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Creating creativity: user interfaces for supporting innovation
Open accessAbstract
A challenge for human-computer interaction researchers and user interf ace designers is to construct information technologies that support creativity. This ambitious goal can be attained by building on an adequate understanding of creative processes. This article offers a four-phase framework for creativity that might assist designers in providing effective tools for users: (1)Collect: learn from provious works stored in libraries, the Web, etc.; (2)Relate: consult with peers and mentors at early, middle, and late stages, (3)Create: explore, compose, evaluate possible solutions; and (4)Donate: disseminate the results and contribute to the libraries. Within this integrated framework, this article proposes eight activities that require human-computer interaction research and advanced user interface design. A scenario about an architect illustrates the process of creative work within such an environment.
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“While clearly intended to augment creativity, this puts mixed-initiative interfaces at odds with the traditional design patterns of creativity support systems, which include being maximally unobtrusive in order to promote and sustain user engagement [51].”
From When is a Tool a Tool? User Perceptions of System Agency in Human–AI Co-Creative Drawing (2023) · cites this paper as [51]
In the citing paper
“Almost by defnition, mixed-initiative systems violate the principle of maximal unobtrusiveness that has long been a hallmark design principle for creativity support systems [51].”
From When is a Tool a Tool? User Perceptions of System Agency in Human–AI Co-Creative Drawing (2023) · cites this paper as [51]
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“…work, consultation with others working on related topics, implementation of new (commercial) applications (which in turn challenge the development and improvement of the algorithms), exploration of new ideas, and, last but not least, the dissemination of results to science (Shneiderman, 2000).”
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“The importance of storing and returning to earlier states and activities is commonly emphasized for supporting work efficiency during creative activities (Elam & Mead, 1990; Hewett & DePaul, 2000; Shneiderman, 2000).”
BackgroundGabriel, R. P., Chen, J., & Nichols, J. W. (2015) · Creativity and Cognition · doi:10.1145/2757226.2757229 · Cited by 18
“InkWell can be seen as supporting the Create phase of Shneiderman’s genex model [30].”
MethodLim, C., Lee, J., & Lee, S. (2014) · Asia Pacific Education Review · doi:10.1007/s12564-014-9334-9 · Cited by 18
“More generally, Shneiderman (2000) described three perspectives on creativity: the inspirationalist, structuralist, and situationalist, each of which requires certain knowledge or skills.”
User-based assessment of website creativity: a review and appraisal
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“Inspirationalists claim that ‘luck favours the prepared mind’ and thus they study how ‘prepara-tion and incubation lead to moments of illumination’ (Shneiderman 2000, p. 116).”
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BackgroundHarmonyCut: Supporting Creative Chinese Paper-cutting Design with Form and Connotation Harmony
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“We assume that the most appropriate interactiveness model for the portal’s IA is based on the Situationalist support model as described by Shneiderman (2000), because children do not have the social and intellectual context necessary to process interaction based on Shneiderman’s Inspirationalist or…”
MethodInformation management for creative stimuli in engineering design
Howard, T. J. (2008) · The University of Bath Online Publications Store (The University of Bath) · Cited by 17
Aitkin, A. L. (2004) · ANU Open Research (Australian National University) · doi:10.25911/5d7a2ae6cdb8a · Cited by 17
“197 using simulations students can engage in pedagogically useful activities such as making predictions, testing ideas and assumptions, experimenting with scenarios, and discovering how manipulation of one variable affects other variables (Jimoyiannis & Komis, 2001; Shneiderman, 2000; van Rosmalen & Hensgens, 1995; We…”
BackgroundCai, Z., Han, A., Zhou, X., Gazulla, E. D., & Peppler, K. (2025) · Proceedings of the 24th Interaction Design and Children · doi:10.1145/3713043.3731506 · Cited by 17
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Stimulating Creativity through Opportunistic Software Development
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Supporting Non-Musicians? Creative Engagement with Musical Interfaces
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“…proposed a four-phase framework for creativity: i) collect, learn from previous works; ii) relate, consult with peers and mentors at early, middle, and late stages; iii) create, explore, compose, evaluate possible solutions; iv) donate, disseminate the results and contribute to the libraries [41].”
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“works; relate by consulting with peers and mentors at early, middle, and late stages; create, explore, compose, and evaluate possible solutions; donate and disseminate the results and contribute to libraries [93].”
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The effect of explicit instructions in idea generation studies
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“Much has been researched on how such software tools might be structured and interacted with, and what form the inspirational stimuli should take (Shneiderman, 2000; Töre Yargin & Crilly, 2015).”
BackgroundDevelopment of Creative Process Assessment Scale (CPAS)
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“Likewise, Shneiderman illustrated searching and browsing digital libraries as an initial phase of the creative process involving digital tools [60, 61].”
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“In light of the thinking of Ben Shneiderman [7–9], where he emphasized the importance of generating the greatest possible number of ideas, because among the many ideas generated, there would be good ideas, and we could detect them, and in the light of our analysis, we point to an improvement in…”
BackgroundSupporting creativity in designing story authoring tools
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“In fact, we go even further and refer to an inspiring perspective on creativity given by Vygotsky [6] that follows a very similar path as Shneiderman’s but provides us with a stronger theoretical base.”
BackgroundKarger, D. R., & Quan, D. (2004) · CHI Conference Extended Abstracts on Human Factors in Computing Systems (CHI EA) · doi:10.1145/985921.986013 · Cited by 14
“Shneiderman points out in his paper that the ability to assemble collections of objects enables certain creative processes [ 11 ].”
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Terry, M. A., & Mynatt, E. D. (2002) · Communications of the ACM · doi:10.1145/570907.570942 · Cited by 14
“Side-Views can also be used as what-if tools [7] that allow users to experiment with their data without committing to any changes of their original data.”
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“Shneirder-man [27] argues that it is a challenge to construct information technologies that support creativity and the goal of developing new CST can be obtained by building upon an adequate understanding of creative process.”
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“... are useful for collaborative creativity, what needs to be improved, and how can we recognize whether a CSCW-application is feasible or not in this context? Obviously, a technical collaboration support is needed which goes beyond those kinds of software features that promote individual creativity, e.g., by improvin…”
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“…at least in part, to be computer-based (see S.Kaur Institute of Psychological Sciences University of Leeds Leeds LS2 9JT UK s.kaur@leeds.ac.uk e.g., Shneiderman, 2000), thereby providing designers with: i) access to large scale resources via the internet and other commercial databases; ii)…”
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Combinediff: a GenAI creative support tool for image combination exploration
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“More recent descriptions, coined by Shneiderman [15] as ‘structuralist,’ attempt to offer an explanation to emergence, describing conscious idea generation as the deliberate connection of matrices of thought.”
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“Schneiderman [14] proposed 8 steps of creativity:”
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“This framework is a high-level conceptual outline of activities which he argues are key to creativity (viz. collect, relate, create, donate), and are therefore important to support through design (Shneiderman 2000).”
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Börner, K., & Lin, Y.-C. (2002) · International Conference on Information Visualisation (IV) · doi:10.1109/iv.2001.942050 · Cited by 12
Design issues for supporting collaborative creativity.
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Jess+: AI and robotics with inclusive music-making
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Interaction design as a collective creative process
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INTERACTIVE TECHNOLOGY FOR CREATIVITY IN EARLY CHILDHOOD EDUCATION
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A Cross-organizational Ecology for Virtual Communities of Practice in Higher Education
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“More recently, investigations directed at understanding creative online collaboration have also been emerging, building upon works on humancomputer interaction to support creative pursuits [72].”
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“Later research inspired by this approach, suggests a generic framework called “Genex framework” [6], that describes four phases a creative process will most likely pass through, “Collect”, which regards searching and browsing digital libraries, visualizing data and processes, “Relate”, “Create” and “Donate”.”
MethodConstructivism, virtual reality and tools to support design
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“Design barri ers arise from the fact that design is intrinsically difficult; th erefore a system must scaffold user creativity in overcoming the bar riers [24, 40].”
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“[53][38][3][21][46][44]), to the creative person (e.”
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“Interfaces that enable users to concentrate on their tasks and minimize distractions of managing the interface are substantially more effective and appreciated by users [16].”
BackgroundSelf-citationCreativity in Science and Science Education: A Response to Ghassib
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“Such programmes can work (Osborn, 1957; Torrance, 1975; Shneiderman, 2000; Moseley et al., 2005) but they are not devices which make someone creative.”
BackgroundKnowledge Management for Computational Problem Solving
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“The identification of new design knowledge by fluent interaction between designers and knowledge (Candy and Edmonds, 1997), flexibility in defining requirements and constraints, integrity of the whole design process with creative methods and tools that can assist the creation of new design solution spaces with several…”
BackgroundImmersive Sampling: Exploring Sampling for Future Creative Practices in Media-Rich, Immersive Spaces
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“Distributed interdisciplinary collaborations have been studied from a CSCW perspective at several levels of analysis, including organizational forms [17], interfaces [42], and human infrastructure [33].”
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“Edmonds et al. (1999); Fischer (2003), Mamykina (2002) and Shneiderman (2000) have put emphasis on collaboration and the social interaction/dialogue to initiate creativity.”
BackgroundHow Creatively Are We Teaching and Assessing Creativity in Computing Education
Groeneveld, W., Becker, B. A., & Vennekens, J. (2022) · ACM Technical Symposium on Computer Science Education (SIGCSE) · doi:10.1145/3478431.3499360 · Cited by 9
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“The great challenge for CSS is to enable more people to be more creative more of the time [Shneiderman 2000].”
BackgroundSearching for creativity: How people search to generate new ideas
Chavula, C., Choi, Y., & Rieh, S. Y. (2023) · Journal of the Association for Information Science and Technology · doi:10.1002/asi.24857 · Cited by 12
“In the field of human-computer interaction (HCI), Shneiderman (2000) characterized searching as one of the activities in his four-phased framework of creativity: collect, relate, create, and donate.”
BackgroundCreativity in Digital Design: Differences from Print-Based Graphic Design
Souto, V. T. (2017) · Lecture notes in computer science · doi:10.1007/978-3-319-58634-2_54 · Cited by 8
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“Visualizations of interrelated ideas and concepts, commonly known as concept mapping are being reported among the most successful techniques for knowledge inquiry in design education and practices [36, 69], creativity [87], and collaborative sense-making [52].”
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To Copy or Not to Copy: The Influence of Instructions in Design Fixation Experiments
Vasconcelos, L. A., Chen, C., Taysom, E., & Crilly, N. (2017) · Springer eBooks · doi:10.1007/978-3-319-44989-0_20 · Cited by 7
“Much has been researched on how such software tools might be structured and interacted with, and what form the inspirational stimuli should take [33, 34].”
BackgroundAltman, R. L., Lin, C., & Earnest, M. A. (2023) · JAMIA Open · doi:10.1093/jamiaopen/ooad005 · Cited by 7
Semantically-Enabled Project-Based Collaborative Learning of Software Patterns
Jeremić, Z., Jovanović, J., & Gašević, D. (2009) · IEEE International Conference on Advanced Learning Technologies (ICALT) · doi:10.1109/icalt.2009.106 · Cited by 7
“Later research inspired by this approach, suggests a genetic framework called “Genex framework” [7], that describes four phases a creative process will most likely pass through, “Collect”, which regards searching and browsing digital libraries, visualizing data and processes, “Relate”, “Create” and “Donate”.”
MethodGesture-Based Interaction: Concept Map and Application Scenarios
Gallud, J. A., Villanueva, P. G., Tesoriero, R., Sebastián, G., Molina, S., & Tudela, A. N. (2010) · International Conference on Advances in Human-Oriented and Personalized Mechanisms, Technologies and Services (CENTRIC) · doi:10.1109/centric.2010.10 · Cited by 7
Creativity in citizen science: All for one and one for all
Jennett, C. I., Eveleigh, A., Mathieu, K., Ajani, Z., & Cox, A. L. (2013) · Cited by 8
Eureka! past, present, and future of creativity research in HCI
Farooq, U. (2006) · XRDS Crossroads The ACM Magazine for Students · doi:10.1145/1144366.1144374 · Cited by 7
Tsai, M.-J., & Chen, D.-J. (2007) · doi:10.6688/jise.2007.23.4.15 · Cited by 7
“ware engineering area have been seeking better solutions to aid system developers to build UI [4-7, 19-23].”
BackgroundGetting Creative with Participatory Design
Warr, A., & O'Neill, E. J. (2004) · Cited by 7
Usability and Transferability of a Visualization Methodology for Medical Data
Pohl, M., Rester, M., & Wiltner, S. (2007) · Springer eBooks · doi:10.1007/978-3-540-76805-0_15 · Cited by 7
“[12] pointed out the importance of information visualization for „creating creativity“.”
Background‘Talking about (my) Generation’: Creativity, Practice, Technology & Talk
Martin, D., O’Neill, J., & Randall, D. W. (2009) · Springer eBooks · doi:10.1007/978-1-84882-854-4_10 · Cited by 7
“Schneiderman, 2000 ) or the vast li terature that seeks to model creativity (c.f.”
BackgroundAn investigation into the development of a Creativity Support Tool for advertising
Opas, T. (2008) · Tuwhera (Auckland University of Technology) · Cited by 7
Experience, context-of-use and the design of product usability
Chamorro‐Koc, M. (2007) · Faculty of Built Environment and Engineering · Cited by 7
Usability as a constituent of end-user computing satisfaction
Bengts, M. (2004) · Jyväskylä University Digital Archive (University of Jyväskylä) · Cited by 7
Metadata
- Authors
- Shneiderman, B.
- Affiliations
- University of Maryland, College Park (US)
- Corresponding author
- Shneiderman, Ben
- ORCID
- Shneiderman, Ben
- Venue
- ACM Transactions on Computer-Human Interaction
- Published
- 2000-03
- Volume
- 7
- Issue
- 1
- Pages
- 114-138
- ISSN
- 1073-0516 (ISSN-L)
- 1557-7325
- OpenAlex
- W2136525681
- Cited by
- 432
- References
- 73
- Citations by year
- 2026: 14 · 2025: 14 · 2024: 18 · 2023: 17 · 2022: 5 · 2021: 11 · 2020: 13 · 2019: 10 · 2018: 25 · 2017: 18 · 2016: 12 · 2015: 19 · 2014: 17 · 2013: 21 · 2012: 15
- FWCI
- 34.74
- Type
- journal article
- Language
- en
- Open access
- bronze
- doi.org
- Locations
- ACM Transactions on Computer-Human Interaction (publishedVersion)
- Topics
- Physical Sciences › Engineering › Mechanical Engineering › Design Education and Practice
- Social Sciences › Psychology › Experimental and Cognitive Psychology › Creativity in Education and Neuroscience
- Physical Sciences › Computer Science › Human-Computer Interaction › Usability and User Interface Design
- Keywords
- creativity support, creative process, user interface design, knowledge sharing, design framework
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