level of Arguments: Embodiment and Rationale; 3.5 Embodiment-Rationale Shifts; 3.5.1 Shift Index; 3.5.2 Creativity and Multi-Modal Reasoning in Design; 3.6 In Conclusion; References, Chapter 4: Evaluating Creativity4.1 Introduction; 4.2 Creativity and Creativity in Design; 4.2.1 Creativity Research; 4.2.2 Creativity in Design; 4.2.3 Can Creativity Be Evaluated?; 4.3 Evaluation; 4.3.1 Evaluation and Human-Computer Interaction; 4.3.2 Evaluation, Design Rationale and Reflective Practice; 4.4 Dimensions of Creativity and Evaluation: A Multi-dimensional Model; 4.5 Actors and Elements for Evaluating Creativity; 4.5.1 People as Creators: Who Is Involved in Creativity?; 4.5.1.1 Studies Related to Creator Capability, 4.5.1.2 Evaluating People as Creators: Artists, Designers, Participants, Performers, Creativity and rationale comprise an essential tension in design. They are two sides of the coin; contrary, complementary, but perhaps also interdependent. Designs always serve purposes. They always have an internal logic. They can be queried, explained, and evaluated. These characteristics are what design rationale is about. But at the same time designs always provoke experiences and insights. They open up possibilities, raise questions, and engage human sense making. Design is always about creativity. Creativity and Rationale: Enhancing Human Experience by Design comprises 19 complementary chapters by leading experts in the areas of human-computer interaction design, sociotechnical systems design, requirements engineering, information systems, and artificial intelligence. Researchers, research students and practitioners in human-computer interaction and software design will find this state of the art volume invaluable., Computer science, Software engineering, Computer Science, Human-computer interaction, Computer software Development, Creative ability in technology, Konferenzschrift (DE-588)1071861417 (DE-627)826484824 (DE-576)433375485 gnd-content, s (DE-588)4116521-4 (DE-627)104616377 (DE-576)20950224X Software Engineering gnd, DE-101, s (DE-588)4125909-9 (DE-627)105736422 (DE-576)209580607 Mensch-Maschine-Kommunikation gnd, (DE-627), 9781447141105, Buchausg. u.d.T. Creativity and rationale London : Springer, 2013 viii, 453 Seiten (DE-627)1617188557 (DE-576)448877961 9781447141105 1447160932 1447141105 9781447160939, https://doi.org/10.1007/978-1-4471-4111-2 Verlag Volltext, http://dx.doi.org/10.1007/978-1-4471-4111-2 Resolving-System lizenzpflichtig Volltext, (DE-627)722259123, http://dx.doi.org/10.1007/978-1-4471-4111-2 DE-Ch1, DE-Ch1 epn:3354059435 2012-12-21T09:53:05Z, http://dx.doi.org/10.1007/978-1-4471-4111-2 Zum Online-Dokument DE-Zi4, DE-Zi4 epn:3354059478 2012-12-07T14:32:25Z, http://dx.doi.org/10.1007/978-1-4471-4111-2 DE-520, DE-520 epn:3354059516 2012-12-21T09:53:05Z |
| spellingShingle |
Carroll, John M., Creativity and Rationale: Enhancing Human Experience by Design, Creativity and Rationale; Contents; Contributors; Chapter 1: Creativity and Rationale: The Essential Tension; 1.1 Introduction; 1.2 A Workshop on Creativity and Rationale in Software Design; 1.3 This Book; References; Chapter 2: Critical Conversations: Feedback as a Stimulus to Creativity in Software Design; 2.1 Introduction; 2.2 Historical Background; 2.3 A Prescriptive and Process-Oriented Approach; 2.4 Ideation and Evaluation: From Separation to Intertwining; 2.4.1 Ideation and Evaluation in Design Rationale; 2.4.2 The Separation of Ideation from Evaluation, 2.4.2.1 The Separation of Ideation and Evaluation in Approaches to Creativity2.4.2.2 The Separation of Ideation and Evaluation in Rationale Research; 2.4.3 The Intertwining of Ideation and Evaluation in Design Discussion; 2.5 Design: From Planning to Situated Cognition; 2.5.1 Two Views of Design; 2.5.1.1 Rittel's View of Design as Planning; 2.5.1.2 Schön's View of Design as Situated Cognition; 2.5.1.3 Implications of the Two Views; 2.5.2 From Viewing Design as Planning to Viewing It as Situated Cognition; 2.5.2.1 Limitations of MIKROPLIS; 2.5.2.2 Ideas for PHIDIAS, 2.5.2.3 Unexpected Problems in Creating PHIDIAS2.5.2.4 CRACK; 2.5.2.5 JANUS and PHIDIAS; 2.5.2.6 From Argumentative Planning to Reflective Practice; 2.5.3 Software Design as Situated Cognition; 2.5.3.1 How Our Experiences Differ from Rittel's Description of Design; 2.5.3.2 How Feedback from Implementation Led to New Design Ideas; 2.5.3.3 How Feedback from Use Led to New Design Ideas; 2.5.4 Extending Schön's Theory to Feedback from Implementation and Use; 2.6 Implications for Rationale That Promotes Design Creativity; 2.6.1 Critical Conversations That Promote Creativity in Software Design, 2.6.2 What Rationale Needs to Do to Support Critical Conversations2.7 Conclusions and Future Work; References; Chapter 3: A Micro View of Design Reasoning: Two-Way Shifts Between Embodiment and Rationale; 3.1 Introduction; 3.2 Analyzing the Process of Designing: Moves and Arguments; 3.2.1 Units of Analysis: Moves and Arguments; 3.3 Design Reasoning at the Level of Moves; 3.4 Design Reasoning at the Level of Arguments: Embodiment and Rationale; 3.5 Embodiment-Rationale Shifts; 3.5.1 Shift Index; 3.5.2 Creativity and Multi-Modal Reasoning in Design; 3.6 In Conclusion; References, Chapter 4: Evaluating Creativity4.1 Introduction; 4.2 Creativity and Creativity in Design; 4.2.1 Creativity Research; 4.2.2 Creativity in Design; 4.2.3 Can Creativity Be Evaluated?; 4.3 Evaluation; 4.3.1 Evaluation and Human-Computer Interaction; 4.3.2 Evaluation, Design Rationale and Reflective Practice; 4.4 Dimensions of Creativity and Evaluation: A Multi-dimensional Model; 4.5 Actors and Elements for Evaluating Creativity; 4.5.1 People as Creators: Who Is Involved in Creativity?; 4.5.1.1 Studies Related to Creator Capability, 4.5.1.2 Evaluating People as Creators: Artists, Designers, Participants, Performers, Creativity and rationale comprise an essential tension in design. They are two sides of the coin; contrary, complementary, but perhaps also interdependent. Designs always serve purposes. They always have an internal logic. They can be queried, explained, and evaluated. These characteristics are what design rationale is about. But at the same time designs always provoke experiences and insights. They open up possibilities, raise questions, and engage human sense making. Design is always about creativity. Creativity and Rationale: Enhancing Human Experience by Design comprises 19 complementary chapters by leading experts in the areas of human-computer interaction design, sociotechnical systems design, requirements engineering, information systems, and artificial intelligence. Researchers, research students and practitioners in human-computer interaction and software design will find this state of the art volume invaluable., Computer science, Software engineering, Computer Science, Human-computer interaction, Computer software, Development, Creative ability in technology, Konferenzschrift, Software Engineering, Mensch-Maschine-Kommunikation |
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373364423 |
| title |
Creativity and Rationale: Enhancing Human Experience by Design |
| title_auth |
Creativity and Rationale Enhancing Human Experience by Design |
| title_full |
Creativity and Rationale Enhancing Human Experience by Design edited by John M. Carroll |
| title_fullStr |
Creativity and Rationale Enhancing Human Experience by Design edited by John M. Carroll |
| title_full_unstemmed |
Creativity and Rationale Enhancing Human Experience by Design edited by John M. Carroll |
| title_short |
Creativity and Rationale |
| title_sort |
creativity and rationale enhancing human experience by design |
| title_sub |
Enhancing Human Experience by Design |
| title_unstemmed |
Creativity and Rationale: Enhancing Human Experience by Design |
| topic |
Computer science, Software engineering, Computer Science, Human-computer interaction, Computer software, Development, Creative ability in technology, Konferenzschrift, Software Engineering, Mensch-Maschine-Kommunikation |
| topic_facet |
Computer science, Software engineering, Computer Science, Konferenzschrift, Software Engineering, Mensch-Maschine-Kommunikation, Human-computer interaction, Computer software, Development, Creative ability in technology |
| url |
https://doi.org/10.1007/978-1-4471-4111-2, http://dx.doi.org/10.1007/978-1-4471-4111-2 |
