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Distributed Creativity in Play Andrew Webb, Katta Spiel, Z Toups, Bill Hamilton, Nic Lupfer, Ross Graeber, Wendy Mackay

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Distributed Creativity in Play Andrew Webb, Katta Spiel, Z Toups, Bill Hamilton, Nic Lupfer, Ross Graeber, Wendy Mackay Distributed Creativity in Play Andrew Webb, Katta Spiel, Z Toups, Bill Hamilton, Nic Lupfer, Ross Graeber, Wendy Mackay To cite this version: Andrew Webb, Katta Spiel, Z Toups, Bill Hamilton, Nic Lupfer, et al.. Distributed Creativity in Play. ACM 2019 - 12th Creativity and Cognition Conference, Jun 2019, San Diego, CA, United States. pp.714-721, 10.1145/3325480.3326554. hal-02276985 HAL Id: hal-02276985 https://hal.archives-ouvertes.fr/hal-02276985 Submitted on 3 Sep 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed Creativity in Play Andrew M. Webb Katta Spiel Abstract Centrum Wiskunde & TU Wien Our objective is to explore distributed forms of creativity Informatica (CWI) Vienna, Austria that arise in play to help guide and foster supportive re- Amsterdam, Netherlands [email protected] search, game design, and technology. This workshop seeks [email protected] to bring together researchers, game designers, and oth- ers to examine theories of creativity and play, game design Z O. Toups Nic Lupfer practices, methods for studying creativity in play, and cre- Bill Hamilton Interface Ecology Lab ative play experiences. Participants will present work, video Computer Science Dept. Texas A&M University prototype, discuss topics, and contribute to outcomes. New Mexico State University [email protected] {z,bill}@cs.nmsu.edu CCS Concepts •Human-centered computing ! Collaborative and so- Ross A. Graeber Wendy E. Mackay cial computing; HCI design and evaluation methods; [email protected] Univ. Paris-Sud, CNRS, Inria, Université Paris-Saclay Author Keywords Orsay, France games; social creativity; collaboration [email protected] Introduction Play and creativity are intertwined. Play involves imagina- tion and curiosity wherein players explore potential actions and realities [25]. This requires divergent thinking [23] and This is the author’s version of the work. It is posted here for your personal use. Not for redistribution. creative choice. In collaborative play, creative contributions are distributed among players. For example, in tabletop The definitive Version of Record was published in Proceedings of the ACM Creativity and Cognition Conference (C&C ’19), June 23–26, 2019, San Diego, CA, USA role-playing games, such as Dungeons & Dragons [3, 20], ©2019 Copyright is held by the owner/author(s). players verbalize actions of their characters, adding to the ACM ISBN 978-1-4503-5917-7/19/06. https://doi.org/10.1145/3325480.3326554 generation of shared narrative. Sawyer and DeZutter iden- tify this as distributed creativity—“where individuals within foresee that little-c and mini-c arise in play as players en- groups contribute ideas often towards a common goal” [26]. gage in personal creative acts with others. This results in social creativity [8] as individuals interact towards cohesive Distributed creativity is not limited to players in the same group play, as in tabletop role-playing games. physical space. Increasingly popular web-based platforms, such as Roll201 (Figure1) and Twitch2 (Figure2), connect When studying distributed creativity, HCI research focuses players from all over the world in shared play experiences. on collaborative, product-oriented definitions and domains They offer opportunities to design for and study distributed [9]. According to Sawyer and DeZutter [26], “understand- creativity in situated and digitally-mediated play contexts. ing distributed creativity requires an empirical focus on the However, we suspect that qualities of these online spaces, moment-to-moment interactional process of the group, and their designs, and associated technologies affect distributed how that collaborative, improvisational process leads to creativity. These spaces promote creative contributions distributed creativity.” We similarly see creativity in play as through designs that increase participant agency or limit processual. For example, even in highly linear video games Figure 1: The Roll20 interface: involvement through technological constraints. For exam- with specific narratives, players choose how to play [1, 25], tool palette in top-left; virtual ple, Twitch’s Clips3 feature enables viewers to creatively making creative choices in how they advance the story. tabletop in middle; and chat on curate interesting play moments during a live stream. Clips right with dice roll results and are shared in the chat, adding to the social play experience. Sociologist and psychologist study the effects of games and non-verbal player conversations. play on creativity [2,5, 12, 24]. A significant emphasis is This workshop explores aspects of distributed creativity in given to how play affects the learning, social growth, and play. We bring together HCI researchers, game designers, creativity of children [12, 24]. Still, the Csikszentmihalyis players, and other interested participants. The primary ob- investigated how adults enter creative flow states in both jectives of this workshop are to: enjoyable work and play [5]. Bowman et al. argue for more studies of play and creativity with the increasing popularity • identify characteristics of distributed creativity in play; of video games [2]. This workshop seeks to bring together • critically reflect on how design and technology draw knowledgeable parties to advance our understandings of upon, enable, limit, or negate these characteristics; distributed and social creativity in play. • share methodologies, practices, and environments for supporting and studying distributed creativity in play; Figure 2: Twitch interface: game Key Topics and Questions play video of online role-playing • foster future collaborations on workshop topics. This workshop explores the following topics and questions. between two characters (left) and Play Contexts with Distributed Creativity viewer chat (right). Related Work Creativity is a hard term to define often leading to mis- We invite submissions that identify one or more contexts guided attempts at broad explanations [7,9]. We consider involving distributed creativity in play. Below are examples. 1https://roll20.net two specific forms of creativity identified by Kaufman and 2https://www.twitch.tv Beghetto [14]: little-c—everyday creativity arising from so- Tabletop games (e.g., Dungeons & Dragons, the board 3https://help.twitch.tv/s/article/ cial situations; and mini-c—“novel and personally meaning- game Pandemic) facilitate distributed creativity. Players how-to-use-clips ful interpretation of experiences, actions, and events.” We engage in collaborative storytelling and problem-solving nario [30]. Subsequently, this form of playful collaboration experiences where creative choice is constrained by rules. has been deemed potentially useful in education [10] as well as participatory design [13]. In role-playing games, players contribute to a story through voicing the actions and speech of characters in an imagi- Game play live streaming, as primarily manifest through the nary world. These games are performative and improvisa- popularity of Twitch, has emerged as a media practice for tional [19]. The story is not entirely free-form; game rules shared play experiences in participatory communities [11]. and mechanics determine outcomes of actions [25]. For Modalities such as text chat and audience polls enable par- Figure 3: Examples of physical example, a player states that their character performs an ticipants to engage in creative choice by making sugges- artifacts used in tabletop acrobatic move to swing from a chandelier. The player rolls tions to remote players [11, 17]. Distributed participants role-playing games: maps, rule dice to determine success or failure. Improvisational cre- contribute creative works that add to game narrative, set- books, tokens, cards, bottle caps, ativity in these games is distributed and mediated by game ting, and community [11, 17]. Other emerging live streaming and imagery. elements and artifacts (Figure3), such as maps and ran- paradigms, such as “Twitch Plays” [17] and audience par- dom generators [31]. ticipation games [28], enable direct participant engagement in creative play. New modalities offer potential to further the In board games, the experience is often (but not always) creative ways distributed audiences participate in play [18]. less free-form and more constrained by game rules [21, 22]. Players make choices within the rules, working toward an Methods for studying creativity (in play) objective. The game’s theme can help lead players to con- We invite works that present methods for studying creativity struct their own narratives during play, a creative process. in play, specifically little-c and mini-c. A general challenge of studying creativity is defining what is being studied. The Recently, digitally mediated play of tabletop games through creative cognition approach considers that creativity consti- online platforms has emerged. Such platforms enable col- tutes a number of different cognitive processes [7]. These laborative play for those who are geographically distributed. processes are associated with
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