On the development of evolutionary artificial artists

The creation and the evaluation of aesthetic artifacts are tasks related to design, music and art, which are highly interesting from the computational point of view. Nowadays, Artificial Intelligence systems face the challenge of performing tasks that are typically human, highly subjective, and eventually social. The present paper introduces an architecture which is capable of evaluating aesthetic characteristics of artifacts and of creating artifacts that obey certain aesthetic properties. The development methodology and motivation, as well as the results achieved by the various components of the architecture, are described. The potential contributions of this type of systems in the context of digital art are also considered.http://www.sciencedirect.com/science/article/B6TYG-4PTMXVB-1/1/265a0f6c8e478822e6de32b87bc2fb1

Toward alive art

Electronics is about to change the idea of art and drastically so. We know this is going to happen - we can feel it. Much less clear to most of us are the hows, whens and whys of the change. In this paper, we will attempt to analyze the mechanisms and dynamics of the coming cultural revolution, focusing on the «artistic space» where the revolution is taking place, on the interactions between the artistic act and the space in which the act takes place and on the way in which the act modifies the space and the space the act. We briefly discuss the new category of «electronic artists». We then highlight what we see as the logical process connecting the past, the present and our uncertain future. We examine the relationship between art and previous technologies, pointing to the evolutionary, as well as the revolutionary impact of new means of expression. Against this background we propose a definition for what we call «Alive Art», going on to develop a tentative profile of the performers (the «Alivers»). In the last section, we describe two examples of Alive Artworks, pointing out the central role of what we call the "Alive Art Effect" in which we can perceive relative independence of creation from the artist and thus it may seem that unique creative role of artist is not always immediate and directly induced by his/her activity. We actually, emphasized that artist's activities may result in unpredictable processes more or less free of the artist's will

Environments for sonic ecologies

This paper outlines a current lack of consideration for the environmental context of Evolutionary Algorithms used for the generation of music. We attempt to readdress this balance by outlining the benefits of developing strong coupling strategies between agent and en- vironment. It goes on to discuss the relationship between artistic process and the viewer and suggests a placement of the viewer and agent in a shared environmental context to facilitate understanding of the artistic process and a feeling of participation in the work. The paper then goes on to outline the installation ‘Excuse Me and how it attempts to achieve a level of Sonic Ecology through the use of a shared environmental context

Deep Learning: Our Miraculous Year 1990-1991

In 2020, we will celebrate that many of the basic ideas behind the deep learning revolution were published three decades ago within fewer than 12 months in our "Annus Mirabilis" or "Miraculous Year" 1990-1991 at TU Munich. Back then, few people were interested, but a quarter century later, neural networks based on these ideas were on over 3 billion devices such as smartphones, and used many billions of times per day, consuming a significant fraction of the world's compute.Comment: 37 pages, 188 references, based on work of 4 Oct 201

SentientWorld : human-based procedural cartography - an experiment in interactive sketching and iterative refining

This paper presents a first step towards a computer-assisted design tool for the creation of game maps. The tool, named Sentient World, allows the designer to draw a rough terrain sketch, adding extra levels of detail through stochastic and gradient search. Novelty search generates a number of dissimilar artificial neural networks that are trained to approximate a designer’s sketch and provide maps of higher resolution back to the designer. As the procedurally generated maps are presented to the designer (to accept, reject, or edit) the terrain sketches are iteratively refined into complete high resolution maps which may diverge from initial designer concepts. Results obtained on a number of test maps show that novelty search is beneficial for introducing divergent content to the designer without reducing the speed of iterative map refinement.This research was supported, in part, by the FP7 ICT project SIREN (project no: 258453).peer-reviewe

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

Should machines be tools or tool-users? Clarifying motivations and assumptions in the quest for superintelligence

Much of the basic non-technical vocabulary of artificial intelligence is surprisingly ambiguous. Some key terms with unclear meanings include intelligence, embodiment, simulation, mind, consciousness, perception, value, goal, agent, knowledge, belief, optimality, friendliness, containment, machine and thinking. Much of this vocabulary is naively borrowed from the realm of conscious human experience to apply to a theoretical notion of “mind-in-general” based on computation. However, if there is indeed a threshold between mechanical tool and autonomous agent (and a tipping point for singularity), projecting human conscious-level notions into the operations of computers creates confusion and makes it harder to identify the nature and location of that threshold. There is confusion, in particular, about how—and even whether—various capabilities deemed intelligent relate to human consciousness. This suggests that insufficient thought has been given to very fundamental concepts—a dangerous state of affairs, given the intrinsic power of the technology. It also suggests that research in the area of artificial general intelligence may unwittingly be (mis)guided by unconscious motivations and assumptions. While it might be inconsequential if philosophers get it wrong (or fail to agree on what is right), it could be devastating if AI developers, corporations, and governments follow suit. It therefore seems worthwhile to try to clarify some fundamental notions

Transforming exploratory creativity with DeLeNoX

We introduce DeLeNoX (Deep Learning Novelty Explorer), a system that autonomously creates artifacts in constrained spaces according to its own evolving interestingness criterion. DeLeNoX proceeds in alternating phases of exploration and transformation. In the exploration phases, a version of novelty search augmented with constraint handling searches for maximally diverse artifacts using a given distance function. In the transformation phases, a deep learning autoencoder learns to compress the variation between the found artifacts into a lower-dimensional space. The newly trained encoder is then used as the basis for a new distance function, transforming the criteria for the next exploration phase. In the current paper, we apply DeLeNoX to the creation of spaceships suitable for use in two-dimensional arcade-style computer games, a representative problem in procedural content generation in games. We also situate DeLeNoX in relation to the distinction between exploratory and transformational creativity, and in relation to Schmidhuber’s theory of creativity through the drive for compression progress.peer-reviewe