• Corpus ID: 2876679

Creativity Versus the Perception of Creativity in Computational Systems

@inproceedings{Colton2008CreativityVT,
  title={Creativity Versus the Perception of Creativity in Computational Systems},
  author={Simon Colton},
  booktitle={AAAI Spring Symposium: Creative Intelligent Systems},
  year={2008}
}
  • S. Colton
  • Published in
    AAAI Spring Symposium…
     30 September 2008
  • Computer Science
We add to the discussion of how to assess the creativity of programs which generate artefacts such as poems, theorems, paintings, melodies, etc. To do so, we first review some existing frameworks for assessing artefact generation programs. Then, drawing on our experience of building both a mathematical discovery system and an automated painter, we argue that it is not appropriate to base the assessment of a system on its output alone, and that the way it produces artefacts also needs to be… 
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axon.cs.byu.edu
248 Citations
Highly Influential Citations
28
Background Citations
176
Methods Citations
41
Results Citations
2

248 Citations

Creativity Theatre for Demonstrable Computational Creativity
TLDR
The notion of creativity theatre is introduced, whereby computational creativity systems demonstrate their creative behaviours, not only for the purpose of producing valuable artefacts, but also to heighten the sense that observers have of it being creative.
On acid drops and teardrops: observer issues in computational creativity
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It is argued that the notion of creativity in a person or software is a secondary and essentially contested concept, and two remedies to the situation are proposed that involve software accounting for its decisions, actions and products, and taking the radical step of thinking of computer generated artefacts as fundamentally different to their human-produced counterparts.
Creative Zombie Apocalypse: A Critique of Computer Creativity Evaluation
TLDR
By concatenating and enhancing existing models of creativity, this work proposes a framework that takes these issues into account, with a view to evaluating creative work that uses the computer as a medium more effectively.
Assessing Progress in Building Autonomously Creative Systems
TLDR
It is argued that software product and process need to be assessed simultaneously in assessing progress, and a diagrammatic formalism is introduced which exposes various timelines of creative acts in the construction and execution of successive versions of artefactgenerating software.
A System for Evaluating Novelty in Computer Generated Narratives
TLDR
A system to automatically evaluate novelty in a plot generator for narratives, which provides insights about an essential aspect of the creative process: selfcriticism.
Learning about creativity from an artificial artist
TLDR
It is shown how the computer system, called DARCI (Digital ARtist Communicating Intention), can augment the study of human creativity while assisting in the field of artificial intelligence.
Connotation in Computational Creativity
TLDR
This paper introduces a contrasting approach to computational creativity, which is search based on the idea of connotations, which allows for search processes that include a more exploratory process, out of which an outcome emerges via density of connotation.
Automated Collage Generation - With Intent
TLDR
This work has enabled The Painting Fool to produce visual art specifically to invite the viewer to interpret the pieces in the context of the world around them, i.e., to make a point about a current aspect of society.
Evaluation of Musical Creativity and Musical Metacreation Systems
TLDR
Understanding human creativity can lend insight to computational approaches, and knowledge of how humans perceive creative systems and their output can be incorporated into artificial agents as feedback to provide a sense of how a creation will impact the audience.
On impact and evaluation in computational creativity: a discussion of the Turing Test and an alternative proposal
TLDR
The Turing Test is largely inappropriate for the purpos es of evaluation in Computational Creativity, and two de scriptive models for evaluating creative software are introduced, the FACE mode l which describes creative acts performed by software in terms of tu ples of generative acts, and the IDEA model which describes how such creative acts can have an impact upon an ideal audience.
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References

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