Constrained creation of poetic forms during theme-driven exploration of a domain defined by an N-gram model

Most poetry-generation systems apply opportunistic approaches where algorithmic procedures are applied to explore the conceptual space defined by a given knowledge resource in search of solutions that might be aesthetically valuable. Aesthetical value is assumed to arise from compliance to a given poetic form – such as rhyme or metrical regularity – or from evidence of semantic relations between the words in the resulting poems that can be interpreted as rhetorical tropes – such as similes, analogies, or metaphors. This approach tends to fix a priori the aesthetic parameters of the results, and imposes no constraints on the message to be conveyed. The present paper describes an attempt to initiate a shift in this balance, introducing means for constraining the output to certain topics and allowing a looser mechanism for constraining form. This goal arose as a result of the need to produce poems for a themed collection commissioned to be included in a book. The solution adopted explores an approach to creativity where the goals are not solely aesthetic and where the results may be surprising in their poetic form. An existing computer poet, originally developed to produce poems in a givenform but with no specific constraints on their content, is put to the task of producing a set of poems with explicit restrictions on content, and allowing for an exploration of poetic form. Alternative generation methods are devised to overcome the difficulties, and the various insights arising from these new methods and the impact they have on the set of resulting poems are discussed in terms of their potential contribution to better poetry-generation systems

Evaluating computational creativity: a standardised procedure for evaluating creative systems and its application

This thesis proposes SPECS: a Standardised Procedure for Evaluating Creative Systems. No methodology has been accepted as standard for evaluating the creativity of a system in the field of computational creativity and the multi-faceted and subjective nature of creativity generates substantial definitional issues. Evaluative practice has developed a general lack of rigour and systematicity, hindering research progress. SPECS is a standardised and systematic methodology for evaluating computational creativity. It is flexible enough to be applied to a variety of different types of creative system and adaptable to specific demands in different types of creativity. In the three-stage process of evaluation, researchers are required to be specific about what creativity entails in the domain they work in and what standards they test a system’s creativity by. To assist researchers, definitional issues are investigated and a set of components representing aspects of creativity is presented, which was empirically derived using computational linguistics analysis. These components are recommended for use within SPECS, being offered as a general definition of creativity that can be customised to account for any specific priorities for creativity in a given domain. SPECS is applied in a case study for detailed comparisons of the creativity of three musical improvisation systems, identifying which systems are more creative than others and why. In a second case study, SPECS is used to capture initial impressions on the creativity of systems presented at a 2011 computational creativity research event. Five systems performing different creative tasks are compared and contrasted. These case studies exemplify the valuable information that can be obtained on a system’s strengths and weaknesses. SPECS gives researchers vital feedback for improving their systems’ creativity, informing further progress in computational creativity research

On first looking into Brébeuf's Lucan

Georges de Brébeuf not only translated Lucan's Pharsalia in rhyming alexandrines but also produced a travesty of the same work. This unique situation can be understood as a complicated response to the aesthetic provocation offered by the Latin poem. Translation and travesty form a hybrid whole. It is argued that our encounter with Brébeuf’s contradictory poet can help us to better grasp what kind of writer Lucan is: one who grotesquely undercuts his own sublime aspirations

Evaluating computational creativity: a standardised procedure for evaluating creative systems and its application

This thesis proposes SPECS: a Standardised Procedure for Evaluating Creative Systems. No methodology has been accepted as standard for evaluating the creativity of a system in the field of computational creativity and the multi-faceted and subjective nature of creativity generates substantial definitional issues. Evaluative practice has developed a general lack of rigour and systematicity, hindering research progress. SPECS is a standardised and systematic methodology for evaluating computational creativity. It is flexible enough to be applied to a variety of different types of creative system and adaptable to specific demands in different types of creativity. In the three-stage process of evaluation, researchers are required to be specific about what creativity entails in the domain they work in and what standards they test a system’s creativity by. To assist researchers, definitional issues are investigated and a set of components representing aspects of creativity is presented, which was empirically derived using computational linguistics analysis. These components are recommended for use within SPECS, being offered as a general definition of creativity that can be customised to account for any specific priorities for creativity in a given domain. SPECS is applied in a case study for detailed comparisons of the creativity of three musical improvisation systems, identifying which systems are more creative than others and why. In a second case study, SPECS is used to capture initial impressions on the creativity of systems presented at a 2011 computational creativity research event. Five systems performing different creative tasks are compared and contrasted. These case studies exemplify the valuable information that can be obtained on a system’s strengths and weaknesses. SPECS gives researchers vital feedback for improving their systems’ creativity, informing further progress in computational creativity research

Creativity: can artistic perspectives contribute to management?

Today creativity is considered as a necessity in all aspects of management. This working paper mirrors the artistic and managerial conceptions of creativity. Although there are shared points in both applications, however deep-seated and radically opposed traits account for the divergence between the two fields. This exploratory analysis opens up new research questions and insights into practices

Creativity: Can Artistic Perspectives Contribute to Management Questions?

Today creativity is considered as a necessity in ail aspects of management. This working paper mirrors the artistic and managerial conceptions of creativity. Although there are shared points in bath applications, however deep-seated and radically opposed traits account for the divergence between the two fields. This exploratory analysis opens up new research questions and insights into practices.Creativity; Management; Art

TwitSong: A current events computer poet and the thorny problem of assessment.

This thesis is driven by the question of how computers can generate poetry, and how that poetry can be evaluated. We survey existing work on computer-generated poetry and interdisciplinary work on how to evaluate this type of computer-generated creative product. We perform experiments illuminating issues in evaluation which are specific to poetry. Finally, we produce and evaluate three versions of our own generative poetry system, TwitSong, which generates poetry based on the news, evaluates the desired qualities of the lines that it chooses, and, in its final form, can make targeted and goal-directed edits to its own work. While TwitSong does not turn out to produce poetry comparable to that of a human, it represents an advancement on the state of the art in its genre of computer-generated poetry, particularly in its ability to edit for qualities like topicality and emotion

Something to Say: Success Principles for Afterschool Arts Programs From Urban Youth and Other Experts

Engagement in the arts can help youth in myriad ways: as a vehicle for self expression, acquiring skills, and developing focus and teamwork. Unfortunately, with the develine of arts education in public schools, few urban, low-income young people have high-quality engaging art experiences at school. Alternatives outside of school, such as private lessons or arts camps, are typically limited to children of families with the resources and savvy to get access to them. What narrow arts experiences low-income youth have are often dull arts and crafts projects where they are instructed to follow a prototype, rather than create something from their own imagination. Consequently, many urban, low-income youth grow up without even a cursory understanding of what high-quality arts programs are like, or what benefits may accrue from participation. Even when there is awareness or interest in out-of-school time (OST) arts programs, many young people choose other activities for a variety of reasons. Further, community groups often report a steep drop-off in teen OST engagement and participation. That finding points to the importance of captivating young people's interest prior to the teen years when, as tweens, they are more willing to try new OST experiences. This report attempts to answer the following questions: How can urban, low-income tweens and teens gain equal access to high quality arts experiences? Is there a model of practices that could provide a blueprint for community based organizations to emulate, so that proven approaches could be deployed in more places, more often? Is there a way to approach the analysis of these problems that respects and honors the young people as consumers who make informed choices? and how do the insights of what tweens and teens want align with what other experts say they need

The Persistence of Minimalism

The following work develops a new and general theory of minimalism – one addressing both its transhistorical and interdisciplinary dimensions, and capable of accounting for existing minimalism of every epoch and in every medium, while suitably open to embrace minimalist work yet to be created. To offer such a theory it is necessary not only to revisit the histories of minimalist practice and criticism, but also to consider its radical philosophical ground and implications. Hence its principal thesis – that minimalism exemplifies the persistence and facticity of the Real – grapples at once with the ontological heart of minimalist theory, and its practical instantiation through canonical as well as rarely considered examples. Divided into three parts, the first part addresses minimalism as the manifestation of particular aesthetic properties in relation to critical and theoretical trends. Since it becomes apparent that no single descriptive or theoretical account adequately frames minimalism, the discussion turns to the possibility of discovering a philosophical ground equally radical to the minimalist objects it addresses. The Real – an indifferent field of forces from which contingent entities are subtracted from within an irreversible temporal passage – offers precisely this radical continuum. Minimalism, by exposing the continuity between radical poiesis and an essentially quantitative understanding of Being, clarifies the indifferent persistence of the Real in every existential situation. Penetrating to the heart of this proposition, parts two and three respectively address minimalism in terms of its quantitative logic of Being – every exemplary subtraction from which is instantiated a type of existential calculation – and its exemplary aesthetic manifestation in terms of an existential transumption – a constructive poietic displacement by which minimalism renders itself maximally intelligible in terms of its objecthood and persistence. The work concludes with a typology which reorients and confirms the substance of the preceding argumentation

Creative Feedback: a manifesto for social learning

Arguably one of the most important activities of a university is to provide environments where students develop the wide variety of social and intellectual skills necessary for giving and receiving feedback. We are not talking here about the kinds of activity typically associated with the term “feedback” -such as that which occurs through individual course evaluation questionnaires or more universal systems such as the National Student Survey, but the profoundly creative and human act of giving and receiving feedback in order validate, challenge and inspire. So as to emphasise we are talking about this kind of feedback, we coin the term “creative feedback” to distinguish it from the pre-conceived rather dreary compliance-inflected notions of feedback and set out in this paper to characterise its qualities. In order to ground and motivate our definition and use of “creative feedback” we take a historical look at the two concepts of creativity/creative and feedback. Our intention is to use this rich history to motivate both the choice two words, and the reason to bring them together. In doing so we wish to emphasise the characteristics of an educational philosophy underpinned by social interaction. By describing those qualities necessary to characterise creative feedback this paper sets out an educational philosophy for how schools, communities and universities could develop their learning environments. What we present here serves not only as a manifesto for designing learning environments generally but as a driver for designing technologies to support online social learning. Technology not only provides us with new opportunities to support such learning but also to investigate and evidence the way in which we learn and the most effective learning environments