Is it Time for Computational Creativity to Grow Up and Start being Irresponsible?

A recent definition of computational creativity has em- phasised that computational creativity systems should “take on certain responsibilities” for generating creative behaviour. This paper examines the notion of responsibilities in that definition, and looks at a number of aspects of the creative act and its context that might play a role in that responsibility, with an emphasis on artistic and musical creativity. This problematises the seemingly simple distinction between systems that have responsibilities for creative activity and those which support or provide tools for creativity. The paper con- cludes with a discussion of an alternative approach to the subject, which argues that the responsibility for creative action is typically diffused through a complex human/computer system, and that a “systems thinking” approach to locating computational creativity might ask better questions than one that tries to pin creative responsibility to a particular agent

Knowledge transformers : a link between learning and creativity

The purpose of this paper is to investigate whether knowledge transformers which are featured in the learning process, are also present in the creative process. This is achieved by reviewing models and theories of creativity and identifying the existence of the knowledge transformers. The investigation shows that there is some evidence to show that the creative process can be explained through knowledge transformers. Hence, it is suggested that one of links between learning and creativity is through the knowledge transformers

Computer Simulation of Musical Evolution: A Lesson from Whales

Simulating musical creativity using computers needs more than the ability to devise elegant computational implementations of sophisticated algorithms. It requires, firstly, an understanding of what phenomena might be regarded as music; and, secondly, an understanding of the nature of such phenomena — including their evolutionary history, their recursive-hierarchic structure, and the mechanisms by which they are transmitted within cultural groups. To understand these issues it is fruitful to compare human music, and indeed human language, with analogous phenomena in other areas of the animal kingdom. Whale song, specifically that of the humpback (Megaptera novaeangeliae), possesses many structural and functional similarities to human music (as do certain types of birdsong). Using a memetic perspective, this paper compares the “musilanguage” of humpbacks with the music of humans, and aims to identify a number of shared characteristics. A consequence of nature and nurture, these commonalities appear to arise partly from certain constraints of perception and cognition (and thus they determine an aspect of the environment within which the “musemes” (musical memes) constituting whale vocalizations and human music is replicated), and partly from the social-emotive-embodied and sexual-selective nature of musemic transmission. The paper argues that Universal-Darwinian forces give rise to uniformities of structure in phenomena we might regard as “music”, irrespective of the animal group — certain primates, cetaceans or birds - within which it occurs. It considers the extent to which whale song might be regarded as creative, by invoking certain criteria used to assess this attribute in human music. On the basis of these various comparisons, the paper concludes by attempting to draw conclusions applicable to those engaged in designing evolutionary music simulation/generation algorithms

Knowledge transformers : a link between learning and creativity

The purpose of this paper is to investigate whether knowledge transformers that are featured in the learning process are also present in the creative process. First, this was achieved by reviewing accounts of inventions and discoveries with the view of explaining them in terms of knowledge transformers. Second, this was achieved by reviewing models and theories of creativity and identifying the existence of the knowledge transformers. The investigation shows that there is some evidence to show that the creative process can be explained through knowledge transformers. Hence, it is suggested that one of links between learning and creativity is through the knowledge transformers

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

The Static Quark-Antiquark Potential: A ``Classical'' Experiment On The Connection Machine CM-2

We describe the Wuppertal university pilot project in applied parallel computing. We report on a comprehensive high statistics determination of the static quark-antiquark potential and related quantities from quenched quantum chromodynamics. New data for the string tension and the plaquette action for the region 5.5 < beta < 6.8 is presented.Comment: (Talk K. Schilling), 11 pages, postscript (\approx 250K