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2019, ICCC
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5 pages
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This paper introduces experimental research in progress concerning a novel creative software construction method that uses the Engagement-Reflection model and Floyd-Hoare logic. By considering software construction as a creative writing task, we demonstrate how principles from story generation can be applied in software construction.
ACM SIGSOFT Software Engineering Notes, 2009
An NSF sponsored workshop on Creativity and Rationale in Software Design was held at University Park, PA in June, 2008. The participants represented the spectrum of software design, which was reflected in the discussions. This report summarizes the workshop with respect to the discipline of software engineering.
Workshop of the Psychology of Programming …, 2005
The paper outlines a pilot study to investigate whether software authorship 1 could be regarded as a design activity, with special reference to 'reflective practice.' Verbal protocols collected from software authors undertaking a 'real task' indicated that there was merit in studying programming as a design activity-that different forms of reflection did take place, and that the collection of reflections and moments of surprise may lead to a greater understanding of both design and the nature of software authorship. This could be used to inform education and the development of software authoring support tools.
2021 IEEE/ACM 43rd International Conference on Software Engineering: Software Engineering in Society (ICSE-SEIS), 2021
In order to solve today's complex problems in the world of software development, technical knowledge is no longer enough. Previous studies investigating and identifying nontechnical skills of software engineers show that creative skills also play an important role in tackling difficult problems. However, creativity is typically a very vague concept to which everyone gives their own interpretation. Also, there is little research that focuses specifically on creativity in the field of software engineering. To better understand the role of creativity in this field, we conducted four focus groups, inviting 33 experts from four nationally and internationally renowned companies in total. This resulted in 399 minutes of transcripts, further coded into 39 sub-themes grouped into seven categories: technical knowledge, communication, constraints, critical thinking, curiosity, creative state of mind, and creative techniques. This study identifies the added value of creativity, which creative techniques are used, how creativity can be recognized, the reasons for being creative, and what environment is needed to facilitate creative work. Our ultimate goal is to use these findings to instill and further encourage the creative urge among undergraduate students in higher education. Index Terms-creativity, professional skills, industry requirements, software engineering education 'In a sense, creativity can work therapeutically. I wouldn't be here if this work wasn't creative. ' D. Tools and techniques To enable and improve creative work, various tools and techniques are brought forward. They can be categorized under analogies and (external/internal) feedback.
Digital Creativity, 2009
Existing media authoring software programs are generally regarded as offering little support for the earliest stages of the creative process, which have characteristics and needs that are distinct from the later stages. As a step toward addressing this, we present our constructural design philosophy: a set of principles that can be applied to software in any creative medium and under which we believe effective, early-stage creativity tools can be created. We then illustrate the application of these principles with Wheelsong, a complete, constructurally designed, early-stage music composition exploratorium and discuss a selection of musical sketches resulting from its use.
AISB'02 Symposium" AI and Creativity in Arts and Science, 2002
The software design phase is nowadays a development phase requiring more focus from the software engineers. New design methodologies must be developed with the goal of optimising the software design and the resources needed for the development. Software design is still more an art than an engineering task with clearly pre-defined processes and methodologies. Those methodologies that exist are general guidelines, which can be interpreted in several ways according to the context involved. Like architects, software designers frequently use their experience from the development of previous systems to design new ones. Most of the mature engineering fields make the reuse of components a development rule, but, in software engineering, the reuse of components and/or design ideas is not easy, given the conceptual complexity at hand. Thus, intelligent tools capable of supporting software design are needed. These tools must provide not only intelligent search functionalities, so that relevant software pieces are found, but also be able to explore areas of the design search space not usually explored. In this paper we focus in this last issue by presenting a design tool capable of supporting creativity. This tool enables the exploration of regions in the design space not usually used in the generation of designs. Our approach relies on analogical reasoning to do the exploration. We use a general ontology (WordNet) to support this exploration by providing object classification, and an index structure that can be used to perform the search.
Are we really writing software? What do software writers have in common with other professional writers? What can we software developers learn from professional writers? This paper proposes a reflection on such topics using as a reference the book "Six Memos for the Next Millennium", a posthumous essay by the Italian novelist, editor, and literary critic Italo Calvino. A comparison is drawn between such work and the current principles ruling how software should be written and developed, and a claim is made that this is an area worth further exploration. CCS Concepts: • Software and its engineering → Software design engineering; Requirements analysis.
2010
Creativity involves choosing to direct resources toward developing novel ideas. Information technology development, including software engineering, requires creative discourse among team members to design and implement a novel, competitive product that meets usability, performance, and functional requirements set by the customer. In this paper, we present results that correlate metrics of creative collaboration with successful software product development in a Senior Software Projects class that is a capstone course in accredited Computer Science programs. An idea management and reward system, called SEREBRO, provides measurement opportunities to develop metrics of fluency, flexibility, originality, elaboration, and overall creativity. These metrics incorporate multiple perspectives and sources of information into the measurement of creativity software design. The idea management portion of SEREBRO is a Web application that allows team members to initiate asynchronous, creative disc...
2009
Guest Editor's Introduction THE ESSENTIAL TENSION OF CREATIVITY AND RATIONALE IN SOFTWARE DESIGN Creativity and rationale connote two faces of design that are sometimes viewed as complementary: envisioning new worlds through intuitive strokes of innovation versus analyzing reasons and tradeoffs to guide the development of new artifacts and systems. Because it is frequently the case that different practitioners and researchers, and different design disciplines, prize one or the other more highly, there is not only a contrast, but also a lack of integration between creativity and rationale. Yet looking at the two, it also seems they are indivisible: What would be the point of building and/or using rationale in design if doing so were to result in anything other than greater creativity? And almost analogously, what good would be served by cultivating or purporting creativity that could never be interrogated, understood, or deliberately improved and applied, never be explained or conveyed to colleagues, never be passed on to students? On the other hand, this is most definitely not to say that the only reason for rationale in design is to enhance creativity, or that sources of creativity that cannot be explicitly articulated (put into words) have no value. Rather, it is to say that designers and design researchers should want rationales and rationale practices that enhance creativity, and should want to be able to understand and to explain their use of creativity to students, to clients, to users, and to other stakeholders. It is not hard to state how creativity and rationale could fail to have a mutually facilitative relationship. Rationale can easily become an obsession of documentation and formalization, excessively detailing issues, arguments, and alternatives to an extent or in a manner that no one would ever want to revisit, let alone create in the first place. And indeed, rationale practices are often cited as exemplifying a classic rationalist misunderstanding of what design is about and how it moves forward. Rationale practices that suffocate design by enforcing a tedious documentation burden could appropriately be regarded as undermining possibilities for creativity. But creativity has its challenges as well. It is sometimes characterized as necessarily arcane, inherently ineffable, and slightly (or even primarily) mystical. But this attitude unambitiously conflates the nuance and intellectual rigor required to pose and investigate subtle questions with reluctance to pose questions at all. It makes it a point of definition (or
Ds 76 Proceedings of E Pde 2013 the 15th International Conference on Engineering and Product Design Education Dublin Ireland 05 06 09 2013, 2013
This paper describes the value of narrative used with ideation tools in aiding the rapid production of product concepts and designs for masters students of graphics, fine art, product and industrial design. The ideation tools used alongside narrative included elements of divergent and convergent thinking in combination with reverse engineering and functional analysis, and practical prototyping using a range of readily adapted artefacts. Narrative was introduced and used by the students in order to ensure the development of a context and purpose for the product, artefact or system developed or proposed and to stimulate original product concepts, ideas and thinking. The concept of narrative is familiar in design. Here however the concept was reinforced using structures associated with fictional narrative. Reverse engineering exploring the deconstruction and identification of function for each component in a product was used to aid students ensure practicality in their idea implementation. This paper describes positive experiences resulting from this activity, with a particular focus on the value of narrative in developing robust concepts. The use of physical prototyping provided tangible and instant feedback for divergent and convergent phases of idea development.
Computer Science Review, 2023
Storytelling has always been a crucial, perhaps constitutive part of our lives. All communities have told stories. In recent years, software development is becoming increasingly recognized as a creative process that has a lot in common with the process of writing or telling a story. Aim: The objectives of this paper are: (a) to review and aptly classify current principles and approaches that describe software development as a form of storytelling; (b) to describe and understand the heuristic function of storytelling in software development; and (c) to discuss and single out the principles of storytelling that may play a role, hence constitute significant improvements to the practices of software developers. Method: To achieve these goals and objectives we conducted a systematic literature review of relevant scientific papers and subsequently analyzed them by means of a textual narrative synthesis. Results: More specifically, we retrieved, screened and examined 51 relevant publications. The synthesis we conducted allowed us to understand and better visualize the many interesting correspondences and analogies between those two seemingly different processes, namely storytelling and software development. In particular, in our work, we focused on describing and analyzing how certain principles underlying storytelling can be adapted and applied in current practices of software engineering. Conclusion: This paper presents and re-elaborates in a critical fashion and from a different angle a substantial body of knowledge and research recently carried out in the software development literature.
A Non-Peer Reviewed, Unreferenced, and Unpublished Parody, 2023
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