33 Search Results for "McCormack, Jon"

Document
DOI: 10.4230/DagSemProc.09291.1
09291 Abstracts Collection – Computational Creativity: an interdisciplinary approach

Authors: Margaret Boden, Mark D'Inverno, and Jon McCormack

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
From 13th to 17th July 2009, the Dagstuhl Seminar 09291 ``Computational Creativity : An Interdisciplinary Approach'' was held in Schloss Dagstuhl~--~Leibniz Center for Informatics. During the seminar, several participants presented their current research, and ongoing work and open problems were discussed. Abstracts of the presentations given during the seminar as well as abstracts of seminar results and ideas are put together in this paper. The first section describes the seminar topics and goals in general. Links to extended abstracts or full papers are provided, if available.
Cite as

Margaret Boden, Mark D'Inverno, and Jon McCormack. 09291 Abstracts Collection – Computational Creativity: an interdisciplinary approach. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, pp. 1-18, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{boden_et_al:DagSemProc.09291.1,
  author =	{Boden, Margaret and D'Inverno, Mark and McCormack, Jon},
  title =	{{09291 Abstracts Collection – Computational Creativity: an interdisciplinary approach}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  pages =	{1--18},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.1},
  URN =		{urn:nbn:de:0030-drops-22245},
  doi =		{10.4230/DagSemProc.09291.1},
  annote =	{Keywords: Computational creativity, music, art, artificial life, artificial intelligence, ecosystems, culture}
}
Document
DOI: 10.4230/DagSemProc.09291.2
09291 Summary – Computational Creativity: an interdisciplinary approach

Authors: Jon McCormack, Margaret Boden, and Mark D'Inverno

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
This document outlines the proposal for the Dagstuhl seminar 09291 on computational creativity.
Cite as

Jon McCormack, Margaret Boden, and Mark D'Inverno. 09291 Summary – Computational Creativity: an interdisciplinary approach. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{mccormack_et_al:DagSemProc.09291.2,
  author =	{McCormack, Jon and Boden, Margaret and D'Inverno, Mark},
  title =	{{09291 Summary – Computational Creativity: an interdisciplinary approach}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.2},
  URN =		{urn:nbn:de:0030-drops-22090},
  doi =		{10.4230/DagSemProc.09291.2},
  annote =	{Keywords: Computational creativity}
}
Document
DOI: 10.4230/DagSemProc.09291.3
A Creative Dance: Symbols, Action and the Bringing Forth of Meaning

Authors: Tim Taylor

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
In our attempts to understand the evolution of biological, cognitive and cultural systems, critical questions arise concerning the origin of meaning. I argue that the key to success in attempts to create computational systems that exhibit the same capacities as their natural counterparts to evolve new and creative ways of interacting with their environment, beyond that which is simply “programmed into” the system from the start, lies in answering these questions. The nature of the problem is laid bare when we consider the origin and evolution of life. A fundamental question is this: how is it possible for organisms, that follow their own goals and behave according to their own rules, to emerge in a world governed by the laws of physics and chemistry? More generally, how can agents and agency emerge in a system governed by universal laws? And even once our agents have emerged, how can the evolutionary process produce new agents that interact with their environment through previously unexploited modalities? In this paper I describe work on a novel modelling approach which aims to solve these problems and thereby allow us to produce artificial evolutionary systems with greatly improved creative evolutionary potential. This perspective sees organisms as entities whose phenotypes are embedded within an environment viewed as a dynamical system, and whose genotypes interact with the environment by specifying constraints upon its dynamics, thereby generating the phenotypes. That is, the abiotic environment has its own dynamics and self-organisational properties; genotypes act to “sculpt” these pre-existing dynamics by supplying constraints. From this point of view, the most important distinction is not between organisms and their abiotic environment, but rather between the environment as a whole (including organism phenotypes) and organism genotypes. Elsewhere I have presented initial results from a model based upon this perspective, and demonstrated simple examples of the evolution of new sensors and effectors, and of genome-regulated self-stablising behaviour. Going further, we can generalise this perspective; in so doing, we may find useful connections and analogies between biological, cognitive and cultural systems, and thereby gain a better understanding of how creativity may be instilled into artificial systems. The generalised picture describes a situation in which the constraints of the system initiate dynamics, and the dynamics may feed back to affect (select or modify) the constraints. In a situation such as this, the system may exhibit behaviour which cannot be explained purely by the laws of dynamics, but only with reference to the particular history through which the system has evolved from its initial to current state. This mutual interaction (or “creative dance”) thereby brings forth novel forms of behaviour, the meaning of which can only be understood by considering how the dance itself has evolved over time. This general description could be applied to a variety of other systems, including the development of human cognitive processes, and the development of human cultural traditions, institutions and artefacts. Consideration of the extent to which such analogies hold between these very different systems, and the commonalities and differences between them, will surely lead to a much deeper understanding of the generative causes of novelty and creativity, and the origin of meaning, in natural systems. And such understanding will suggest ways in which we may create artificial systems with a much deeper capacity for creativity than exhibited by previous attempts.
Cite as

Tim Taylor. A Creative Dance: Symbols, Action and the Bringing Forth of Meaning. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, pp. 1-3, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{taylor:DagSemProc.09291.3,
  author =	{Taylor, Tim},
  title =	{{A Creative Dance: Symbols, Action and the Bringing Forth of Meaning}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  pages =	{1--3},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.3},
  URN =		{urn:nbn:de:0030-drops-22072},
  doi =		{10.4230/DagSemProc.09291.3},
  annote =	{Keywords: Computational creativity; origin of meaning; artifical life; evolution; biosemiotics}
}
Document
DOI: 10.4230/DagSemProc.09291.4
Against Individual Creativity

Authors: Oliver Bown

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
In this paper I discuss reasons for viewing creativity more as a social process than as an individual act. These reasons include the subjectivity of evaluation in attributing creativity, the potentially arbitrary relationship between individuals and creativity at the cultural level, the importance of the capacity for preserving cultural information over and above the capacity to innovate, the role of objects, institutions and interaction in sparking creativity, and the social constructedness of creative domains. I discuss these ideas and consider the consequences of this way of thinking for research into computational creativity. I argue that realising the goals of computational creativity depends on integrating research on creative agents with social technologies.
Cite as

Oliver Bown. Against Individual Creativity. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, pp. 1-16, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{bown:DagSemProc.09291.4,
  author =	{Bown, Oliver},
  title =	{{Against Individual Creativity}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  pages =	{1--16},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.4},
  URN =		{urn:nbn:de:0030-drops-22058},
  doi =		{10.4230/DagSemProc.09291.4},
  annote =	{Keywords: Creativity, culture}
}
Document
DOI: 10.4230/DagSemProc.09291.5
Artificial Creative Systems: Completing the Creative Cycle

Authors: Rob Saunders

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
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.
Cite as

Rob Saunders. Artificial Creative Systems: Completing the Creative Cycle. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, pp. 1-5, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{saunders:DagSemProc.09291.5,
  author =	{Saunders, Rob},
  title =	{{Artificial Creative Systems: Completing the Creative Cycle}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  pages =	{1--5},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.5},
  URN =		{urn:nbn:de:0030-drops-22132},
  doi =		{10.4230/DagSemProc.09291.5},
  annote =	{Keywords: Creative systems, culture, language games, interest, curiosity}
}
Document
DOI: 10.4230/DagSemProc.09291.6
Artificial Life Meets Computational Creativity?

Authors: Barry McMullin

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
I (briefly) review the history of work in Artificial Life on the problem of the open-ended evolutionary growth of complexity in computational worlds. This is then put into the context of evolutionary epistemology and human creativity.
Cite as

Barry McMullin. Artificial Life Meets Computational Creativity?. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, pp. 1-17, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{mcmullin:DagSemProc.09291.6,
  author =	{McMullin, Barry},
  title =	{{Artificial Life Meets Computational Creativity?}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  pages =	{1--17},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.6},
  URN =		{urn:nbn:de:0030-drops-22003},
  doi =		{10.4230/DagSemProc.09291.6},
  annote =	{Keywords: Artificial life, complexity, computational creativity,}
}
Document
DOI: 10.4230/DagSemProc.09291.7
Autonomy, Signature and Creativity

Authors: Paul Brown

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
One of the key themes that emerged from the formal investigations of art and aesthetics during the 20th century was that of the autonomous artwork. The goal of an artwork that was not just self-referential but also self-creating found renewed vigour in the work of the systems and conceptual artists and especially those who were early adopters of the then-new technology of artificial intelligence (AI). A key problem is that of signature: at what point can we claim that an artwork has its own distinct signature? My own work in this area began in the 1960’s with an early, and in retrospect, naive assumption. At that time art was still based on the concept of engagement with the materiality of the medium. I suggested that using a symbolic language to initiate a process would distance me far enough from the output of that process for it to have the potential of developing its own intrinsic qualities including a unique signature. By the 1990s it had become obvious that this approach had failed. Complementary research in many fields had demonstrated that the signatures of life were robust and strongly relativistic. The myriad bonds that define a signature are embedded in even the simplest symbol system and any attempt to create autonomy by formal construction is unlikely to succeed. During this same period a group of biologically inspired computational methods were revisited after several decades of neglect; evolutionary, adaptive and learning systems suggested a “bottom up” approach to the problem. If it’s not possible to design an autonomous agency then can we instead make a system that evolves, learns for itself and eventually has the potential of displaying autonomy as an emergent property? The DrawBots project is an attempt to apply these computational methods to the problem of artistic autonomy. It is an example of a strong art-science collaboration where all the disciplines involved have a significant investment in the project and its themes.
Cite as

Paul Brown. Autonomy, Signature and Creativity. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, pp. 1-7, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{brown:DagSemProc.09291.7,
  author =	{Brown, Paul},
  title =	{{Autonomy, Signature and Creativity}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  pages =	{1--7},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.7},
  URN =		{urn:nbn:de:0030-drops-22047},
  doi =		{10.4230/DagSemProc.09291.7},
  annote =	{Keywords: Computational creativity, autonomous art, signature}
}
Document
DOI: 10.4230/DagSemProc.09291.8
Casually Evolving Creative Technology Systems

Authors: Matthew R. Lewis

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
This position paper will describe the early stages of a development effort in which an interactive evolutionary design approach is being applied to the domain of technology-based system development, in a new media art and design context. These systems connect different technologies and techniques in order to process and transform data of one type into another. For example, location data might be used to select a relevant network information feed, the text of which drives geometry generation, which in turn could be sent to a 3D printer that would produce a sculpture. While the flexibility of this problem domain is idiosyncratic to our interdisciplinary new media environment, the target physical context for using a creativity support tool, and the context’s effect on creative output is rather the primary research focus. The goal is to explore the possibilities of what might be termed "casual design", analogous to the “casual gaming” genre in which games are played by anyone, where ever they might find a few spare minutes, rather than requiring significant time and hardware commitments.
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Matthew R. Lewis. Casually Evolving Creative Technology Systems. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, pp. 1-10, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{lewis:DagSemProc.09291.8,
  author =	{Lewis, Matthew R.},
  title =	{{Casually Evolving Creative Technology Systems}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  pages =	{1--10},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.8},
  URN =		{urn:nbn:de:0030-drops-21951},
  doi =		{10.4230/DagSemProc.09291.8},
  annote =	{Keywords: Computational creativity}
}
Document
DOI: 10.4230/DagSemProc.09291.9
Computational Artistic Creativity and its Evaluation

Authors: David Brown

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
For artistic creativity, in comparison to design creativity, requirements may not exist, and constraints on the artifact (the artistic “product”) are usually looser or absent. Many computational creativity systems produce artistic artifacts, but such results can be judged in a variety of ways: by a variety of artistic standards or by the perceiver’s "taste", for example. There is less chance of a generated artifact being judged in a single, clear and concrete fashion, so the standards may be softer and perhaps easier to satisfy: certainly harder to make computational. With regard to taste, Boden (1994) quotes, "I don’t know anything about art, but I know what I like”. If this were true in general, then there would be as many tests of the creativity of an artifact as there are people!
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David Brown. Computational Artistic Creativity and its Evaluation. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, pp. 1-8, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{brown:DagSemProc.09291.9,
  author =	{Brown, David},
  title =	{{Computational Artistic Creativity and its Evaluation}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  pages =	{1--8},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.9},
  URN =		{urn:nbn:de:0030-drops-22209},
  doi =		{10.4230/DagSemProc.09291.9},
  annote =	{Keywords: Evaluation, design creativity, artistic creativity, novelty, resolution, style, function}
}
Document
DOI: 10.4230/DagSemProc.09291.10
Computational Creativity through a Gap

Authors: Iris Asaf

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
A significant aspect of creativity is its elusive mystery. Unlike pure novelty or pure originality and adaptability, creative ideas have an aura of something which is unanticipated, yet, in a way not completely surprising, but providing insight into familiar ideas. This position paper wishes to focus on this mysterious aspect of creativity and discusses uncertainty and the creative gap as aspects that are part of creative thinking processes in generative art and design. This paper argues that a significant part of the mechanism underlying a creative process using generative methods is a cognitive gap or dissonance between the human mind of the designer or artist and its otherness, the non human computer expressivity. What is re-established through this gap is a feedback process between the designer and the computer or its algorithmic expressivity that serves as an autonomous agent. This process of feedback can at a certain point give rise to some new insight, and thus enables the generative design or artistic process to become creative.
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Iris Asaf. Computational Creativity through a Gap. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, pp. 1-5, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{asaf:DagSemProc.09291.10,
  author =	{Asaf, Iris},
  title =	{{Computational Creativity through a Gap}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  pages =	{1--5},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.10},
  URN =		{urn:nbn:de:0030-drops-22018},
  doi =		{10.4230/DagSemProc.09291.10},
  annote =	{Keywords: Uncertainty, creativity, gap, generative design and art.}
}
Document
DOI: 10.4230/DagSemProc.09291.11
Creative Agency: A Clearer Goal for Artificial Life in the Arts

Authors: Oliver Bown and Jon McCormack

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
One of the goals of artificial life in the arts is to develop systems that exhibit creativity. We argue that creativity {it per se} is a confusing goal for artificial life systems because of the complexity of the relationship between the system, its designers and users, and the creative domain. We analyse this confusion in terms of factors affecting individual human motivation in the arts, and the methods used to measure the success of artificial creative systems. We argue that an attempt to understand emph{creative agency} as a common thread in nature, human culture, human individuals and computational systems is a necessary step towards a better understanding of computational creativity. We define creative agency with respect to existing theories of creativity and consider human creative agency in terms of human evolution. We then propose how creative agency can be used to analyse the creativity of computational systems in artistic domains.
Cite as

Oliver Bown and Jon McCormack. Creative Agency: A Clearer Goal for Artificial Life in the Arts. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, pp. 1-11, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{bown_et_al:DagSemProc.09291.11,
  author =	{Bown, Oliver and McCormack, Jon},
  title =	{{Creative Agency: A Clearer Goal for Artificial  Life in the Arts}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  pages =	{1--11},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.11},
  URN =		{urn:nbn:de:0030-drops-22167},
  doi =		{10.4230/DagSemProc.09291.11},
  annote =	{Keywords: Creativity, agency}
}
Document
DOI: 10.4230/DagSemProc.09291.12
Creative Computers, Improvisation and Intimacy

Authors: Michael Young

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
Autonomous musical machine partners, ‘live algorithms’, are able to collaborate with human improvisers on an equal footing. Adaptability can be a significant factor in human/machine interaction in this context. Intimacy is an additional factor; intimacy might be achieved if human and machine performers can adapt to each other and learn from one another. Previously associated in computer music with ideas of embodiment and HCI, ‘intimacy’ as more widely understood, refers to the interpersonal process enjoyed between individuals, in which personal self-disclosure finds validation through a partner’s response. Real intimacies are learned over time, not designed, and are based upon an evident reciprocity and emergent mutuality. In the context of musical expression, a social – rather than a biological/technological –discourse can be applied to live algorithms with a capacity for learning. This possibility is explored with reference to the author’s various improvisation/composition systems including au(or)a, piano_prosthesis, and oboe_prosthesis.
Cite as

Michael Young. Creative Computers, Improvisation and Intimacy. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, pp. 1-7, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{young:DagSemProc.09291.12,
  author =	{Young, Michael},
  title =	{{Creative Computers, Improvisation and Intimacy}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  pages =	{1--7},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.12},
  URN =		{urn:nbn:de:0030-drops-22222},
  doi =		{10.4230/DagSemProc.09291.12},
  annote =	{Keywords: Computational creativity, improvisation, intimacy, composition, live algorithm, neural network, computer music, adaptation}
}
Document
DOI: 10.4230/DagSemProc.09291.13
Creative Ecosystems

Authors: Jon McCormack

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
This paper addresses problems in computational creative discovery, either autonomous or in synergetic tandem with humans. A computer program generates output as a combination of base primitives whose interpretation must lie outside the program itself. Concepts of combinatoric and creative emergence are analysed in relation to creative outputs being novel and appropriate combinations of base primitives, with the conclusion that the choice of the generative process that builds and combines the primitives is of high importance. The generalised concept of an artificial ecosystem, which adapts concepts and processes from a biological ecosystem at a metaphoric level, is an appropriate generative system for creative discovery. The fundamental properties of artificial ecosystems are discussed and examples given in two different creative problem domains. Systems are implemented as pure simulation, and where the ecosystem concept is expanded to include real environments and people as ecosystem components, offer an alternative to the `software tool' approach of conventional creative software.
Cite as

Jon McCormack. Creative Ecosystems. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, pp. 1-8, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{mccormack:DagSemProc.09291.13,
  author =	{McCormack, Jon},
  title =	{{Creative Ecosystems}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  pages =	{1--8},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.13},
  URN =		{urn:nbn:de:0030-drops-22061},
  doi =		{10.4230/DagSemProc.09291.13},
  annote =	{Keywords: Computational creativity}
}
Document
DOI: 10.4230/DagSemProc.09291.14
Driven by Compression Progress: A Simple Principle Explains Essential Aspects of Subjective Beauty, Novelty, Surprise, Interestingness, Attention, Curiosity, Creativity, Art, Science, Music, Jokes.

Authors: Juergen Schmidhuber

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
I argue that data becomes temporarily interesting by itself to some self-improving, but computationally limited, subjective observer once he learns to predict or compress the data in a better way, thus making it subjectively simpler and more "beautiful." Curiosity is the desire to create or discover more non-random, non-arbitrary, regular data that is novel and surprising not in the traditional sense of Boltzmann and Shannon but in the sense that it allows for compression progress because its regularity was not yet known. This drive maximizes interestingness, the first derivative of subjective beauty or compressibility, that is, the steepness of the learning curve. It motivates exploring infants, pure mathematicians, composers, artists, dancers, comedians, yourself, and (since 1990) artificial systems. Compare overview sites with previous papers (1990-2009) on the formal theory of subjective beauty and creativity: http://www.idsia.ch/~juergen/interest.html and http://www.idsia.ch/~juergen/beauty.html
Cite as

Juergen Schmidhuber. Driven by Compression Progress: A Simple Principle Explains Essential Aspects of Subjective Beauty, Novelty, Surprise, Interestingness, Attention, Curiosity, Creativity, Art, Science, Music, Jokes.. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, pp. 1-35, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{schmidhuber:DagSemProc.09291.14,
  author =	{Schmidhuber, Juergen},
  title =	{{Driven by Compression Progress: A Simple Principle Explains Essential Aspects of Subjective Beauty, Novelty, Surprise, Interestingness, Attention, Curiosity, Creativity, Art, Science, Music, Jokes.}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  pages =	{1--35},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.14},
  URN =		{urn:nbn:de:0030-drops-21970},
  doi =		{10.4230/DagSemProc.09291.14},
  annote =	{Keywords: Subjective Beauty, Surprise, Interestingness, Curiosity, Creativity, Art, Science, Music, Jokes}
}
Document
DOI: 10.4230/DagSemProc.09291.15
Embodied creativity

Authors: Alex McLean

Published in: Dagstuhl Seminar Proceedings, Volume 9291, Computational Creativity: An Interdisciplinary Approach (2009)

Abstract
By taking the view of embodied cognition summarised here, we may define embodied creative search, where sensory-motor faculties are used to navigate a geometric space, in direct metaphor to a search through a physical space. In this view, creative computation requires concepts to be represented in a manner at least sympathetic with the way humans perceive, act and introspect.
Cite as

Alex McLean. Embodied creativity. In Computational Creativity: An Interdisciplinary Approach. Dagstuhl Seminar Proceedings, Volume 9291, pp. 1-2, Schloss Dagstuhl - Leibniz-Zentrum für Informatik (2009)

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@InProceedings{mclean:DagSemProc.09291.15,
  author =	{McLean, Alex},
  title =	{{Embodied creativity}},
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},
  pages =	{1--2},
  series =	{Dagstuhl Seminar Proceedings (DagSemProc)},
  ISSN =	{1862-4405},
  year =	{2009},
  volume =	{9291},
  editor =	{Margaret Boden and Mark D'Inverno and Jon McCormack},
  publisher =	{Schloss Dagstuhl -- Leibniz-Zentrum f{\"u}r Informatik},
  address =	{Dagstuhl, Germany},
  URL =		{https://drops.dagstuhl.de/entities/document/10.4230/DagSemProc.09291.15},
  URN =		{urn:nbn:de:0030-drops-22178},
  doi =		{10.4230/DagSemProc.09291.15},
  annote =	{Keywords: Creativity, embodied cognition, conceptual space}
}
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