Creative Agency: A Clearer Goal for Artificial Life In the Arts (original) (raw)

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

Artificial Creative Systems: Completing the Creative Cycle

Computational Creativity: An …

Human creativity is personally, socially and culturally situated: creative individuals work within environments rich in personal experiences, social relationships and cultural knowledge. Computational models of creative processes typically neglect some or all of these aspects of human creativity. How can we hope to capture this richness in computational models of creativity? This paper introduces recent work at the Design Lab where we are attempting to develop a model of artificial creative systems that can combine important aspects at personal, social and cultural levels.

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...

A Conceptual Framework for Artificial Creativity in Visual Arts

The present paper introduces the conceptual framework for an artificial system for visual creativity addressing the idea of niche creativity that is domain specific and non-anthropocentric in its conceptual approach. We think that the visual creative output of the system reflects the artificial medium and the specific artificial processes engaged in its production and, therefore, it is an expression of the idea of embodied creativity with the proposed system offering in this sense an example of digital embodiment of creativity. Although our approach to artificial creativity is non-anthropocentric, the system design is inspired by processes in the natural world that lead to the production of new and useful structures in both living and non-living systems with human creative cognition being included among these processes. The main problem raised by this abstract approach to artificial creativity in visual arts is the compatibility of its artistic production with human aesthetics, the ultimate goal of the proposed system being to produce visual output that would aesthetically engage human visual perception.

Towards Autonomous Creative Systems: A Computational Approach

Cognitive Computation, 2012

This paper reviews the long-standing debate surrounding the nature of machine intelligence, autonomy and creativity and argues for an approach to developing autonomous computational creativity that models personal motivations, social interactions and the evolution of domains. The implications of this argument on the types of cognitive processes that are required for the development of autonomous computational creativity are explored and a possible approach to achieving the goal is described. In particular, this paper describes the development of artificial creative systems composed of intrinsically motivated agents engaging in language games to interact with a shared social and cultural environment. The paper discusses the implications that this type of approach may have for the development of autonomous creative systems. Keywords autonomy • computational creativity • artificial creative systems • systems theories of creativity • autopoiesis • intrinsic motivation • language games • evolution of language This research has been partly supported by the Australian Research Council, Discover Grant DP0666584.

Agency & Autonomy: Intersections of Artificial Intelligence and Creative Practice

ISEA, 2020

Arguably, the most important aspects underpinning artistic experimentations in the broad fields of artificial intelligence (AI) and artificial life (A-life) lie at the intersection of autonomy and agency. Autonomy is the foundational element of any living system. Defined as the property of being self-determining with no outside control over actions and internal states, autonomy refers to a system's ability to assert its existence and to simply be. Through their interactions with their environment, autonomous systems achieve what noted biologist, neuroscientist and philosopher Francisco Varela called the "shap[ing of] a world into significance" [1]. This notion of autonomy as being assertive, ties right into the notion of agency. Defined as the ability to take action in the world and influence others, agency is how autonomy is exercised, articulated and maintained, via capacities such as adaptability, viability and sentience. With this in mind, this panel will bring together practicing artists and researchers who will discuss their work through the lens of agency and autonomy. How are AI-based tools and methods such as machine learning/deep learning, evolutionary computing and agent-based approaches currently being utilized by artists? The panel participants will discuss their work and individual approaches to these topics, followed by discussion.

(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.

Artificial Creativity: Emergent Notions of Creativity In Artificial Societies of Curious Agents

Proceedings of Second Iteration, 2001

What is creativity? Generally, artefacts are labelled as creative if they are both novel and appropriate; individuals are regarded as creative if they produce creative works. More specific definitions of creativity vary greatly in the details of what makes someone or something creative. Some definitions require that creative products must be the result of some creative mental processes, effectively ruling out the possibility of computationally modelling creativity until these processes are understood. Many computational models of creativity have been developed to gain this understanding by simulating mental processes thought to play an important role in creative thinking. Other researchers consider the details of an individual’s creative process to be less important and consider the socio-cultural environment to have a significant effect on the production of creative works. To gain a better understanding of the emergent nature of socially situated creativity we have developed the artificial creativity approach to producing creative systems. The goal of artificial creativity is to simulate the interactions of agents within a creative system.

Symbiosis between born and fabricated beings: Computing creativity

– What alterations were caused by the use of computers in the creation of art and design? Does the artist or designer have full control over creative expression or is there a lack of predictability between his intention and what is viewed on the computer screen? Should artists and designers program to produce art and design? Maybe the solution to this paradox is not in the inside or outside of the human mind but rather in the link between the two, human and computer.

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.