Computational creativity

This is a variant of Ada Lovelace's objection to machine intelligence, as recapitulated by modern theorists such as Teresa Amabile.

[6] Mihali Csikszentmihalyi argued that creativity had to be considered instead in a social context, and his DIFI (Domain-Individual-Field Interaction) framework has since strongly influenced the field.

[8] Experiments involving recurrent nets[9] were successful in hybridizing simple musical melodies and predicting listener expectations.

[22][23] Recently, deep learning approaches to imaging, sound and natural language processing, resulted in the modeling of productive creativity development frameworks.

SAI is defined as the organizational utilization of AI with the aim of incrementally advancing existing or developing new products, based on insights from continuously combining and analyzing multiple data sources.

As AI becomes a general-purpose technology, the spectrum of products to be developed with SAI will broaden from simple to increasingly complex.

Genetic algorithms and neural networks can be used to generate blended or crossover representations that capture a combination of different inputs.

Mark Turner and Gilles Fauconnier[28][29] propose a model called Conceptual Integration Networks that elaborates upon Arthur Koestler's ideas about creativity[30] as well as work by Lakoff and Johnson,[31] by synthesizing ideas from Cognitive Linguistic research into mental spaces and conceptual metaphors.

[32] In 2006, Francisco Câmara Pereira[33] presented an implementation of blending theory that employs ideas both from symbolic AI and genetic algorithms to realize some aspects of blending theory in a practical form; his example domains range from the linguistic to the visual, and the latter most notably includes the creation of mythical monsters by combining 3-D graphical models.

Language provides continuous opportunity for creativity, evident in the generation of novel sentences, phrasings, puns, neologisms, rhymes, allusions, sarcasm, irony, similes, metaphors, analogies, witticisms, and jokes.

[34] Native speakers of morphologically rich languages frequently create new word-forms that are easily understood, and some have found their way to the dictionary.

[36] Substantial work has been conducted in this area of linguistic creation since the 1970s, with the development of James Meehan's TALE-SPIN [37] system.

Systems like Bringsjord's BRUTUS[39] elaborate these ideas further to create stories with complex interpersonal themes like betrayal.

Nonetheless, MINSTREL explicitly models the creative process with a set of Transform Recall Adapt Methods (TRAMs) to create novel scenes from old.

Humour is an especially knowledge-hungry process, and the most successful joke-generation systems to date have focussed on pun-generation, as exemplified by the work of Kim Binsted and Graeme Ritchie.

[45] This work includes the JAPE system, which can generate a wide range of puns that are consistently evaluated as novel and humorous by young children.

An improved version of JAPE has been developed in the guise of the STANDUP system, which has been experimentally deployed as a means of enhancing linguistic interaction with children with communication disabilities.

Some limited progress has been made in generating humour that involves other aspects of natural language, such as the deliberate misunderstanding of pronominal reference (in the work of Hans Wim Tinholt and Anton Nijholt), as well as in the generation of humorous acronyms in the HAHAcronym system[46] of Oliviero Stock and Carlo Strapparava.

EMI's output is convincing enough to persuade human listeners that its music is human-generated to a high level of competence.

[54] In the field of contemporary classical music, Iamus is the first computer that composes from scratch, and produces final scores that professional interpreters can play.

[58] Virtual improvisation software based on researches on stylistic modeling carried out by Gerard Assayag and Shlomo Dubnov include OMax, SoMax and PyOracle, are used to create improvisations in real-time by re-injecting variable length sequences learned on the fly from the live performer.

Though formulaic, Aaron exhibits a range of outputs, generating black-and-white drawings or colour paintings that incorporate human figures (such as dancers), potted plants, rocks, and other elements of background imagery.

Given its dependence on an input source image to work with, the earliest iterations of the Painting Fool raised questions about the extent of, or lack of, creativity in a computational art system.

The software also allows the user to select the subject of the generated sentences or/and the one or more of the palettes used by the visual composition builder.

[67][68][69] In August 2015, researchers from Tübingen, Germany created a convolutional neural network that uses neural representations to separate and recombine content and style of arbitrary images which is able to turn images into stylistic imitations of works of art by artists such as a Picasso or Van Gogh in about an hour.

[70][71][72][73] In early 2016, a global team of researchers explained how a new computational creativity approach known as the Digital Synaptic Neural Substrate (DSNS) could be used to generate original chess puzzles that were not derived from endgame databases.

The Explicit-Implicit Interaction (EII) theory of creativity has been implemented using a CLARION-based computational model that allows for the simulation of incubation and insight in problem-solving.

Some researchers feel that creativity is a complex phenomenon whose study is further complicated by the plasticity of the language we use to describe it.

Stephen Thaler, for instance, proposes that certain modalities of neural networks are generative enough, and general enough, to manifest a high degree of creative capabilities.

Previous events in this series include:[citation needed] The 1st Conference on Computer Simulation of Musical Creativity will be held

An image generated by a text-to-image model with the prompt photograph of an astronaut riding a horse on moon