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

Animating the evolution of software

The use and development of open source software has increased significantly in the last decade. The high frequency of changes and releases across a distributed environment requires good project management tools in order to control the process adequately. However, even with these tools in place, the nature of the development and the fact that developers will often work on many other projects simultaneously, means that the developers are unlikely to have a clear picture of the current state of the project at any time. Furthermore, the poor documentation associated with many projects has a detrimental effect when encouraging new developers to contribute to the software. A typical version control repository contains a mine of information that is not always obvious and not easy to comprehend in its raw form. However, presenting this historical data in a suitable format by using software visualisation techniques allows the evolution of the software over a number of releases to be shown. This allows the changes that have been made to the software to be identified clearly, thus ensuring that the effect of those changes will also be emphasised. This then enables both managers and developers to gain a more detailed view of the current state of the project. The visualisation of evolving software introduces a number of new issues. This thesis investigates some of these issues in detail, and recommends a number of solutions in order to alleviate the problems that may otherwise arise. The solutions are then demonstrated in the definition of two new visualisations. These use historical data contained within version control repositories to show the evolution of the software at a number of levels of granularity. Additionally, animation is used as an integral part of both visualisations - not only to show the evolution by representing the progression of time, but also to highlight the changes that have occurred. Previously, the use of animation within software visualisation has been primarily restricted to small-scale, hand generated visualisations. However, this thesis shows the viability of using animation within software visualisation with automated visualisations on a large scale. In addition, evaluation of the visualisations has shown that they are suitable for showing the changes that have occurred in the software over a period of time, and subsequently how the software has evolved. These visualisations are therefore suitable for use by developers and managers involved with open source software. In addition, they also provide a basis for future research in evolutionary visualisations, software evolution and open source development

Teaching programming at a distance: the Internet software visualization laboratory

This paper describes recent developments in our approach to teaching computer programming in the context of a part-time Masters course taught at a distance. Within our course, students are sent a pack which contains integrated text, software and video course material, using a uniform graphical representation to tell a consistent story of how the programming language works. The students communicate with their tutors over the phone and through surface mail. Through our empirical studies and experience teaching the course we have identified four current problems: (i) students' difficulty mapping between the graphical representations used in the course and the programs to which they relate, (ii) the lack of a conversational context for tutor help provided over the telephone, (iii) helping students who due to their other commitments tend to study at 'unsociable' hours, and (iv) providing software for the constantly changing and expanding range of platforms and operating systems used by students. We hope to alleviate these problems through our Internet Software Visualization Laboratory (ISVL), which supports individual exploration, and both synchronous and asynchronous communication. As a single user, students are aided by the extra mappings provided between the graphical representations used in the course and their computer programs, overcoming the problems of the original notation. ISVL can also be used as a synchronous communication medium whereby one of the users (generally the tutor) can provide an annotated demonstration of a program and its execution, a far richer alternative to technical discussions over the telephone. Finally, ISVL can be used to support asynchronous communication, helping students who work at unsociable hours by allowing the tutor to prepare short educational movies for them to view when convenient. The ISVL environment runs on a conventional web browser and is therefore platform independent, has modest hardware and bandwidth requirements, and is easy to distribute and maintain. Our planned experiments with ISVL will allow us to investigate ways in which new technology can be most appropriately applied in the service of distance education