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Book:
Computers and creativity
Author:
McCormack Jon / DInverno Mark
Publisher:
Springer
Genre:
Books / Romance novel
Year:
2012
City:
New York, Berlin
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This interdisciplinary volume introduces new theories and ideas on creativity from the perspectives of science and art. Featuring contributions from leading researchers, theorists and artists working in artificial intelligence, generative art, creative computing, music composition, and cybernetics, the book examines the relationship between computation and creativity from both analytic and practical perspectives. Each contributor describes innovative new ways creativity can be understood through, and inspired by, computers. The book tackles critical philosophical questions and discusses the major issues raised by computational creativity, including: whether a computer can exhibit creativity independently of its creator; what kinds of creativity are possible in light of our knowledge from computational simulation, artificial intelligence, evolutionary theory and information theory; and whether we can begin to automate the evaluation of aesthetics and creativity in silico. These important, often controversial questions are contextualised by current thinking in computational creative arts practice. Leading artistic practitioners discuss their approaches to working creatively with computational systems in a diverse array of media, including music, sound art, visual art, and interactivity. The volume also includes a comprehensive review of computational aesthetic evaluation and judgement research, alongside discussion and insights from pioneering artists working with computation as a creative medium over the last fifty years. A distinguishing feature of this volume is that it explains and grounds new theoretical ideas on creativity through practical applications and creative practice.Computers and Creativity will appeal to theorists, researchers in artificial intelligence, generative and evolutionary computing, practicing artists and musicians, students and any reader generally interested in understanding how computers can impact upon creativity. It bridges concepts from computer science, psychology, neuroscience, visual art, music and philosophy in an accessible way, illustrating how computers are fundamentally changing what we can imagine and create, and how we might shape the creativity of the future.Computers and Creativity will appeal to theorists, researchers in artificial intelligence, generative and evolutionary computing, practicing artists and musicians, students and any reader generally interested in understanding how computers can impact upon creativity. It bridges concepts from computer science, psychology, neuroscience, visual art, music and philosophy in an accessible way, illustrating how computers are fundamentally changing what we can imagine and create, and how we might shape the creativity of the future. Read more...
Abstract: This interdisciplinary publication introduces a wealth of new theories and ideas on creativity, evolutionary computation, and the computational arts. Grounding theory through practical applications, it includes contributions from renowned researchers. Read more...

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Part 1
Art

Jon McCormack and Mark dInverno (eds.) Computers and Creativity 2012 10.1007/978-3-642-31727-9_1 Springer-Verlag Berlin Heidelberg 2012

1. The Painting Fool: Stories from Building an Automated Painter

Simon Colton 1

(1)

Computational Creativity Group, Department of Computing, Imperial College, 180 Queens Gate, London, SW7 2RH, UK

Simon Colton

Email:

Abstract

The Painting Fool is software that we hope will one day be taken seriously as a creative artist in its own right. This aim is being pursued as an Artificial Intelligence (AI) project, with the hope that the technical difficulties overcome along the way will lead to new and improved generic AI techniques. It is also being pursued as a sociological project, where the effect of software which might be deemed as creative is tested in the art world and the wider public. In this chapter, we summarise our progress so far in The Painting Fool project. To do this, we first compare and contrast The Painting Fool with software of a similar nature arising from AI and graphics projects. We follow this with a discussion of the guiding principles from Computational Creativity research that we adhere to in building the software. We then describe five projects with The Painting Fool where our aim has been to produce increasingly interesting and culturally valuable pieces of art. We end by discussing the issues raised in building an automated painter, and describe further work and future prospects for the project. By studying both the technical difficulties and sociological issues involved in engineering software for creative purposes, we hope to help usher in a new era where computers routinely act as our creative collaborators, as well as independent and creative artists, musicians, writers, designers, engineers and scientists, and contribute in meaningful and interesting ways to human culture.

1.1 Introduction

Computational Creativity is the term used to describe the subfield of Artificial Intelligence research where we study how to build software that exhibits behaviours deemed creative in people. In more practical terms, we investigate how to engineer software systems which take on some of the creative responsibility in arts and science projects. This usage of computers in the creative process differs from the majority of ways in which software is used, where the program is a mere tool to enhance human creativity. In contrast, within Computational Creativity research, we endeavour to build software which is independently creative, either to act as a collaborator with people, or to be an autonomous artist, musician, writer, designer, engineer or scientist. Some members of the Computational Creativity research community are interested in simulating creative processes to discover more about human creativity, while others are more interested in the intellectual challenge of producing autonomous creativity in software. Others simply want to generate more interesting art, music, text, mathematics or scientific hypotheses, but have chosen to do so by enabling the software to act as more than a tool for creative people.

Within the Computational Creativity Group at Imperial College, London,. We plan to work on The Painting Fool in perpetuity, that is, for as long as it takes to satisfy the intellectual challenge of building an autonomously creative system.

Fig. 1.1

An example picture from The Painting Fools Dance Floor series

In one respect, we have fairly low standards: an automated painter doesnt have to produce art at the level of a great master, an esteemed professional, an art school graduate or even a talented amateur artist. At least to start with, The Painting Fools art has been rather naive and of little cultural interest, but as we progress with the project, we hope the value of the artworks it produces will increase. In another respect, however, we have fairly high standards: to be called a painter, our software must simulate a range of both cognitive and physical behaviours common to human painters. Such behaviours naturally include practical aspects such as the simulation of making paint strokes on a canvas. However, we are also intent on simulating such cognitive behaviours as the critical appraisal of ones own work and that of others; cultural and art-historical awareness; the ability to express ideas and moods through scene composition, choice of art materials and painting style; and the ability to innovate in artistic processes.

For some in the art world, there is a discernible resistance to using a computer in art practice, and this is naturally heightened when mention is made of the software acting as a creative collaborator or an independent artist. It is therefore an interesting challenge to gain some level of acceptance for AI-based art producing software within mainstream artistic communities. One problem has been that the majority of artworks produced by software with some level of autonomy have limited appeal and the pieces largely exist for decorative purposes. For instance, once any aesthetic pleasure and possibly some awe at the power of modern computing has worn off, it is difficult to have a conversation (in the cerebral, rather than the literal sense) with an image of a fractal, or indeed many of the generative artworks that artists and engineers regularly produce. Also, as a community of Computational Creativity researchers, there has been the assumption (or perhaps hope) that the artefacts produced by our softwarepoems, pictures, theorems, musical compositions, and so onwill speak for themselves. In certain creative domains, this may be the case. For instance, it is possible that people will laugh at a funny joke regardless of how it was conceived (with the caveat of controversial jokes: there is a big difference in our appreciation of a racist joke told by a person of that race and of the same joke told by a person of another race). However, in other domains, especially the visual arts, there is a higher level of interpretation required for consumption of the artefacts. In such domains, we have somewhat neglected the framing of the artefacts being produced by our systems. Such framing includes providing various contexts for the work, offering digestible descriptions of how it was produced, and making aesthetic, utilitarian or cultural arguments about the value of the work. Only with this extra information can we expect audiences to fully appreciate the value of the artefacts produced autonomously by computers via more interesting, more informed, conversations.

With The Painting Fool, we are building a system that aims to address the shortcomings described above. In particular, we are overcoming technical challenges to get the software to produce more stimulating artworks which encourage viewers to engage their mental faculties in new and interesting ways. These techniques include new ways to construct the paintings, in terms of scene composition, choice of art materials, painting styles, etc. In addition, they also include new ways to frame the paintings, in terms of providing text about the artworks, putting them into context, etc. We are pioneering Computational Creativity approaches which adhere to principles designed to not only produce culturally valuable artefacts, but also to frame them in a way which makes them more interesting to audiences. We have argued in favour of these principles from a philosophical viewpoint in (Colton ), and we have used them practically in the construction of The Painting Fool. Having said that, we are still a long way off achieving our goal, and The Painting Fool is not yet producing pictures of particularly high cultural value, or framing its work in interesting ways.

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