scholarly journals How to study artificial creativity

Author(s):  
Rob Saunders ◽  
John S. Gero
2020 ◽  
Vol 6 (4) ◽  
pp. 187 ◽  
Author(s):  
Tan Yigitcanlar ◽  
Nayomi Kankanamge ◽  
Massimo Regona ◽  
Andres Ruiz Maldonado ◽  
Bridget Rowan ◽  
...  

Artificial intelligence (AI) is a powerful technology with an increasing popularity and applications in areas ranging from marketing to banking and finance, from agriculture to healthcare and security, from space exploration to robotics and transport, and from chatbots to artificial creativity and manufacturing. Although many of these areas closely relate to the urban context, there is limited understanding of the trending AI technologies and their application areas—or concepts—in the urban planning and development fields. Similarly, there is a knowledge gap in how the public perceives AI technologies, their application areas, and the AI-related policies and practices of our cities. This study aims to advance our understanding of the relationship between the key AI technologies (n = 15) and their key application areas (n = 16) in urban planning and development. To this end, this study examines public perceptions of how AI technologies and their application areas in urban planning and development are perceived and utilized in the testbed case study of Australian states and territories. The methodological approach of this study employs the social media analytics method, and conducts sentiment and content analyses of location-based Twitter messages (n = 11,236) from Australia. The results disclose that: (a) digital transformation, innovation, and sustainability are the most popular AI application areas in urban planning and development; (b) drones, automation, robotics, and big data are the most popular AI technologies utilized in urban planning and development, and; (c) achieving the digital transformation and sustainability of cities through the use of AI technologies—such as big data, automation and robotics—is the central community discussion topic.


Philosophies ◽  
2019 ◽  
Vol 4 (3) ◽  
pp. 49
Author(s):  
Gianfranco Minati

This contribution tentatively outlines the presumed conceptual duality between the issues of incompleteness and incomprehensibility—The first being more formal in nature and able to be declined in various ways until specified in the literature as theoretical incompleteness. This is theoretical and not temporary, which is admissible and the completion prosecutable. As considered in the literature, theoretical incompleteness refers to uncertainty principles in physics, incompleteness in mathematics, oracles for the Turing Machine, logical openness as the multiplicity of models focusing on coherence more than the optimum selections, fuzziness, quasiness, e.g., quasi-crystals, quasi-systems, and quasi-periodicity, which are intended as the space of equivalences that allow for coherent processes of emergence. The issue of incomprehensibility cannot be considered without reference to an agent endowed with cognitive abilities. In this article, we consider incomprehensibility as understood here as not generally scientifically explicable, i.e., with the available knowledge, as such incomprehensibility may be temporary, pending theoretical and technological advances, or deemed to be absolute as coincident with eventual definitive, theoretical non-explicability, and incomprehensibility. We considered the theoretically incomprehensibility mostly in three main ways: as the inexhaustibility of the multiplicity of constructivist reality as given by the theoretically incomprehensible endless loop of incomprehensible–comprehensible, and by existential questions. Moreover, theoretical incomprehensibility is intended as evidence of the logical openness of both the world and of understanding itself. The role of theoretical incomprehensibility is intended as a source of theoretical research issues such as paradoxes and paradigm shifts, where it is a matter of having cognitive strategies and approaches to look for, cohabit, combine, and use comprehensibility and (theoretical) incomprehensibility. The usefulness of imaginary numbers comes to mind. Can we support such research for local, temporary, and theoretical incomprehensibility with suitable approaches such as software tools, for instance, that simulate the logical frameworks of incomprehensibility? Is this a step toward a kind of artificial creativity leading to paradigm shifts? The most significant novelty of the article lies in the focus on the concept of theoretical incomprehensibility and distinguishing it from incomprehensibility and considering different forms of understanding. It is a matter of identifying strategies to act and coexist with the theoretically incomprehensible, to represent and use it, for example when dealing with imaginary numbers and quantum contexts where classical comprehensibility is theoretically impossible. Can we think of forms of non-classical understanding? In this article, these topics are developed in conceptual and philosophical ways.


2020 ◽  
Vol 10 (10) ◽  
pp. 3396
Author(s):  
Jörg Marvin Gülzow ◽  
Patrick Paetzold ◽  
Oliver Deussen

E-David (Electronic Drawing Apparatus for Vivid Image Display) is a system for controlling a variety of painting machines in order to create robotic paintings. This article summarizes the hardware set-up used for painting, along with recent developments, lessons learned from past painting machines, as well as plans for new approaches. We want to apply e-David as a platform for research towards improving automatic painting and to explore machine creativity. We present different painting machines, from small low-cost plotters to large industrial robots, and discuss the benefits and limitations of each type of platform and present their applicability to different tasks within the domain of robotic painting and artificial creativity research. A unified control interface with a scripting language allows users a simplified usage of different e-David-like machines. Furthermore, we present our system for automated stroke experimentation and recording, which is an advance towards allowing the machine to autonomously learn about brush dynamics. Finally, we also show how e-David can be used by artists “in the field” for different exhibitions.


2020 ◽  
Vol 2 (3) ◽  
pp. 157-160
Author(s):  
Jason K. Eshraghian

Author(s):  
Daniela Sirbu ◽  
Ioan Dumitrache

The present paper introduces the conceptual framework for an artificial system for visual creativity addressing the idea of niche creativity that is domain specific and non-anthropocentric in its conceptual approach. We think that the visual creative output of the system reflects the artificial medium and the specific artificial processes engaged in its production and, therefore, it is an expression of the idea of embodied creativity with the proposed system offering in this sense an example of digital embodiment of creativity. Although our approach to artificial creativity is non-anthropocentric, the system design is inspired by processes in the natural world that lead to the production of new and useful structures in both living and non-living systems with human creative cognition being included among these processes. The main problem raised by this abstract approach to artificial creativity in visual arts is the compatibility of its artistic production with human aesthetics, the ultimate goal of the proposed system being to produce visual output that would aesthetically engage human visual perception.


Author(s):  
Leonel Moura

I started working with robots applied to art around the turn of the century. Aiming at the most possible autonomy of the process, they were the next logical step after experimenting with algorithms confined to the computer environment.  I was never interested in “digital art”. The first experiences, with an ant algorithm running on a computer connected to a robotic arm [fig. 1], showed the potential for a machine to create its own drawings and paintings as a kind of artificial creativity. The claim that these works represent a new kind of art, the art of machines, may be controversial in the context of the mainstream art world. But, actually, it is inscribed in the global evolution of robotics and artificial intelligence towards a greater autonomy of machines. Art announces what is about to arrive.  DOI: http://dx.doi.org/10.14195/2182-8830_3-1_11 DOI: http://dx.doi.org/10.14195/2182-8830_3-1_11


2018 ◽  
Vol 26 (5) ◽  
pp. 239-256 ◽  
Author(s):  
Nuria Valverde-Pérez ◽  
Santiago Negrete-Yankelevich

This article proposes a philosophical foundation for a new understanding of natural and artificial creativity based on a notion of relational creativity that encompasses both human and nonhuman creativity. We combine the inspiration from computational creativity with proposals from philosophy of technology and philosophy of organisms and discuss the ideas presented through an imaginary scenario based on the interaction between a creative machine and a locked-in syndrome patient. By doing so, we attempt to discuss why it is valuable to incorporate Gilbert Simondon’s notions of autonomy, integration, and amplification, as creativity features that can be candidates to substitute categories as hard to assess as novelty, surprise, and value.


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