Also by Arthur I. Miller
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This book was set in Stone Serif and Stone Sans by Westchester Publishing Services. Printed and bound in the United States of America.
Arthur I. Miller.
Description: Cambridge, MA : The MIT Press, 2019. | Includes bibliographical
references and index.
Identifiers: LCCN 2018059352 | ISBN 9780262042857 (hardcover : alk. paper)
Subjects: LCSH: Art and computers. | Creative ability. | Computer art.
Contents
List of Figures
Mordvintsevs reference image of a cat and a beagle, 2015.
Alexander Mordvintsev, nightmare beast created using DeepDream, 2015. [See color plate 1.]
Dogslug cum puppyslug created using DeepDream, 2015.
Two ibisesthe original photograph (left) and as seen by a machine, 2015 (right).
Picture of clouds before (top) and after (bottom) being transformed by DeepDream, 2015.
All Watched Over by Machines of Loving Grace: DeepDream Edition, 2015.
Mario Klingmann, Mona Lisa transformed by DeepDream, 2016.
A pairing by Recognition of a 2016 photograph with a painting from 1660, 2017.
The content image, a photograph of the Neckarfront at Tbingen (upper left). The style image, van Goghs The Starry Night (lower left). The image on the right results from combining the style and content images to make The Neckarfront at T bingen according to van Gogh , as van Gogh might have painted it. [See color plate 2.]
One of Mike Tykas Portraits of Imaginary People , Ars Electronica, 2017.
Another of Mike Tykas Portraits of Imaginary People , Ars Electronica, 2017.
Theresa Reimann-Dubbers, A(.I.) Messianic Window , 2017.
A machine dreams. Jake Elwes, Latent Space , 2017.
Chris Hesse, edges2cats , 2017.
Chris Hesse, edges2handbags , 2017.
Mario Klingemann, Transhancement Sketch , 2017.
Mario Klingemann, Transhancement Sketch , 2017.
Mario Klingemann, Neurographic Self-Portrait , 2017.
CycleGAN translates from a Monet to a photograph-like landscape (top, upper row) and from a photograph to a Monet-like painting (top, lower row), and from a zebra to a horse (bottom, upper row) and from a horse to a zebra (bottom, lower row). [See color plate 3.]
Striped Putin astride a zebra, created by Jun-Yan Zhu using a CycleGAN, 2017.
Mario Klingemann, computer-generated images created using Pix2Pix and CycleGAN. The original black-and-white photograph (upper left). The same photograph, processed by a CycleGAN trained on 1920s images of men and recent, colored selfies of women (upper right). Previous image, fed into a second CycleGAN trained to turn human faces into doll faces (lower left). The image in turn is processed by a Pix2Pix trained on glitch images to build in the element of decay, 2017 (lower right).
Images created by a CAN with the style ambiguity function turned off, 2017.
Images created by a CAN with the style ambiguity function turned on, 2017.
Portrait of Edmond de Belamy , 2018.
Happy face (left). As rendered by The Painting Fool, in vibrant pastels, with an electric background, 2015 (right). [See color plate 4.]
Sad face (left). As rendered by The Painting Fool, in muted colors, with a dull background, 2015 (right).
Tear , inspired by Roy Lichtensteins Frightened Girl . Lipson attributes the work to PIX18 and himself thus: PIX18/Hod Lipson, 2016.
Paul sketching the author, 2017.
Haile, the drum-playing robot, 2006.
Mason Bretan jamming with Shimon (left) and three Shimis (right), 2015.
Albrecht Drer, Saint Jerome in His Study , 1514.
Playbill for Beyond the Fence , February 2016.
Illustrations
Mordvintsevs reference image of a cat and a beagle, 2015.
Alexander Mordvintsev, nightmare beast created using DeepDream, 2015.
Dogslug cum puppyslug created using DeepDream, 2015.
Alexander Mordvintsev, Christopher Olah, and Mike Tyka, two ibises transformed using DeepDream, 2015.
Alexander Mordvintsev, Christopher Olah, and Mike Tyka, picture of clouds transformed created using DeepDream, 2015.
Memo Akten, All Watched Over by Machines of Loving Grace: Deepdream Edition, 2015.
Mario Klingemann, Mona Lisa transformed by DeepDream, 2016.
Angelo Semeraro, a pairing by Recognition of a 2016 photograph with a painting from 1660, 2017.
Leon Gatys, The Neckarfront at Tbingen according to van Gogh, 2016.
Mike Tyka, Portraits of Imaginary People, Ars Electronica, 2017.
Another of Mike Tykas Portraits of Imaginary People, Ars Electronica, 2017.
Theresa Reimann-Dubbers, A(.I.) Messianic Window, 2017.
A machine dreams. Jake Elwes, Latent Space, 2017.
Chris Hesse, edges2cats, 2017.
Chris Hesse, edges2handbags, 2017.
Mario Klingemann, Transhancement Sketch, 2017.
Mario Klingemann, Transhancement Sketch, 2017.
Mario Klingemann, Neurographic Self-Portrait, 2017.
Jun-Yan Zhu, Monet to Photograph, Zebras to Horses, 2017.
Jun-Yan Zhu, Striped Putin astride a zebra, 2017.
Mario Klingemann, computer-generated images created using Pix2Pix and CycleGAN, 2017.
Ahmed Elgammal, images created by a CAN with style ambiguity function turned off, 2017.
Ahmed Elgammal, images created by a CAN with style ambiguity function turned on, 2017.
Obvious, Portrait of Edmond de Belamy, 2018.
Happy Face, as rendered by The Painting Fool, in vibrant pastels, with an electric background, 2015.
Sad Face, as rendered by The Painting Fool, in muted colors, with a dull background, 2015.
Tear, inspired by Roy Lichtensteins Frightened Girl. PIX18/Hod Lipson 2016.
Paul sketching the author, 2017.
Haile, the drum-playing robot, 2006.
Mason Bretan jamming with Shimon and three Shimis, 2015.
Albrecht Drer, Saint Jerome in His Study, 1514.
Playbill for Beyond the Fence, February 2016.
The best way to predict the future is to invent it.
Alan Kay
Preface
Ive always been fascinated by creativity: what it is, how it works, what happens at the moment of inspiration. The many thrilling developments in AI that we are hearing about have cast creativity in an entirely new light. I feel the time has come to put down my thoughts, bringing together creativity and machines, the culmination of much that Ive been thinking about for many years.