The present paper outlines an action theory of creativity and substantiates this approach by investigating creative expression in five different domains. We propose an action framework for the analysis of creative acts built on the assumption that creativity is a relational, inter-subjective phenomenon. This framework, drawing extensively from the work of Dewey (1934) on art as experience, is used to derive a coding frame for the analysis of interview material. The article reports findings from the analysis of 60 interviews with recognized French creators in five creative domains: art, design, science, scriptwriting, and music. Results point to complex models of action and inter-action specific for each domain and also to interesting patterns of similarity and differences between domains. These findings highlight the fact that creative action takes place not “inside” individual creators but “in between” actors and their environment. Implications for the field of educational psychology are discussed.

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Most interactive scenarios are based on informal specifications, so that it is not possible to formally verify properties of such systems. We advocate the need for a general and formal model aiming at ensuring safe executions of interactive multimedia scenarios. Interactive scores (is) is a formalism based on temporal constraints to describe interactive scenarios. We propose new semantics for is based on timed event structures (TES). With such a semantics, we can specify more properties of the system, in particular, properties about execution traces, which are difficult to specify as constraints. We also present an operational semantics of is based on the non-deterministic timed concurrent constraint calculus and we relate such a semantics to the TES semantics. With the operational semantics, we can describe the behaviour of scores whose timed object durations can be arbitrary integer intervals.

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In this article, we consider the possibility of mixing two main paradigms of electroacoustic music: the writing-oriented and the performance-oriented paradigms.We show that these two opposing paradigms are the consequence of two corresponding conceptions of time. In addition, we assume that the temporal aspects of a performer's interpretation of a musical composition can be linked to both paradigms. Based on this theoretical study, we propose a formalism for composing pieces of electroacoustic music that can be interpreted in performance.

Interactive Scores (IS) is a formalism for composing and performing interactive multimedia scenarios. In IS, the composer defines temporal relations (TRs) between temporal objects (TOs) in order to specify the temporal organization of the scenario. During execution, the performer may trigger interaction points to modify the star/stop times of TOs, while the system guarantees that all the TRs are satisfied. IS is implemented in the tool I-SCORE and its semantics is formally defined as a Hierarchical Time Stream Petri Net (HTSPN). However, this model is not able to represent branching behaviors that are necessary to properly deal with applications such as video games and museum installations. Moreover, HTSPN does not provide tools for the automatic verification of critical properties of scenarios. In this work we define a semantics for IS based on Timed Automata (TA) and we show that such model yields to a complete framework to compose, verify and execute interactive scenarios. More precisely, we show that: 1) our model is able to deal with conditional statements in IS; 2) efficient verification techniques can be now used to reason about the written scenarios; and 3) our model allows for a directly implementation on a reconfigurable device, thus guaranteeing a real-time performance.

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