Driven by Compression Progress: A Simple Principle Explains Essential Aspects of Subjective Beauty, Novelty, Surprise, Interestingness, Attention, Curiosity, Creativity, Art, Science, Music, Jokes

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.Comment: 35 pages, 3 figures, based on KES 2008 keynote and ALT 2007 / DS 2007 joint invited lectur

POWERPLAY: Training an Increasingly General Problem Solver by Continually Searching for the Simplest Still Unsolvable Problem

Most of computer science focuses on automatically solving given computational problems. I focus on automatically inventing or discovering problems in a way inspired by the playful behavior of animals and humans, to train a more and more general problem solver from scratch in an unsupervised fashion. Consider the infinite set of all computable descriptions of tasks with possibly computable solutions. The novel algorithmic framework POWERPLAY (2011) continually searches the space of possible pairs of new tasks and modifications of the current problem solver, until it finds a more powerful problem solver that provably solves all previously learned tasks plus the new one, while the unmodified predecessor does not. Wow-effects are achieved by continually making previously learned skills more efficient such that they require less time and space. New skills may (partially) re-use previously learned skills. POWERPLAY's search orders candidate pairs of tasks and solver modifications by their conditional computational (time & space) complexity, given the stored experience so far. The new task and its corresponding task-solving skill are those first found and validated. The computational costs of validating new tasks need not grow with task repertoire size. POWERPLAY's ongoing search for novelty keeps breaking the generalization abilities of its present solver. This is related to Goedel's sequence of increasingly powerful formal theories based on adding formerly unprovable statements to the axioms without affecting previously provable theorems. The continually increasing repertoire of problem solving procedures can be exploited by a parallel search for solutions to additional externally posed tasks. POWERPLAY may be viewed as a greedy but practical implementation of basic principles of creativity. A first experimental analysis can be found in separate papers [53,54].Comment: 21 pages, additional connections to previous work, references to first experiments with POWERPLA

Creativity and authenticity: perspectives of creative value, utility and quality

This paper is written from the perspective of creative practitioners in sound, music and the visual arts teaching in UK higher education. Primarily concerned with the understanding of creativity as a developmental capacity and identifiable and measurable process and outcome, what began initially as a focused discussion about the assessment of creative artefacts developed progressively into a more general analysis of creative value in terms of reception and developmental experience. Recognising the impact of new technologies and the changing conceptions of creative technique and craft, collaboration and origination, and diversification of attendant interpretive meanings inherent with new artistic forms, the study is an attempt to establish a position from which pedagogic practices can be honed and refined to meet the expectations and needs of contemporary practitioners and educational contexts. The objective in any educational experience and any process of artistic creation being to enrich and to effectively inform further development steps, value is therefore a highly diverse and granular commodity, measurable on many different scales, and capable of understanding in many different ways. This is a study of considerations and perspectives and ways of understanding and working with creative value and an attempt to develop a framework through which to base creative decisions as educators and practitioners. Creativity models tend to emphasise utility and originality as the key factors in determining creative value; the wider recognition and impact of the outcomes of creative endeavour preeminent in the interpretation and attribution of quality and significance. Whilst most evident and analytically objectifiable in the study of reception and in the analysis of outcomes, creative practices and processes nevertheless feature more prominently in the interpretation of value in some fields. Whilst the products of the creative practice of artists, musicians and writers retain the centre ground in the discourse of creativity, the authentication of creative endeavour is nevertheless closely connected to the narratives surrounding the inception and development of the work and the security of the connection established between the creative object and the creative originator; the intangible and entirely conceptual matter of attribution and provenance often proving more significant than physical artefact in substantiating at least commercial value in many cases. Investigating the potential for a meaningful definition of ‘authentic creativity’, notions of novelty, ignorance, forgery, fakery, reproduction and patterning, provide a basis for consideration of creativity both as an unstable concept and in parallel as a metaphor for the human condition. Considering the discourse of authenticity and aesthetics, this paper explores different perspectives of creativity as lived experience and positions analysis in the narratives of insight, imagination, and the romanticism of discovery and talent. Introducing an analysis of creativity through a series of conceptual models to illustrate key concepts and ideas, this essay presents a discussion rooted in a context of collapsing distinctions between the natural and the artificial, the authentic and the inauthentic, the original and the copy, and develops a tentative definition of authentic creativity and creative authenticity for wider consideration. That creativity matters in education and society is widely acknowledged and appreciated. This paper argues for a greater focus on the lived experience of creativity and the significance of determining value in terms of human experience over productivity

How do we approach intrinsic motivation computationally? : a commentary on: What is intrinsic motivation? A typology of computational approaches. by Pierre-Yves Oudeyer and Frederic Kaplan

What is the energy function guiding behavior and learningµ Representationbased approaches like maximum entropy, generative models, sparse coding, or slowness principles can account for unsupervised learning of biologically observed structure in sensory systems from raw sensory data. However, they do not relate to behavior. Behavior-based approaches like reinforcement learning explain animal behavior in well-described situations. However, they rely on high-level representations which they cannot extract from raw sensory data. Combinations of multiple goal functions seems the methodology of choice to understand the complexity of the brain. But what is the set of possible goals. ..

Discovering Communication

What kind of motivation drives child language development? This article presents a computational model and a robotic experiment to articulate the hypothesis that children discover communication as a result of exploring and playing with their environment. The considered robotic agent is intrinsically motivated towards situations in which it optimally progresses in learning. To experience optimal learning progress, it must avoid situations already familiar but also situations where nothing can be learnt. The robot is placed in an environment in which both communicating and non-communicating objects are present. As a consequence of its intrinsic motivation, the robot explores this environment in an organized manner focusing first on non-communicative activities and then discovering the learning potential of certain types of interactive behaviour. In this experiment, the agent ends up being interested by communication through vocal interactions without having a specific drive for communication