| 1999 | "Fake" and "Real" creativity using computer aided design: some lessons from Herman Hertzberger. Bryan Lawson |
| 1999 | A CONCEIT: a collaborative mapping in 3 spaces. John Lycette, Greg O'Connor, Darren Tofts, Peter Webb, Christopher Waller |
| 1999 | A framework that supports collective creativity in design using visual images. Kumiyo Nakakoji, Yasuhiro Yamamoto, Masao Ohira |
| 1999 | A proposal for a framework for general multimedia art creation instruments. Kazushi Nishimoto, Kenji Mase |
| 1999 | A self-defining game for one player. Harold Cohen |
| 1999 | Art as metaphor. Bettina Brendal |
| 1999 | Artistic environments of telepresence in the WWW. Luisa Paraguai Donati, Gilbertto Prado |
| 1999 | Cognitive factors in design (tutorial session): basic phenomena in human memory and problem solving. Thomas T. Hewett |
| 1999 | Composing interactive virtual operas. Alain Bonardi, Francis Rousseaux |
| 1999 | Composition analyzer: computer supported composition analysis of masterpieces. Shoji Tanaka, Jun Kurumisawa, Andre Plante, Yuichi Iwadate, Seiji Inokuchi |
| 1999 | Creativity in design activities: the role of analogies in a constrained cognitive environment. Nathalie Bonnardel |
| 1999 | Do engineers and artists make good love objects ? (panel session). Terryl Bacon, Martin Rieser, Constance Fleuriot, Priscilla Heard, Glenn Easy |
| 1999 | Drawing as a function of movement. Michael Quantrill |
| 1999 | Early engagements of creative writers with online media. Sue Thomas |
| 1999 | Emotion recognition and its application to computer agents with spontaneous interactive capabilities. Ryohei Nakatsu, Joy Nicholson, Naoko Tosa |
| 1999 | Exploring Novel ways of interaction in musical performance. Bert Bongers |
| 1999 | From zombies to cyborg bodies: exoskeleton, extra ear and avatars. Stelarc |
| 1999 | Generation of passion spaces from "Tanka" poems. Tsutomu Miyasato |
| 1999 | How do material constraints affect design creativity? Hisataka Noguchi |
| 1999 | Individual and/versus social creativity (panel session). Ernest A. Edmonds, Linda Candy, Geoff Cox, Jacob Eisenstein, Gerhard Fischer, Bob Hughes, Thomas T. Hewett |
| 1999 | Integrating craft materials and computation. Glenn Blauvelt, Thomas Wrensch, Michael Eisenberg |
| 1999 | Introducing creativity to cognition. Linda Candy, Ernest A. Edmonds |
| 1999 | Modelling creative design through conversation analysis. Ricardo Sosa |
| 1999 | Nurturing creativity (panel session). Nigel Birch, James Plummer, Geraint A. Wiggins, Bronac Ferran, Robin Lyons |
| 1999 | Ontology, aesthetics and creativity at the crossroads in information system design. Alberto Faro, Daniela Giordano |
| 1999 | Preliminary observations about music and decentralized environments. Dante Tanzi |
| 1999 | Proceedings of the 3rd Conference on Creativity & Cognition, Loughborough, United Kingdom, October 11-13, 1999 Ernest A. Edmonds, Linda Candy |
| 1999 | Revolution in art: networking painting machine. Jean-Paul Longavesne |
| 1999 | Skunk Works: "speciation" strategies for creativity. Vittorio Mischi |
| 1999 | Supporting creative work tasks: the potential of multimodal tools to support sketching. Jana Z. Sedivy, Hilary Johnson |
| 1999 | Symmetry of igorance, social creativity, and meta-design. Gerhard Fischer |
| 1999 | The Turing test is dead ... Jonathan Bedworth, James Norwood |
| 1999 | The emotion machine: from pain to suffering. Marvin Minsky |
| 1999 | The new metaphysics and the deep structure of creativity and cognition. Mike King |
| 1999 | The split-brain human computer user interface. Gregory P. Garvey |
| 1999 | Thwarting the Web users' expectations. Hélia Vannucchi de Almeida Santos |
| 1999 | User interfaces for creativity support tools. Ben Shneiderman |
| 1999 | What would Ce´zanne think? Carol Strohecker |
| 1999 | Who or what is making the music: music creation in a machine age. Tang-Chun Li |
| 1999 | Wolfgang: "Emotions" plus goals enable learning. Doug Riecken |