Cette thèse porte sur la conception d’interfaces de papier interactif dédiées à la création musicale. Malgré l’apparition d’outils informatique permettant de créer de nouveaux sons ou d’opérer des transformations sur des représentations symboliques de la musique, les compositeurs utilisent toujours le papier pour composer. Le papier interactif rend théoriquement possible la création d’interfaces combinant l’expression sur le papier et la puissance de calcul de l’ordinateur. Cependant, la conception de telles interfaces reste un problème complexe car chaque compositeur développe son propre processus de création, impliquant de nouveaux concepts et de nouvelles représentations musicales. Cette thèse propose l’utilisation de structures personnelles et adaptables sur le papier pour permettre aux compositeurs d’exprimer et d’explorer leurs idées musicales. Trois études conduites avec des compositeurs à l’Ircam (Chapitre 3) s’intéressent aux rôles du papier et de l’ordinateur lors du processus de composition et les possibilités du papier interactif pour l’exploration des idées entre ces deux supports. Je décris des sessions de conception participative (Chapitre 4) qui examinent l’utilisation de représentations musicales formelles pour la création de nouvelles interfaces de papier couplées avec les logiciels de composition assistée par ordinateur. Je présente les Paper Substrates (Chapitre 5), des composants papier qui définissent des structures modulaires pour l’interaction avec des représentations personnelles de données musicales issues d’environnements informatique. Je décris une boîte à outil ainsi qu’une application graphique permettant de développer des interfaces utilisant les Paper Substrates. Des exemples illustrent la création de structures personnelles et de données musicales sur le papier qui peuvent être interprétées par les logiciels de composition assistée par ordinateur. Je présente une étude d’observation structurée conduite avec 12 compositeurs utilisant Polyphony pour composer une pièce électroacoustique (Chapitre 6). Polyphony est une interface qui intègre le papier interactif avec d’autres interfaces pour composer. L’étude a per- mis d’observer et de comparer les différents processus de composition des participants. Enfin, je détaille un projet de recherche et création mené avec le compositeur Philippe Leroux pour la création de sa pièce Quid sit musicus (Chapitre 7). Nous avons conçu de nouveaux systèmes interactifs pour la création de ressource compositionnelles, la synthèse sonore et le contrôle de la spatialisation à partir de tracés effectués sur une partition médiévale. / This thesis focuses on the design of interactive paper interfaces for supporting musical creation. Music composition has been deeply influenced by the computational power brought by computers but despite the use of software to create new sounds or work with symbolic notation, composers still use paper in their creative process. Interactive paper creates new opportunities for combining expression on paper and computation. However, designing for highly individual creative practitioners who use personal musical representations is challenging. In this thesis, I argue that composers need personal and adaptable structures on paper in which they can express and explore musical ideas. I first present three field studies (Chapter 3) with contemporary composers that examined the use of paper and the computer during the composition process and how linking the two media supports exploration of musical ideas. I then describe a participatory design study that investigates the use of formal musical representations (Chapter 4) for creating new paper interfaces that extend computer-aided composition tools. I introduce Paper Substrates (Chapter 5), interactive paper components that provide modular structures for interacting with personal representations of computer-based musical data. I detail tools that we created to develop paper applications with the Paper Substrates approach. Several examples illustrate the creation of personal structures and musical content that can still be interpreted by computer-aided composition software. I then describe a structured observation study with 12 composers who used Polyphony to compose a short electroacoustic piece (Chapter 6). Polyphony is a unified user interface that integrates interactive paper and electronic user interfaces for composing music. The study allowed us to systematically observe and compare their compositional processes. Finally, I report on a research and creation project with the composer Philippe Leroux during the composition of his piece Quid sit musicus (Chapter 7). Several work sessions with the composer and a musical assistant lead to the design of new paper- based interfaces for generating composition material, synthesizing sounds and controlling the spatialization from handwritten gestures from calligraphic gestures over an old manuscript.

This thesis aims to study the design possibilities for supporting explorative form-finding in 3D modeling applications. For today’s many design professions, 3D forms are achieved partly in engagement with digital environments. Use of software has far exceeded final idea execution, extending to the early phases of design work in which the outcome is not predetermined. This insight led designers of interactive systems support sketching and ideating activities by reducing the risk of experimentation and cognitive effort demanded from user. Yet, there has been less emphasis on traditional design and craft practice that acknowledges engagement with materials and effort spent on work as an integral part of creative process.The notion of exploration in the scope of this thesis attempts to incorporate such aspects. Relevant literature about workshop practice in design and craft has been reviewed, as well as examples of CAD technologies that aid designers. In this light, HCI perspectives on the design of creativity support tools and games have been discussed. The thesis work aimed to concretize this background by building a design strategy and an interactive artifact. A 3D form-finding application concept using objects in modeling space to indirectly manipulate geometry, “kfields”, has been developed and evaluated with users at various stages. The thesis concludes by reflecting on the findings of different design stages and proposing further directions for design.

Advancements in creative artificial intelligence (AI) are leading to systems that can actively work together with designers in tasks such as ideation, i.e. the creation, development, and communication of ideas. In human group work, making suggestions and explaining the reasoning behind them as well as comprehending other group member’s explanations aids reflection, trust, alignment of goals and inspiration through diverse perspectives. Despite their ability to inspire through independent suggestions, state-of-the-art creative AI systems do not leverage these advantages of group work due to missing or one-sided explanations. For other use cases, AI systems that explain their reasoning are already gathering wide research interest. However, there is a knowledge gap on the effects of explanations on creativity. Furthermore, it is unknown whether a user can benefit from also explaining their contributions to an AI system. This thesis investigates whether reciprocal explanations, a novel technique which combines explanations from and to an AI system, improve the designers’ and AI’s joint exploration of ideas. I integrated reciprocal explanations into an AI aided tool for mood board design, a common method for ideation. In our implementation, the AI system uses text to explain which features of its suggestions match or complement the current mood board. Occasionally, it asks for user explanations providing several options for answers that it reacts to by aligning its strategy. A study was conducted with 16 professional designers who used the tool to create mood boards followed by presentations and semi-structured interviews. The study emphasized a need for explanations that make the principles of the system transparent and showed that alignment of goals motivated participants to provide explanations to the system. Also, enabling users to explain their contributions to the AI system facilitated reflection on their own reasons. / Framsteg inom kreativ artificiell intelligens (AI) har lett till system som aktivt kan samarbeta med designers under idéutformningsprocessen, dvs vid skapande, utveckling och kommunikation av idéer. I grupparbete är det viktigt att kunna göra förslag och förklara resonemanget bakom dem, samt förstå de andra gruppmedlemmarnas resonemang. Detta ökar reflektionsförmågan och förtroende hos medlemmarna, samt underlättar sammanjämkning av mål och ger inspiration genom att höra olika perspektiv. Trots att system, baserade på kreativ artificiell intelligens, har förmågan att inspirera genom sina oberoende förslag, utnyttjar de allra senaste kreativa AI-systemen inte dessa fördelar för att facilitera grupparbete. Detta är på grund av AI-systemens bristfälliga förmåga att resonera över sina förslag. Resonemangen är ofta ensidiga, eller saknas totalt. AI-system som kan förklara sina resonemang är redan ett stort forskningsintresse inom många användningsområden. Dock finns det brist på kunskap om AI-systemens påverkan på den kreativa processen. Dessutom är det okänt om en användare verkligen kan dra nytta av möjligheten att kunna förklara sina designbeslut till ett AI-system. Denna avhandling undersöker om ömsesidiga förklaringar, en ny teknik som kombinerar förklaringar från och till ett AI system, kan förbättra designerns och AI:s samarbete under utforskningen av idéer. Jag integrerade ömsesidiga förklaringar i ett AI-hjälpmedel som underlättar skapandet av stämningsplank (eng. mood board), som är en vanlig metod för konceptutveckling. I vår implementering använder AI-systemet textbeskrivningar för att förklara vilka delar av dess förslag som matchar eller kompletterar det nuvarande stämningsplanket. Ibland ber den användaren ge förklaringar, så den kan anpassa sin förslagsstrategi efter användarens önskemål. Vi genomförde en studie med 16 professionella designers som använde verktyget för att skapa stämningsplank. Feedback samlades genom presentationer och semistrukturerade intervjuer. Studien betonade behovet av förklaringar och resonemang som gör principerna bakom AI-systemet transparenta för användaren. Höjd sammanjämkning mellan användarens och systemets mål motiverade deltagarna att ge förklaringar till systemet. Genom att göra det möjligt för användare att förklara sina designbeslut för AI-systemet, förbättrades också användarens reflektionsförmåga över sina val.

Creative artificial intelligence (AI) is often explored in terms of machine intelligence on a philosophical basis. As a counter-reaction, there have been calls for user-centered creative AI. This thesis aims to make visible creative practitioners’ needs, values, and ethical perspectives that might inform us on the construction of future creative AI tools. It also discusses the need for pragmatic aesthetics as a holistic design approach. Five artists of different backgrounds were invited to a co-speculative workshop where they expressed their thoughts and imaginings regarding creativity, creative tools, and AI. The results suggest that we need to be mindful of virtue ethics, N-creativity, exploration, intuition, trust, and agency when designing creative AI tools. Furthermore, the findings were used to propose design sensitivities aimed at AI researchers and designers. Future research is needed in order to make conclusions about the practical value of the proposed design sensitivities. / Kreativ artificiell intelligens (AI) undersöks ofta i termer av maskinintelligens med filosofiska grunder. Som en motreaktion har det förordnats mer användarcentrerad kreativ AI. Denna avhandling syftar till att synliggöra kreativa utövares behov, värderingar och etiska perspektiv som kan informera oss om hur framtida kreativa AI-verktyg bör konstrueras. Den diskuterar även behovet av pragmatisk estetik som en holistisk designstrategi. Fem konstnärer av olika bakgrund deltog i en samspekulativ workshop där de uttryckte sina tankar och föreställningar om kreativitet, kreativa verktyg och AI. Resultaten pekar på att dessa verktyg bör designas med begrepp som dygdetik, N-kreativitet, utforskande, intuition, tillit och datainverkan i åtanke. Vidare användes resultaten för att föreslå designkänsligheter riktade till AI-forskare och designers. Vidare forskning krävs för att kunna dra slutsatser kring designkänsligheternas praktiska nytta.

本論文之研究目的為開發一線上合作式創造力學習系統。本文將描述一以遊戲為基礎之創造力思考輔助工具＂Idea Stroming Cube＂。它的目標在於讓學生養成創意思考與典範轉移能力的習慣。此系統會汲取學科專家的知識，使用者歷史記錄，和腦力激盪中的個人創意，提供使用者、目標及情境感知的學習支授。比較相關的教學系統，它更注重於刺激發散情思考之能力。此系統可分為兩種學習模式Base Mode和Agent-Assist Mode：一為提供學科知識學習之輔助，另一為提供學習發散性思考能力之輔助。 本文提出合作式創造力思考輔助之Human-Computer Interaction(HCI)的系統已初步實作完畢，本文並報告了兩個相關的實驗以測試系統效能。本研究的主要結果符合實驗假設，以遊戲情境為基礎之創造力支援系統相較於其他類似系統，更有助於學生學習創造力，另外，籍由適當且適時的智慧型思考輔助Agent，亦能提供學生不同面向的思考觀點，有助於學生用更多觀點學習知識。 / The objective of this research is to develop a Web-based collaborative tool for learning creativity. This research describes a game-based system, Idea Storming Cube, in support of creative thinking. It aims to make people form a creative and Perspective-Modifying thinking habit. Based on theories of this kind support system and prior studies, we propose to integrate exciting game environment and intelligent support mechanism into the creativity thinking support system. The system acquires knowledge from domain expert, user inputs history, and individuals of a brainstorming group, and then provides user-, goal- and context-sensitive supports. Compared to classic tutoring systems, it focuses more on stimulating divergent thinking. The system can be utilized with two distinct support strategies, Basic Mode and Agent-Assist Mode, in order to support different learning objectives. One focus on knowledge learning, the other highlights the divergent thinking ability. The proposed Human-Computer Interaction (HCI) tool for collaborative idea generation has been implemented, and two experiments for preliminary evaluation of the system are also reported in this thesis. The major results of this study show that the game-based brainstorming system with appropriate intelligent support outperforms the other types of systems because the game competition environment can make them concentrate on the brainstorming tasks and let them think more from different view points for learning the knowledge with the support of the peer-like agent.