Learning the Designer's Preferences to Drive Evolution

This paper presents the Designer Preference Model, a data-driven solution that pursues to learn from user generated data in a Quality-Diversity Mixed-Initiative Co-Creativity (QD MI-CC) tool, with the aims of modelling the user's design style to better assess the tool's procedurally generated content with respect to that user's preferences. Through this approach, we aim for increasing the user's agency over the generated content in a way that neither stalls the user-tool reciprocal stimuli loop nor fatigues the user with periodical suggestion handpicking. We describe the details of this novel solution, as well as its implementation in the MI-CC tool the Evolutionary Dungeon Designer. We present and discuss our findings out of the initial tests carried out, spotting the open challenges for this combined line of research that integrates MI-CC with Procedural Content Generation through Machine Learning.Comment: 16 pages, Accepted and to appear in proceedings of the 23rd European Conference on the Applications of Evolutionary and bio-inspired Computation, EvoApplications 202

How Creative Should Creators be to Optimize the Evolution of Ideas? A Computer Model

There are both benefits and drawbacks to creativity. In a social group it is not necessary for all members to be creative to benefit from creativity; some merely imitate or enjoy the fruits of others' creative efforts. What proportion should be creative? This paper outlines investigations of this question carried out using a computer model of cultural evolution referred to as EVOC (for EVOlution of Culture). EVOC is composed of neural network based agents that evolve fitter ideas for actions by (1) inventing new ideas through modification of existing ones, and (2) imitating neighbors' ideas. The ideal proportion with respect to fitness of ideas is found to depend on the level of creativity of the creative agents. For all levels or creativity, the diversity of ideas in a population is positively correlated with the ratio of creative agents

A Case Study of Applied Co-Design in 3D Virtual Space for Facilitating Bicycle Use on Light Rail Systems

Cycling is highly recommended by experts concerned with environmental and public health. Cycling does not produce CO2 emissions, can be economical, and can improve physical fitness. However, the barriers to cycling remain significant to many. Combined with a light rail system the bicycle offers a compelling alternative to automobiles; yet, bicycles are denied access on certain rail systems because they can take too much space away from pedestrians who share the light rail interior. To help solve this problem, Co-Design in 3D virtual space is proposed as an effective means of creating an innovative design solution. The digital questionnaires and virtual 3D modeling research/design method used in this study gives the participant the ability to offer insights and express ideas through digital means and in 3D virtual space. This method, Co-Design in Virtual Space (CoDeViS), was developed by the author. CoDeViS methods are an outgrowth of physical co-design methods such as 2D collages and 3D Velcro modeling, developed by those featured in The International Journal of CoCreation in Design and the Arts. Physical 3D methods have been widely accepted in the new product development industry as effective ways to involve people outside a design team in the research and design process. CoDeViS methods offer promise to those seeking to make the principles of co-design available to larger groups of people in discrete locations around the world at lower cost. Historical developments, current technology, and the abilities of everyday people make CoDeViS possible.</p

Entanglements of creative agency and digital technology : a sociomaterial study of computer game development

Digital technology, with its distinctive characteristics that result from the fundamental process of digitalization that underpins it, is seen as fundamentally altering processes of creativity. However, we currently have limited understanding of creativity in relation to the development of digital technology. Computer game development, with its combination of esthetic, affective and cultural use features and highly sophisticated digital technologies, is a valuable setting for investigating these issues. In this paper, we explore how computer games are shaped through the interplay between the creative intentions of developers and the digital technologies involved in their production and playing. Drawing on in-depth studies conducted at three leading computer game development studios and a leading producer of the software system used in game development, this paper shows how the game developers' creative ideas for imagined novel game-playing experiences relate to a) the development of relevant digital technologies, and b) the emergence of new game development practices. The article goes on to propose a view of creativity as an on-going flow that, following an initial ‘creative impulse’, ripples through the sociomaterial entanglements of a particular setting, reconfiguring them in the process and spreading out in time and space in often unexpected ways

Creativity and the Brain

Neurocognitive approach to higher cognitive functions that bridges the gap between psychological and neural level of description is introduced. Relevant facts about the brain, working memory and representation of symbols in the brain are summarized. Putative brain processes responsible for problem solving, intuition, skill learning and automatization are described. The role of non-dominant brain hemisphere in solving problems requiring insight is conjectured. Two factors seem to be essential for creativity: imagination constrained by experience, and filtering that selects most interesting solutions. Experiments with paired words association are analyzed in details and evidence for stochastic resonance effects is found. Brain activity in the process of invention of novel words is proposed as the simplest way to understand creativity using experimental and computational means. Perspectives on computational models of creativity are discussed