17,338 research outputs found
The importance of applying computational creativity to scientific and mathematical domains
Science and mathematics are currently underrepresented in the computational creativity (CC) community. We discuss why the CC community should apply their work to mathematical and scientific domains, and argue that this would be mutually beneficial for the domains in question. We identify a key challenge in Automated Reasoning – that it has not achieved widespread adoption by mathematicians; and one in Automated Scientific Discovery – the need for communicability of automatically generated scientific knowledge. We recommend that CC researchers help to address these two challenges by: (i) applying systems based on cognitive mechanisms to scientific and mathematical domains; (ii) employing experience in building and evaluating interactive systems to this context; and (iii) using expertise in automatically producing framing functionality to enhance the communicability of automatically generated scientific knowledge.EPSRC funded project EP/P017320/1 "Example-driven machine-human collaboration in mathematics
Some Empirical Criteria for Attributing Creativity to a Computer Program
Peer reviewedPostprin
A Standardised Procedure for Evaluating Creative Systems: Computational Creativity Evaluation Based on What it is to be Creative
Computational creativity is a flourishing research area, with a variety of creative systems being produced and developed. Creativity evaluation has not kept pace with system development with an evident lack of systematic evaluation of the creativity of these systems in the literature. This is partially due to difficulties in defining what it means for a computer to be creative; indeed, there is no consensus on this for human creativity, let alone its computational equivalent. This paper proposes a Standardised Procedure for Evaluating Creative Systems (SPECS). SPECS is a three-step process: stating what it means for a particular computational system to be creative, deriving and performing tests based on these statements. To assist this process, the paper offers a collection of key components of creativity, identified empirically from discussions of human and computational creativity. Using this approach, the SPECS methodology is demonstrated through a comparative case study evaluating computational creativity systems that improvise music
Transdisciplinarity seen through Information, Communication, Computation, (Inter-)Action and Cognition
Similar to oil that acted as a basic raw material and key driving force of
industrial society, information acts as a raw material and principal mover of
knowledge society in the knowledge production, propagation and application. New
developments in information processing and information communication
technologies allow increasingly complex and accurate descriptions,
representations and models, which are often multi-parameter, multi-perspective,
multi-level and multidimensional. This leads to the necessity of collaborative
work between different domains with corresponding specialist competences,
sciences and research traditions. We present several major transdisciplinary
unification projects for information and knowledge, which proceed on the
descriptive, logical and the level of generative mechanisms. Parallel process
of boundary crossing and transdisciplinary activity is going on in the applied
domains. Technological artifacts are becoming increasingly complex and their
design is strongly user-centered, which brings in not only the function and
various technological qualities but also other aspects including esthetic, user
experience, ethics and sustainability with social and environmental dimensions.
When integrating knowledge from a variety of fields, with contributions from
different groups of stakeholders, numerous challenges are met in establishing
common view and common course of action. In this context, information is our
environment, and informational ecology determines both epistemology and spaces
for action. We present some insights into the current state of the art of
transdisciplinary theory and practice of information studies and informatics.
We depict different facets of transdisciplinarity as we see it from our
different research fields that include information studies, computability,
human-computer interaction, multi-operating-systems environments and
philosophy.Comment: Chapter in a forthcoming book: Information Studies and the Quest for
Transdisciplinarity - Forthcoming book in World Scientific. Mark Burgin and
Wolfgang Hofkirchner, Editor
Four PPPPerspectives on Computational Creativity
From what perspective should creativity of a system be considered? Are we interested in the creativity of the system’s out- put? The creativity of the system itself? Or of its creative processes? Creativity as measured by internal features or by external feedback? Traditionally within computational creativity the focus had been on the creativity of the system’s Products or of its Processes, though this focus has widened recently regarding the role of the audience or the field surrounding the creative system. In the wider creativity research community a broader take is prevalent: the creative Person is considered as well as the environment or Press within which the creative entity operates in. Here we have the Four Ps of creativity: Person, Product, Process and Press. This paper presents the Four Ps, explaining each of the Four Ps in the context of creativity research and how it relates to computational creativity. To illustrate how useful the Four Ps can be in taking a fuller perspective on creativity, the concepts of novelty and value explored from each of the Four P perspectives, uncovering aspects that may otherwise be overlooked. This paper argues that the broader view of creativity afforded by the Four Ps is vital in guiding us towards more encompassing and comprehensive computational investigations of creativity
Mathematical practice, crowdsourcing, and social machines
The highest level of mathematics has traditionally been seen as a solitary
endeavour, to produce a proof for review and acceptance by research peers.
Mathematics is now at a remarkable inflexion point, with new technology
radically extending the power and limits of individuals. Crowdsourcing pulls
together diverse experts to solve problems; symbolic computation tackles huge
routine calculations; and computers check proofs too long and complicated for
humans to comprehend.
Mathematical practice is an emerging interdisciplinary field which draws on
philosophy and social science to understand how mathematics is produced. Online
mathematical activity provides a novel and rich source of data for empirical
investigation of mathematical practice - for example the community question
answering system {\it mathoverflow} contains around 40,000 mathematical
conversations, and {\it polymath} collaborations provide transcripts of the
process of discovering proofs. Our preliminary investigations have demonstrated
the importance of "soft" aspects such as analogy and creativity, alongside
deduction and proof, in the production of mathematics, and have given us new
ways to think about the roles of people and machines in creating new
mathematical knowledge. We discuss further investigation of these resources and
what it might reveal.
Crowdsourced mathematical activity is an example of a "social machine", a new
paradigm, identified by Berners-Lee, for viewing a combination of people and
computers as a single problem-solving entity, and the subject of major
international research endeavours. We outline a future research agenda for
mathematics social machines, a combination of people, computers, and
mathematical archives to create and apply mathematics, with the potential to
change the way people do mathematics, and to transform the reach, pace, and
impact of mathematics research.Comment: To appear, Springer LNCS, Proceedings of Conferences on Intelligent
Computer Mathematics, CICM 2013, July 2013 Bath, U
A computational framework for aesthetical navigation in musical search space
Paper presented at 3rd AISB symposium on computational creativity, AISB 2016, 4-6th April, Sheffield. Abstract. This article addresses aspects of an ongoing project in the generation of artificial Persian (-like) music. Liquid Persian Music software (LPM) is a cellular automata based audio generator. In this paper LPM is discussed from the view point of future potentials of algorithmic composition and creativity. Liquid Persian Music is a creative tool, enabling exploration of emergent audio through new dimensions of music composition. Various configurations of the system produce different voices which resemble musical motives in many respects. Aesthetical measurements are determined by Zipf’s law in an evolutionary environment. Arranging these voices together for producing a musical corpus can be considered as a search problem in the LPM outputs space of musical possibilities. On this account, the issues toward defining the search space for LPM is studied throughout this paper
Evaluating computational creativity: a standardised procedure for evaluating creative systems and its application
This thesis proposes SPECS: a Standardised Procedure for Evaluating Creative Systems.
No methodology has been accepted as standard for evaluating the creativity of a system in the field of computational creativity and the multi-faceted and subjective nature of creativity generates substantial definitional issues. Evaluative practice has developed a general lack of rigour and systematicity, hindering research progress.
SPECS is a standardised and systematic methodology for evaluating computational creativity. It is flexible enough to be applied to a variety of different types of creative system and adaptable to specific demands in different types of creativity. In the three-stage process of evaluation, researchers are required to be specific about what creativity entails in the domain they work in and what standards they test a system’s creativity by. To assist researchers, definitional issues are investigated and a set of components representing aspects of creativity is presented, which was empirically derived using computational linguistics analysis. These components are recommended for use within SPECS, being offered as a general definition of creativity that can be customised to account for any specific priorities for creativity in a given domain.
SPECS is applied in a case study for detailed comparisons of the creativity of three musical improvisation systems, identifying which systems are more creative than others and why. In a second case study, SPECS is used to capture initial impressions on the creativity of systems presented at a 2011 computational creativity research event. Five systems performing different creative tasks are compared and contrasted.
These case studies exemplify the valuable information that can be obtained on a system’s strengths and weaknesses. SPECS gives researchers vital feedback for improving their systems’ creativity, informing further progress in computational creativity research
- …