The Inspiration Machine: Computational Creativity in Poetry and Jazz (original) (raw)
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Artificial intelligence and the arts: toward computational creativity
2016
(EurAI). He serves on a variety of panels and advisory committees for public and private institutions based in the USA and Europe. MORE ABOUT THE AUTHOR + Opening image: Martial Raysse America, America (1964) Neon, painted metal 2.4 × 1.65 × 0.45 m Centre Pompidou-Musée national d'art moderne-Centre de création industrielle, Paris, France. Ramón López de Mántaras Arti cial Intelligence and the Arts: Toward Computational Creativity With this understanding in mind, an operational, and widely accepted, definition of creativity is: "A creative idea is a novel and valuable combination of known ideas." In other words, physical laws, theorems, musical pieces can be generated from a finite set of existing elements and, therefore, creativity is an advanced form of problem solving that involves memory, analogy, learning, and reasoning under constraints, among others, and is therefore possible to replicate by means of computers. This article addresses the question of the possibility of achieving computational creativity through some examples of computer programs capable of replicating some aspects of creative behavior. Due to space limitations we could not include other interesting areas of application such as: storytelling (Gervás, 2009), poetry (Montfort et al., 2014), science (Langley et al., 1987), or even humor (Ritchie, 2009). Therefore, the paper addresses, with different levels of detail, representative results of some achievements in the fields of music and visual arts. The reason for focusing on these artistic fields is that they are by far the ones in which there is more activity and where the results obtained are most impressive. The paper ends with some reflections on the recent trend of democratization of creativity by means of assisting and augmenting human creativity. For further reading regarding computational creativity in general, I recommend the AI Magazine special issue on Computational Creativity (Colton et al., 2009), as well as the books
Computational Creativity and Its Cultural Impact
The Meaning of Creativity in the Age of AI, 2022
Advances in artificial intelligence (AI) and deep learning during the past decade have paved the way for a technology wide dissemination of which could have a considerable impact on our culture and society in the near future. In the present essay, I will state and defend two theses about computational creativity: applications of creative AI may bring about a conceptual shift in our understanding of authorship; and applications of creative AI may bring about an epistemic crisis regarding the evidential status of audio and visual recordings.
A Shift In Artistic Practices through Artificial Intelligence
arXiv (Cornell University), 2023
The explosion of content generated by Artificial Intelligence models has initiated a cultural shift in arts, music, and media, where roles are changing, values are shifting, and conventions are challenged. The readily available, vast dataset of the internet has created an environment for AI models to be trained on any content on the web. With AI models shared openly, and used by many, globally, how does this new paradigm shift challenge the status quo in artistic practices? What kind of changes will AI technology bring into music, arts, and new media?
Creativity in the era of artificial intelligence
ArXiv, 2020
Creativity is a deeply debated topic, as this concept is arguably quintessential to our humanity. Across different epochs, it has been infused with an extensive variety of meanings relevant to that era. Along these, the evolution of technology have provided a plurality of novel tools for creative purposes. Recently, the advent of Artificial Intelligence (AI), through deep learning approaches, have seen proficient successes across various applications. The use of such technologies for creativity appear in a natural continuity to the artistic trend of this century. However, the aura of a technological artefact labeled as intelligent has unleashed passionate and somewhat unhinged debates on its implication for creative endeavors. In this paper, we aim to provide a new perspective on the question of creativity at the era of AI, by blurring the frontier between social and computational sciences. To do so, we rely on reflections from social science studies of creativity to view how curren...
The Creative Computer as Romantic Hero? Computational Creativity Systems and Creative Personæ
2012
Abstract A popular definition of computational creativity is that it consists in behaviour that would be regarded as creative if performed by humans. This raises the question of which humans, as there are many different styles of human creative behaviour. This paper unpacks a number of ways in which human artistic creativity can be characterised, compares them with the kinds of creative actions found in computational creativity, and explores some aspects of human creativity that are underrepresented in computational creativity systems.
A Digital Aesthetics? Artificial Intelligence and the Future of the Art
Artificial intelligence has brought about significant changes in various creative domains, sparking discussions about the nature of art and its authenticity in the era of AI. Some scholars assert that the computer monitor now serves as a canvas, a brush, a musical instrument, and even an art tutor, leading us to explore deeper connections between AI and creativity. However, in this presentation, we wish to emphasize the humanistic dimension of creative processes once more. we acknowledge the role of AI in enhancing creative endeavors, but we firmly believe that human creativity remains paramount in the production of artistic works. The current notion of machines replacing artists is, in our view, more of a media sensation than a reality. Examining the history of electronic arts, our paper argues that claims of AI's artistic superiority are not novel; they echo similar trends from the past. The current enthusiasm mirrors earlier media frenzies. While the sciences have made significant strides in unraveling the mysteries of the human brain, our understanding of the intricacies of our remarkably creative minds, their origins, and their fulfillment in our brains This is an open access article distributed under the terms of the Creative Commons Attribution Non-Commercial License (CC BY NC), which permits distribution and reproduction in any medium, provided the original work is properly cited and is not used for commercial purposes.
Art, Creativity and the Potential of Artificial Intelligence
Arts, 2019
Our essay discusses an AI process developed for making art (AICAN), and the issues AI creativity raises for understanding art and artists in the 21st century. Backed by our training in computer science (Elgammal) and art history (Mazzone), we argue for the consideration of AICAN’s works as art, relate AICAN works to the contemporary art context, and urge a reconsideration of how we might define human and machine creativity. Our work in developing AI processes for art making, style analysis, and detecting large-scale style patterns in art history has led us to carefully consider the history and dynamics of human art-making and to examine how those patterns can be modeled and taught to the machine. We advocate for a connection between machine creativity and art broadly defined as parallel to but not in conflict with human artists and their emotional and social intentions of art making. Rather, we urge a partnership between human and machine creativity when called for, seeing in this collaboration a means to maximize both partners’ creative strengths.
COMPUTATIONAL CREATIVITY OR AUTOMATED INFORMATION PRODUCTION - Balkan Journal of philosophy
Balkan Journal of philosophy - Vol 15, Issue 11, 2023
Balkan Journal of Philosophy, Volume 15, Issue 1, 2023. Special Issue Creativity After Automation. https://www.pdcnet.org/bjp/content/bjp\_2023\_0015\_0001\_0013\_0022 Algorithms and automated learning systems have been successfully applied to produce images, pieces of music, or texts that are appealing to humans and that are often compared to artworks. Computational technologies are able to find surprising and original solutions–new patterns that humans cannot anticipate– but does this mean we ascribe to them the kind of creativity that is expressed by human artists? Even though AI can successfully detect humans’ preferences as well as select the objects that satisfy taste, can we ascribe to them the capacity of recognizing the intrinsic value of artworks? To answer these questions, I am first going to explain the kind of creativity that is expressed by contemporary predictive systems, then, in the second part of this paper, I will try to show the difference between the creativity of algorithms and the creativity of artists by expanding on Deleuze’s reflections.
(Un)creative Artificial Intelligence: A Critique of 'Artificial Art'
2020
I The arguments that follow are situated within a larger project entitled "Critique of Algorithmic Rationality." That project, drawing deliberately from Immanuel Kant, is an attempt to move beyond the technological, social or cultural critiques of digital rationalities usually found in social, media and cultural theories and take a critical look at the validity of algorithmic approaches. It explores the limitations of the performance and purview of algorithmic schematics in the realm of art and creativity.
This paper focuses on explicit attempts at developing artificial intelligence in the production of art that generate outcomes similar to, or even technically superseding, the works of human artists. We aim at revealing the underlying discourses that equate art production with transformation of information, artists with input/output systems, and artistic creativity with an unlimited and autonomous generation of art-like outcomes. As a point of departure, we begin from an exposition of Margaret Boden’s account of creativity and proceed by examining different arguments to the effect that computers can be truly creative, primarily those offered by Boden (2004, 2010). We question what the assumptions, operative in the discourse on artificial or computational creativity, entail. AI-agents can produce creative outcomes because they implement our best models of creativity. By implementing these models, however, AI-agents evidence a particular understanding of what art is and what constitutes artistic production. This understanding does not fully conform to how contemporary artistic practices are perceived and valued. As a result, we argue, better models to frame artistic AI and computational creativity are needed to fully appreciate the developments in this field and their articulation within the existing art world.