In studies of design, for example, we see the reshaping of the significant creative events. As he considered smaller tubular frames he came to see the possibility of filling the enclosed space in and, then, of abandoning the traditional structure entirely. The power of the unaided, individual mind is highly overrated - much of our human intelligence and creativity results from the collective memory of humankind and of the artefacts and technology surrounding us. Rather than studying humans in isolation, we have to develop models of distributed cognition and new role distributions between humans and computers. To exploit artefact, group and institutional memories and to bring design concepts into unseen and untaught, yet relevant contexts, new representations are needed to serve the task at hand.
Human knowledge is tacit and it only surfaces in the context of specific tasks.
This implies that problems are not given, requiring the integration of problem framing and problem solving. In our research over the last decade we have tried to create computational artefacts supporting these challenges. Computers were 'invented' more as productivity aids, which has made them more or less useless in the creative domains. The tools of the creative businesses are typically paper and pencil, white boards and physical objects. Ideas are initially sketched out in a rough form.