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By Simon Colton (auth.), Jon McCormack, Mark d’Inverno (eds.)
This interdisciplinary quantity introduces new theories and ideas on creativity from the views of technology and artwork. that includes contributions from prime researchers, theorists and artists operating in man made intelligence, generative artwork, artistic computing, song composition, and cybernetics, the booklet examines the connection among computation and creativity from either analytic and useful views. each one contributor describes leading edge new methods creativity might be understood via, and encouraged through, computers.
The e-book tackles serious philosophical questions and discusses the foremost matters raised via computational creativity, together with: even if a working laptop or computer can convey creativity independently of its author; what sorts of creativity are attainable in mild of our wisdom from computational simulation, man made intelligence, evolutionary concept and knowledge thought; and even if we will be able to start to automate the assessment of aesthetics and creativity in silico. those very important, usually arguable questions are contextualised through present considering in computational artistic arts perform. prime inventive practitioners speak about their techniques to operating creatively with computational platforms in a various array of media, together with tune, sound paintings, visible artwork, and interactivity.
The quantity additionally encompasses a accomplished assessment of computational aesthetic evaluate and judgement learn, along dialogue and insights from pioneering artists operating with computation as an artistic medium during the last fifty years. A distinguishing function of this quantity is that it explains and grounds new theoretical principles on creativity via useful purposes and artistic practice.
Computers and Creativity will attract theorists, researchers in synthetic intelligence, generative and evolutionary computing, practising artists and musicians, scholars and any reader as a rule drawn to figuring out how desktops can impression upon creativity. It bridges techniques from laptop technological know-how, psychology, neuroscience, visible artwork, tune and philosophy in an obtainable manner, illustrating how desktops are essentially altering what we will be able to think and create, and the way we'd form the creativity of the future.
Computers and Creativity will entice theorists, researchers in man made intelligence, generative and evolutionary computing, training artists and musicians, scholars and any reader typically attracted to realizing how pcs can impression upon creativity. It bridges innovations from machine technological know-how, psychology, neuroscience, visible artwork, track and philosophy in an available means, illustrating how desktops are essentially altering what we will be able to think and create, and the way we would form the creativity of the future.
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Additional info for Computers and Creativity
11. In Krzeczkowska et al. (2010), we used this project to raise issues of intent in generative software. Usually, the intent for a piece is supplied by a human user, possibly through the expression of an aesthetic judgement and/or tailoring the content to fit the intent. However, with the Afghanistan collage, we were not users of the software in the traditional sense. Firstly, the software ran as a timed batch process, hence we didn’t hit the start button. Secondly, we had no idea that the software would find a story about war, and thirdly, we had no idea which keywords it would extract or which images it would retrieve for the collage.
Naturally, this is a very subjective and quite naive breakdown of painterly progression, and is not intended for anything other than directing components within our research programme. As such, it serves its purpose well, and as we will see each component described below fits into one of the parts of this roadmap and contributes to the overall goal of producing an independent artist. For each component, our overriding aim is to implement more sophisticated versions of the software. However, determining what represents an improved program is often one of the more difficult aspects of the project, and we use both engineering standards and feedback from people who view the artworks produced to assess the level of success of each component.
This problem is most naturally split into firstly, the generation of the overall placement of elements within a scene—for instance the positions of trees in a landscape; and secondly, the generation of the individual scene elements—the trees themselves, composed of segments for their trunks, their leaves, and so on. While this split is appealing, we did not develop separate techniques for each aspect. Instead, we implemented a layering system whereby each segment of one segmentation can be replaced by potentially multiple segments repeatedly, and any segmentation generation technique can be used to generate the substitutions.