Towards Autonomous Creative Systems: A Computational Approach

Saunders, Rob

doi:10.1007/s12559-012-9131-x

Cited by 28 publications

(23 citation statements)

References 32 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Some interesting work has been done on modelling creative agents, for example by Saunders (2012). Sosa and Gero distinguish between creative individuals and the creative brain in their investigation of multiple perspectives on creativity (Sosa and Gero, 2015).…”

Section: The Four Ps: Person/producermentioning

confidence: 99%

“…Some computational creativity researchers are starting to highlight the importance of the environment in which a creative system is situated (Jennings, 2010;Pease and Colton, 2011;Saunders, 2012;Sosa, Gero, and Jennings, 2009), with some of this work influenced by the DIFI (Domain-Individual-Field-Interaction) framework (Csikszentmihalyi, 1988) mentioned above. The role of the audience in interpreting creative content has been acknowledged (Gervás and León, 2014;VealeandLi,2015).…”

Section: The Press In Computational Creativitymentioning

confidence: 99%

“…The computational creativity community has traditionally considered creativity from the perspective of the creative output produced by a system, or the processes employed within creative systems (with notable exceptions, such as Saunders, 2012). The call for the key international conference in this area (ICCC) invites papers addressing the "Process vs. product: addressing the issue of evaluating/estimating creativity (or progress towards it) in computational systems through study of what they produce, what they do and combinations thereof".…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

Four PPPPerspectives on computational creativity in theory and in practice

Jordanous

2016

Connection Science

View full text Add to dashboard Cite

Computational creativity is the modelling, simulating or replicating of creativity computationally. In examining and learning from these "creative systems", from what perspective should the creativity of a system be considered? Are we interested in the creativity of the system's output? Or of its creative processes? Features of the system? Or how it operates within its environment? Traditionally computational creativity has focused more on creative systems' products or processes, though this focus has widened recently. Creativity research offers the Four Ps of creativity: Person/Producer, Product, Process and Press/Environment. This paper presents the Four Ps, explaining each in the context of creativity research and how it relates to computational creativity. To illustrate the usefulness of the Four Ps in taking broader perspectives on creativity in its computational treatment, the concepts of novelty and value are explored using the Four Ps, highlighting aspects of novelty and value that may otherwise be overlooked. Analysis of recent research in computational creativity finds that although each of the Four Ps appears in the body of computational creativity work, individual pieces of work often do not acknowledge all Four Ps, missing opportunities to widen their work's relevance. We can see, though, that high-status computational creativity papers do typically address all Four Ps. This paper argues that the broader views of creativity afforded by the Four Ps is vital in guiding us towards more comprehensively useful computational investigations of creativity. ARTICLE HISTORY

show abstract

Section: The Four Ps: Person/producermentioning

confidence: 99%

Section: The Press In Computational Creativitymentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Four PPPPerspectives on computational creativity in theory and in practice

Jordanous

2016

Connection Science

View full text Add to dashboard Cite

show abstract

“…This aspect is taken into consideration in computational models of creativity. It has been recognized [2], [30]- [35] that computational models of creativity based on evolutionary computing paradigms typically build on the Wallas model [47]. Some of these models emulate natural evolution processes without particular reference to human cognition [41], [42].…”

Section: Introductionmentioning

confidence: 99%

A Conceptual Framework for Artificial Creativity in Visual Arts

Sirbu

Dumitrache

2017

INT J COMPUT COMMUN

View full text Add to dashboard Cite

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.

show abstract

“…Algorithm presented by authors uses the minimum mean square error as a criterion to maximize the sum rate of the system [9]. Saunders, on the other hand, has approached the effects of communication in an artificial creative systems in his review article [10].…”

Section: Introductionmentioning

confidence: 99%

Design of a Single Line Half Duplex Protocol for Mechanical Rotary Table Systems

et al. 2017

View full text Add to dashboard Cite

In this study, a new communication protocol, which addresses the rotary table, has been designed. Developed system works over a single line and is using slip rings. The designed communication protocol ensures the half duplex communication for multiple stations over a single cable. During the protocol design, media access methods, coding techniques and multi-node synchronization techniques were examined. These techniques have been adapted, updated and combined for the study, during the formation of the communication protocol. The designed protocol was tested and verified in the simulation environment with original software, on the microcontrollers. The protocol is aimed to be open source, flexible, easily applicable and a new solution for the distributed control problems in the field of automation and for the rotary table systems in particular.

show abstract

Towards Autonomous Creative Systems: A Computational Approach

Cited by 28 publications

References 32 publications

Four PPPPerspectives on computational creativity in theory and in practice

Four PPPPerspectives on computational creativity in theory and in practice

A Conceptual Framework for Artificial Creativity in Visual Arts

Design of a Single Line Half Duplex Protocol for Mechanical Rotary Table Systems

Contact Info

Product

Resources

About