The longer term value of creativity judgements in computational creativity

During research to develop the Standardised Procedure for Evaluating Creative Systems (SPECS) methodology for evaluat- ing the creativity of ‘creative’ systems, in 2011 an evaluation case study was carried out. The case study investigated how we can make a ‘snapshot’ decision, in a short space of time, on the creativity of systems in various domains. The systems to be evaluated were presented at the International Computational Creativity Conference in 2011. Evaluation was performed by people whose domain expertise ranges from expert to novice, depending on the system. The SPECS methodology was used for evaluation, and was compared to two other creativity evaluation methods (Ritchie’s criteria and Colton’s Creative Tripod) and to results from surveying people’s opinion on the creativity of the systems under investigation. Here, we revisit those results, considering them in the context of what these systems have contributed to computational creativity development. Five years on, we now have data on how influential these systems were within computational creativity, and to what extent the work in these systems has influenced further developments in computational creativity research. This paper investigates whether the evaluations of creativity of these systems have been helpful in predicting which systems will be more influential in computational creativity (as measured by paper citations and further development within later computational systems). While a direct correlation between evaluative results and longer term impact is not discovered (and perhaps too simplistic an aim, given the factors at play in determining research impact), some interesting alignments are noted between the 2011 results and the impact of papers five years on

Skills for creativity in games design

This paper reports on an experimental study to understand further the extent to which academics may differ to practitioners in their conception of skills relevant to creativity within a specific design related subject: in this instance, Games Design. Ten academics, sampled from BA Hons games courses in the UK, participated in identifying what factors they each considered important to creativity in games design, and how, collectively, they rated particular skills, knowledge, talents and abilities relevant to creativity in games design. With the same research methodology, theoretical framework and procedures, the focus was placed on ten games design practitioners’ conceptions of skills for creativity in games design. A detailed comparison is made between the findings from both groups

The Potential of Digital Tools in Art Lessons at Junior School Level to Improve Artistic Ability Using Tamazight Fonts

The aim of this research is to explore how pupils in art classes can use creative digital art tools to redesign Tamazight fonts, in order to develop children’s artistic creativity, enable them to learn about a new culture, and to help the teacher assess the creativity of pupils in the art class. It can also help students to improve their talents in drawing. The study could relate to research in Libya among the Amazigh people (better known as Berber) and possibly the development of Tamazight fonts with new uses in art. The research involved students aged 9-10 years old working with digital art tools, and was designed to explore the potential of digital technology by discovering suitable tools and techniques to develop children’s artistic performance using Tamazight fonts. The project also sought to show the aesthetic aspects of these characters and to stimulate the artistic creativity of these young people

Can Computers Create Art?

This essay discusses whether computers, using Artificial Intelligence (AI), could create art. First, the history of technologies that automated aspects of art is surveyed, including photography and animation. In each case, there were initial fears and denial of the technology, followed by a blossoming of new creative and professional opportunities for artists. The current hype and reality of Artificial Intelligence (AI) tools for art making is then discussed, together with predictions about how AI tools will be used. It is then speculated about whether it could ever happen that AI systems could be credited with authorship of artwork. It is theorized that art is something created by social agents, and so computers cannot be credited with authorship of art in our current understanding. A few ways that this could change are also hypothesized.Comment: to appear in Arts, special issue on Machine as Artist (21st Century

Creative User-Centered Visualization Design for Energy Analysts and Modelers

We enhance a user-centered design process with techniques that deliberately promote creativity to identify opportunities for the visualization of data generated by a major energy supplier. Visualization prototypes developed in this way prove effective in a situation whereby data sets are largely unknown and requirements open – enabling successful exploration of possibilities for visualization in Smart Home data analysis. The process gives rise to novel designs and design metaphors including data sculpting. It suggests: that the deliberate use of creativity techniques with data stakeholders is likely to contribute to successful, novel and effective solutions; that being explicit about creativity may contribute to designers developing creative solutions; that using creativity techniques early in the design process may result in a creative approach persisting throughout the process. The work constitutes the first systematic visualization design for a data rich source that will be increasingly important to energy suppliers and consumers as Smart Meter technology is widely deployed. It is novel in explicitly employing creativity techniques at the requirements stage of visualization design and development, paving the way for further use and study of creativity methods in visualization design

Digital tools disrupting tertiary students’ notions of disciplinary knowledge: Cases in history and tourism

This paper reports on the findings from a two year research project that explored the potential of digital tools in support of teaching–learning across different disciplinary areas at a New Zealand university. Two courses (in History and Tourism) are case studied using data collected through interviews with lecturers, tutors and their students, and an online student survey. Findings from the research revealed that both lecturers and students were challenged in learning about the affordances and use of the lecturer selected digital tools as a mediational means. The tools were not initially transparent to them, nor were they able to be easily deployed to undertake their primary task—teaching for the lecturers, and, learning and demonstrating learning for the students completing assigned tasks. The process of learning and using the tools disrupted participants’ prior thinking and led to new understandings of both disciplines and of effective pedagogies for the two disciplines. The findings increase our understanding of the ways digital tools can develop, challenge and expand tertiary students learning and have implications for practice

JuxtaLearn DELIVERABLE Report D3.5 Service scenario documentation

The purpose of Deliverable 3.5 is to provide guidelines to creating juxtaposed performance, particularly to advise non-drama teachers on what to do and how to manage performance in stage 3 of the JuxtaLearn process. Building on pedagogies of threshold concepts and juxtaposed learning, it explains the performance steps, orchestrating learning through participative video making and story making with peers. It provides guidance for teachers, offering resources that include suggested lesson plans and example timings. Thus, in the absence of a shared touchable with JuxtaLearn software, it suggests a practical additional and alternative to using the software of WP4 touch table