3. Creativity & Cognition 1999: Loughborough, UK

• Linda Candy, Ernest A. Edmonds:
  Introducing creativity to cognition. 3-6
  
• Marvin Minsky:
  The emotion machine: from pain to suffering. 7-13
  
• Harold Cohen:
  A self-defining game for one player. 14
  
• Ben Shneiderman:
  User interfaces for creativity support tools. 15-22
  
• Stelarc:
  From zombies to cyborg bodies: exoskeleton, extra ear and avatars. 23
  
• Thomas T. Hewett:
  Cognitive factors in design (tutorial session): basic phenomena in human memory and problem solving. 26-27
  
• Terryl Bacon, Martin Rieser, Constance Fleuriot, Priscilla Heard, Glenn Easy:
  Do engineers and artists make good love objects ? (panel session). 28-29
  
• Nigel Birch, James Plummer, Geraint A. Wiggins, Bronac Ferran, Robin Lyons:
  Nurturing creativity (panel session). 30-35
  
• Ernest A. Edmonds, Linda Candy, Geoff Cox, Jacob Eisenstein, Gerhard Fischer, Bob Hughes, Thomas T. Hewett:
  Individual and/versus social creativity (panel session). 36-39
  
• Jana Z. Sedivy, Hilary Johnson:
  Supporting creative work tasks: the potential of multimodal tools to support sketching. 42-49
  
• Glenn Blauvelt, Thomas Wrensch, Michael Eisenberg:
  Integrating craft materials and computation. 50-56
  
• Tang-Chun Li:
  Who or what is making the music: music creation in a machine age. 57-62
  
• Gregory P. Garvey:
  The split-brain human computer user interface. 63-67
  
• Shoji Tanaka, Jun Kurumisawa, Andre Plante, Yuichi Iwadate, Seiji Inokuchi:
  Composition analyzer: computer supported composition analysis of masterpieces. 68-75
  
• Bert Bongers:
  Exploring Novel ways of interaction in musical performance. 76-81
  
• Hisataka Noguchi:
  How do material constraints affect design creativity? 82-87
  
• Dante Tanzi:
  Preliminary observations about music and decentralized environments. 88-92
  
• Mike King:
  The new metaphysics and the deep structure of creativity and cognition. 93-100
  
• Vittorio Mischi:
  Skunk Works: "speciation" strategies for creativity. 101-107
  
• Kazushi Nishimoto, Kenji Mase:
  A proposal for a framework for general multimedia art creation instruments. 108-115
  
• Gerhard Fischer:
  Symmetry of igorance, social creativity, and meta-design. 116-123
  
• Alberto Faro, Daniela Giordano:
  Ontology, aesthetics and creativity at the crossroads in information system design. 124-131
  
• Carol Strohecker:
  What would Ce´zanne think? 132-134
  
• Ryohei Nakatsu, Joy Nicholson, Naoko Tosa:
  Emotion recognition and its application to computer agents with spontaneous interactive capabilities. 135-143
  
• Alain Bonardi, Francis Rousseaux:
  Composing interactive virtual operas. 144-147
  
• Luisa Paraguai Donati, Gilberto Prado:
  Artistic environments of telepresence in the WWW. 148-151
  
• John Lycette, Greg O'Connor, Darren Tofts, Peter Webb, Christopher Waller:
  A CONCEIT: a collaborative mapping in 3 spaces. 152-157
  
• Nathalie Bonnardel:
  Creativity in design activities: the role of analogies in a constrained cognitive environment. 158-165
  
• Kumiyo Nakakoji, Yasuhiro Yamamoto, Masao Ohira:
  A framework that supports collective creativity in design using visual images. 166-173
  
• Bryan Lawson:
  "Fake" and "Real" creativity using computer aided design: some lessons from Herman Hertzberger. 174-179
  
• Ricardo Sosa:
  Modelling creative design through conversation analysis. 182-183
  
• Tsutomu Miyasato:
  Generation of passion spaces from "Tanka" poems. 184-186
  
• Sue Thomas:
  Early engagements of creative writers with online media. 187-188
  
• Bettina Brendal:
  Art as metaphor. 189-190
  
• Jean-Paul Longavesne:
  Revolution in art: networking painting machine. 191-192
  
• Jonathan Bedworth, James Norwood:
  The Turing test is dead ... 193-194
  
• Michael Quantrill:
  Drawing as a function of movement. 195-196
  
• Doug Riecken:
  Wolfgang: "Emotions" plus goals enable learning. 197-198
  
• Hélia Vannucchi de Almeida Santos:
  Thwarting the Web users' expectations. 199-200