Towards Computational Assessment of Idea Novelty

In crowdsourcing ideation websites, companies can easily collect large amount of ideas. Screening through such volume of ideas is very costly and challenging, necessitating automatic approaches. It would be particularly useful to automatically evaluate idea novelty since companies commonly seek novel ideas. Three computational approaches were tested, based on Latent Semantic Analysis (LSA), Latent Dirichlet Allocation (LDA) and term frequency–inverse document frequency (TF-IDF), respectively. These three approaches were used on three set of ideas and the computed idea novelty was compared with human expert evaluation. TF-IDF based measure correlated better with expert evaluation than the other two measures. However, our results show that these approaches do not match human judgement well enough to replace it

Some Empirical Criteria for Attributing Creativity to a Computer Program

Peer reviewedPostprin

6 Seconds of Sound and Vision: Creativity in Micro-Videos

The notion of creativity, as opposed to related concepts such as beauty or interestingness, has not been studied from the perspective of automatic analysis of multimedia content. Meanwhile, short online videos shared on social media platforms, or micro-videos, have arisen as a new medium for creative expression. In this paper we study creative micro-videos in an effort to understand the features that make a video creative, and to address the problem of automatic detection of creative content. Defining creative videos as those that are novel and have aesthetic value, we conduct a crowdsourcing experiment to create a dataset of over 3,800 micro-videos labelled as creative and non-creative. We propose a set of computational features that we map to the components of our definition of creativity, and conduct an analysis to determine which of these features correlate most with creative video. Finally, we evaluate a supervised approach to automatically detect creative video, with promising results, showing that it is necessary to model both aesthetic value and novelty to achieve optimal classification accuracy.Comment: 8 pages, 1 figures, conference IEEE CVPR 201

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

The value of novelty in schizophrenia

Influential models of schizophrenia suggest that patients experience incoming stimuli as excessively novel and motivating, with important consequences for hallucinatory experience and delusional belief. However, whether schizophrenia patients exhibit excessive novelty value and whether this interferes with adaptive behaviour has not yet been formally tested. Here, we employed a three-armed bandit task to investigate this hypothesis. Schizophrenia patients and healthy controls were first familiarised with a group of images and then asked to repeatedly choose between familiar and unfamiliar images associated with different monetary reward probabilities. By fitting a reinforcement-learning model we were able to estimate the values attributed to familiar and unfamiliar images when first presented in the context of the decision-making task. In line with our hypothesis, we found increased preference for newly introduced images (irrespective of whether these were familiar or unfamiliar) in patients compared to healthy controls and this to correlate with severity of hallucinatory experience. In addition, we found a correlation between value assigned to novel images and task performance, suggesting that excessive novelty value may interfere with optimal learning in patients, putatively through the disruption of the mechanisms regulating exploration versus exploitation. Our results suggest excessive novelty value in patients, whereby even previously seen stimuli acquire higher value as the result of their exposure in a novel context – a form of ‘hyper novelty’ which may explain why patients are often attracted by familiar stimuli experienced as new

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