Arias, E. Transcending the individual human mind—Creating ing access to novel technologies and the participation shared understanding through collaborative design. Benkler, Y. Careful logs of tool usage and audio or Markets and Freedom. Yale University Press, New Haven, Candy, L. Explorations in Art and Technology. The 4. Csikszentmihalyi, M. Creativity—Flow and the Psychology of Discovery close linkage of researchers and users violates tradi- and Invention.
Fischer, G. Distances and diversity: Sources for social creativity. In Pro- tional experimental design principles, but it seems ceedings of Creativity and Cognition, London, April , — Florida, R. Comple- 7. Giaccardi, E. Creativity and Evolution: A Metadesign Per- mentary analyses from usage logs, interviews, surveys, spective. Digital Creativity, forthcoming. Kouzes, R. Collaboratories: Doing sci- ence on the Internet.
IEEE Computer 29, 8 , 40— National Research Council. Beyond Productivity: Information Technology, perceived validity. Innovation, and Creativity. National Academy Press, Washington, D. In order Elisa Giaccardi elisa. Creativity sup- creative practice in the arts. This offers an exciting and chal- port systems can support the user by encouraging exploration lenging opportunity for computer scientists, software engi- and enhancing collaboration and if technology developers neers, and interface designers.
To guide their efforts for the design with creative cognition in mind and recognize the vital audience of artistic end users, developers will need to know role of the social context of creativity, the tools they develop more about innovative uses of technology by new media will be more effective. Innovation Taking the focus on creativity support further, there are is the process of creating something new that is then adopted in today many examples of creativity enhancing systems being practice.
We need to find ways of drawing more attention to this developed by artists working with new media [2]. Some aspect of our work and placing concerns for innovation and cre- artists are creative power users who need to access the full ativity more centrally in the capability of the com- canon of methods and puter: they either perform terms we use.
For innova- programming tasks or tion to take place, however, collaborate closely with complex social, organiza- programmers. This kind tional, and cultural factors of artist user is a special must be harnessed; on the kind of programmer need- other hand, strategies for ing dynamic and flexible supporting creativity are software environments. This is the primary Marks, a musician com- focus of this sidebar.
Musi- applying the principle of cians have described it as rather like playing with a partner. What better different disciplines can not only lead to new tools for creative way forward than to begin by focusing our attention on indis- expression but also yield new insights into principles that can putably creative application domains and how they meet the inform the design of innovative digital tools.
One aspect of his method demand for more effective computer systems? As an example, involves developing the code during sessions in which the consider image manipulation and well-developed applications musicians use the system. This process involves developing such as Photoshop, which have achieved widespread success the code or parts of it with the musicians as they explore. The use of a multi-layered approach [11] is pow- Johnston likes to call his software constructs toys, things with erful in the way it enables the user to start with a basic set of which people constructively play.
Making art systems might facilities and go deeper in as and when more functionality is seem a little esoteric and making games rather limited, but needed. This enables the user to focus on the essentials of the making creative toys opens up new opportunities for explo- creative task without the hindrance of having to grapple with ration and collaboration through playfulness [7].
In the former case, the artist requires systems by creative practitioners in the arts, music, literature, more than application-level software to fully support the work.
The arrival of complex art systems has an instrument design language [9]. Artists in many media use opened up new avenues that are impacting our thinking about such systems to build instruments, or software environments, what is possible and desirable. We are already familiar with how that need to be extended, personalized, or integrated.
What is computing can impact the creative arts, but now we see the often needed is a context-dependent environment.
This is a lively two-way process that benefits both com- environments that then enable the artist to explore their partic- munities. Art is impacting technology and technology is ular concerns. In collaboration with Prix Nica winner Yasunao impacting art. On a wide front exciting changes are in the air. The recent work of artists as piece of code can be constructed in order to help move the idea- power users follows the evolutionary trend of artists beginning generation process forward [10].
Creative practitioners spend with their use of the computer as a tool, and more recently as much important effort on exploration and problem finding.
This raw material that can be easily modified for creative applica- requires a fluid engagement with the materials at hand—much tions. The next step beyond software as material is to view of this is software.
The need for dynamic, flexible, and complete software 1. Brooks, F. The computer scientist as toolsmith II. ACM 39, 3 Mar. Because these envi- 2. Cycling Tools for new media; www. Denning, P. Great principles of computing, Commun. ACM 46, 11 this poses key challenges for future technologies.
Edmonds, E. Developing interactive art using visual program- ming. Stephanis and J. Jacko, Eds. Lawrence Erlbaum, London, , — As well as pointing to a specific focus in software development 6. Fishwick, P. An introduction to aesthetic computing. Aesthetic Com- puting. Johnston, A. Partial reflections. Leonardo Transactions need to develop and extend the vocabulary we use to discuss 40, 5 Oct. Jonas Lowgren suggests we need to regu- 8. Articulating the use qualities of digital designs. Fish- wick, Ed.
Instead, he 9. Lyon, E. Once a candidate paper was found we read the abstract to validate the criteria: 1 the paper must deal with a proposal for CAREs and 2 the paper must be published in a recognized scientific database i.
Moreover, we compared the list of papers we obtained with those included in a similar literature review publication [7]. Analyzing carefully each paper, we extracted and identified the creativity technique that is proposed and used in the paper. The techniques are classified according to two dimensions, product i. A technique is representation-oriented if it seeks to stimulate creativity by introducing a specific manner for describing the result of the requirements elicitation task. It is process-oriented if it defines a specific manner for handling the requirements elicitation task.
We have selected 23 papers that present creativity approaches for requirements elicitation. They are presented in Appendix 1 and are numbered A1, A2, etc. From this set of papers, we have identified 30 different creativity techniques that are explicitly defined and used in these studies. The techniques are presented here according to the two perspectives: product and process. For each technique, we provide a brief definition, and when available, a short example that illustrates the applicability of the technique.
This information is synthesized from the corresponding paper in Appendix 1. These techniques focus on the means by which requirements are represented. Creativity is expected to be stimulated because models help in capturing requirements in original and innovative ways. We present the process-oriented techniques according to three subcategories: organizational, cognitive and psychological.
Techniques in this category concern the way the requirements elicitation process is to be organized. We find here well-known techniques such as creativity workshops and brainstorming sessions; other more specific techniques seek to take stakeholders out of the usual brainstorming protocol and create new settings for collectively exploring the requirements elicitation problem.
These techniques are generally combined with other techniques from the representation perspective e. This category includes the largest number of techniques. This is easily explained by the fact that creativity is essentially a cognitive ability [13]. Some of these techniques are renown in other fields of research, e. We identified only one technique in this category. The techniques we have presented browse a large spectrum of ideas for stimulating creativity and helping requirements engineering in finding ways to take stakeholders out of conventional settings.
For maximum efficacy, these techniques need to be combined together. Indeed, most of the studies combine many techniques; only 5 papers rely on one single technique. On the other hand, a small subset of techniques e. Topic maps, Cultural probing, etc. Nevertheless, the profusion of creativity techniques illustrates their growing importance for the requirement engineering community. With no doubt, the main advantage is the amount of requirements generated in a short time.
On the other hand, the main drawback of these techniques is the difficulty to implement in industrial settings due to the fact that a lot of resources and effort are required, which results expensive for companies.
Indeed, participants of the experiments often reported having difficulty with using some these techniques.
Furthermore, some authors argued that due to time-to-market constraints, there was insufficient time for creative thinking during requirements elicitation activities.
These advantages and limitations should be considered by researchers and practitioners when selecting CAREs. Likewise, techniques limitations introduce important challenges to be faced by researchers and practitioners in the future. Considering papers in appendix 1, it is necessary to highlight the work of Prof. Maiden and his research group who are by far the most prolific authors in this study with 7 articles The proposals of Prof. Maiden range from to ; this gives us a measure of his permanent contributions to the field.
Other outstanding authors of our study are: Berry et al. In order to explore recent advances in Creativity-based Approaches for Requirements Elicitation CAREs , we have conducted a literature review and identified a set of 30 techniques to support creativity in requirements elicitation.
Inspired by the framework of Nguyen and Shanks [9] , these techniques were characterized according to two perspectives: product and process. The process perspective is specialized further to capture organizational, cognitive and psychological facts of the requirements elicitation process. Some of these techniques are well-known for requirements elicitation; however, most of them are new and illustrate the growing interest of the research community. Although some techniques have been applied on real world projects and in an industrial context, for most of these techniques, the available evidence is insufficient to demonstrate their feasibility and added value.
More experimental and empirical research about creativity techniques for requirements elicitation is needed. His main interest area is software engineering with an emphasis in requirements engineering. He can be reached at: aldrin. His research interests include models, method and tools for IS development, e-learning and e-government. He published his work is in various journals, e. By using this website you consent to the placing of cookies on your computer in accordance with our Privacy Policy.
RE Magazine. Articles Comments Authors Search. By search term. Previous Article. A Literature Review. Print Mail. Advertisement IT solutions for your business!
Process optimization via profound consulting and innovative solution concepts. Leave a comment. A key technique Delegation of requirement verification. A key technique for more mature requirements management.
Read Article. Show all related articles. I disagree I agree. Please enable JavaScript to use this website without any issue. Definition: a topic map consists of a set of nodes, linked by associations. A node may fill a specific role in an association. The representation mechanism also supports the subclass relation and the instance-of relation [A11] , [22].
Other examples can be found in [22] [22]. Definition: consists in the use of goal models during RE activities as part of a creativity methodology guided by tool-support [A7]. Whether or not this particular idea is right is less relevant to me. Her original assumption though is very relevant that what we do is a creative process. I think it is what differentiates a true product management from someone who just elicits requirements. We take care to protect your email and other information in the same way we would want our own personal information protected.
At any time you can manage your subscription by clicking on the email preferences link at the footer of our emails.
0コメント