An Enactive Model of Creativity for Computational Collaboration and Co-creation (original) (raw)

Five C's for Human–Computer Co-Creativity — An Update on Classical Creativity Perspectives

2020

This paper presents a domain independent framework for discussing human-computer co-creativity. It expands on Rhodes' (1961) four perspectives on creativity and their later adaptations to socio-cultural views of creativity and computational creativity. The new framework allows the attribution of creativity not only to individual creators but to a collective of creators, recognising the importance of meta-level communication to the creative collaboration, and the variety of creative contributions that emerge during a co-creative process. It also elaborates on the different communities and contexts surrounding co-creative collaboration and thus facilitates the analysis, evaluation and study of humancomputer co-creativity by allowing researchers to describe and situate their work in the field.

Computer-assisted creativity:Emulation of cognitive processes on a multi-agent system

For creativity to be computed, it is paramount to understand the cognitive processes involved, which have been elucidated by either surveying creative people or discovering regions of the human brain that activate during creative endeavors. From this scattering, the author proposes a holistic framework to describe them and their interaction. Hence, creativity can be regarded as a meta process which coordinates autonomous cognitive processes such as planning or divergent thinking. To represent the interplay of cognitive processes around creativity, models are developed in the Agent Unified Modeling Language (AUML). Then, the execution of each process is delegated to autonomous agents and a global coordination protocol is devised. The implementation of the MAS is done on the JADE platform. Two modules of the resultant system are exemplified: opus planning and divergent exploration. The coordination protocol is also presented. The domain in which the software system is tested is the creation of musical pieces.

Modalities, Styles and Strategies: An Interaction Framework for Human–computer Co-Creativity

2020

Co-creativity research is thriving in a wide variety of domains, but we lack the vocabulary to talk about capabilities and progress across all those domains. We propose a framework to facilitate comparing how co-creative systems augment creativity. We draw on domain-agnostic concepts in interaction design research. Our framework describes the different aspects of interactions between one or more humans and their computationally creative collaborators at three levels: interaction modalities, interaction styles and interaction strategies.

[PDF]Whence is Creativity? - Computational Creativity

2012

We start with a critical examination of the traditional view of creativity in which the creator is the major player. We analyze many different examples to point out that the origin of all different creativity scenarios is rooted in the viewer-artifact interaction. To recognize this explicitly, we propose an alternative formulation of creativity by putting the viewer in the driver's seat. We examine some implications of this formulation, especially for the role of computers in creativity, and argue that it captures the essence of creativity more accurately.

Stimulating creative flow through computational

2009

This report summarises the discussion and experimental work produced by the authors at the 2009 symposium Computational Creativity: An Interdisciplinary Approach, Dagstuhl Leibniz-Zentrum für Informatik. It outlines the motivation for using computational techniques to stimulate human creativity, briefly summarising its historical context and predecessors, and describes two software studies produced by the group as base-line exemplars of these ideas.

From Isolation to Involvement: Adapting Machine Creativity Software to Support Human-Computer Co-Creation

This paper investigates how to transform machine creativity systems into interactive tools that support human-computer co-creation. We use three case studies to identify common issues in this transformation, under the perspective of User-Centered Design. We also analyse the interactivity and creative behavior of the three platforms in terms of Wiggins' formalization of creativity as a search. We arrive at the conclusion that adapting creative software for supporting human-computer cocreation requires redesigning some major aspects of the software, which guides our on-going project of building an interactive poetry composition tool.

Building Artistic Computer Colleagues with an Enactive Model of Creativity

This paper reports on the theory, design, and implemen- tation of an artistic computer colleague that improvises and collaborates with human users in real-time. Our system, Drawing Apprentice, is based on existing theo- ries of art, creative cognition, and collaboration synthe- sized into an enactive model of creativity. The imple- mentation details of the Drawing Apprentice are pro- vided along with early collaborative artwork created with the system. We present the enactive model of crea- tivity as a potential theoretical framework for designing creative systems involving continuous improvisational collaboration between a human and computer.

How can computers be partners in the creative process: Classification and commentary on the Special Issue

International Journal of Human-Computer Studies, 2005

The different ways that computers can be involved in creative work are examined. A classification based on four categories of human-computer interaction to promote creativity is proposed: computers may facilitate (a) the management of creative work, (b) communication between individuals collaborating on creative projects, (c) the use of creativity enhancement techniques, (d) the creative act through integrated human-computer cooperation during idea production. The papers in the Special Issue are discussed according to this classification. Issues to be considered in future work on human-computer interactions for promoting creativity are discussed.

Leaps and Bounds: An Introduction to the Field of Computational Creativity

New Generation Computing

Computers have enhanced productivity and cost-effectiveness in all of the creative industries, and their value as tools is rarely doubted. But can machines serve as more than mere tools, and assume the role and responsibilities of a co-creative partner, or even become goal-setting, autonomous creators in their own right? These are the questions that define the discipline of computational creativity. The answers require an algorithmic understanding of how humans give meaning to form, but a transformation in the way we think about creativity is unlikely to occur in a single bound. Rather, interdisciplinary insights from diverse fields must first inform our models, and shape a narrative of creativity in which machines are both tools and creators. To set the stage for the newest work, this introduction to the special issue on computational creativity shows where the field is going, and where it has come from.