Has computational creativity successfully made it 'Beyond the Fence' in musical theatre?

A significant test for software is when it is tasked with replicating human performance, as was the case recently with creative software and the commercial project Beyond the Fence (undertaken for a television documentary Computer Says Show). The remit of the Beyond the Fence project was to use computer software as much as possible to produce a musical show billed as `the world's first computer-generated musical’. Several computational creativity systems were used in the production of this musical, which was performed in London's West End for a two week run in 2016. This paper considers the challenge of evaluating this project. Current computational creativity evaluation methods are ill-suited to evaluating projects involving creative input from multiple systems and people. Following recent inspiration within computational creativity research from interaction design, here the DECIDE evaluation framework is used to evaluate the Beyond the Fence project along two questions: (1) To what extent is the project successful? and (2) To what extent does this project demonstrate computational creativity? Evaluation lets us conclude that this was a reasonably successful achievement of the task of using computational generation in producing a credible musical show. Lessons have been learned for future computational creativity projects though, particularly for affording creative software more agency and enabling software to interact with other creative partners. Upon reflection, the DECIDE framework emerges as a useful evaluation `checklist' (if not a tangible operational methodology) for the evaluation of multiple creative systems participating in a single creative task

The Cowl - v.82 - n.7 - Oct 26, 2017

The Cowl - student newspaper of Providence College. Volume 82, Number 7 - October 26, 2017. 28 pages

Faculty Excellence

Each year, the University of New Hampshire selects a small number of its outstanding faculty for special recognition of their achievements in teaching, scholarship and service. Awards for Excellence in Teaching are given in each college and school, and university-wide awards recognize public service, research, teaching and engagement. This booklet details the year\u27s award winners\u27 accomplishments in short profiles with photographs and text

Faculty Excellence

Each year, the University of New Hampshire selects a small number of its outstanding faculty for special recognition of their achievements in teaching, scholarship and service. Awards for Excellence in Teaching are given in each college and school, and university-wide awards recognize public service, research, teaching and engagement. This booklet details the year\u27s award winners\u27 accomplishments in short profiles with photographs and text

Spartan Daily, November 17, 2008

Volume 131, Issue 42https://scholarworks.sjsu.edu/spartandaily/10526/thumbnail.jp

Bard Free Press, Vol. 5, No. 1 (September 24, 2003)

https://digitalcommons.bard.edu/bardfreepress/1033/thumbnail.jp

Annotating Musical Theatre Plots on Narrative Structure and Emotional Content

Although theoretical models of the structure of narrative arising from systematic analysis of corpora are available for domains such as Russian folk tales, there are no such sources for the plot lines of musical theatre. The present paper reports an effort of knowledge elicitation for features that characterise the narrative structure of plot in the particular domain of musical theatre. The following aspects are covered: identification of a valid vocabulary of abstract units to use in annotating musical theatre plots, development of a procedure for annotation - including a spread-sheet format for annotators to use, and a corresponding set of instructions to guide them through the process - selection of a corpus of musical theatre pieces that would constitute the corpus to be annotated, the annotation process itself and the results of post-processing the annotated corpus in search for insights on the narrative structure of musical theatre plots