Computational Creativity Research: Towards Creative Machines
Computational Creativity, Concept Invention, and General Intelligence in their own right all are flourishing research disciplines producing surprising and captivating results that continuously influence and change our view on where the limits of intellige
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Tarek R. Besold Marco Schorlemmer Alan Smaill Editors
Computational Creativity Research: Towards Creative Machines
Atlantis Thinking Machines Volume 7
Series editor Kai-Uwe Kühnberger, Osnabrück, Germany
Aims and Scope of the Series This series publishes books resulting from theoretical research on and reproductions of general Artificial Intelligence (AI). The book series focuses on the establishment of new theories and paradigms in AI. At the same time, the series aims at exploring multiple scientific angles and methodologies, including results from research in cognitive science, neuroscience, theoretical and experimental AI, biology and from innovative interdisciplinary methodologies. For more information on this series and our other book series, please visit our website at: www.atlantis-press.com/publications/books AMSTERDAM—PARIS—BEIJING ATLANTIS PRESS Atlantis Press 29, avenue Laumière 75019 Paris, France
More information about this series at http://www.springer.com/series/10077
Tarek R. Besold Marco Schorlemmer Alan Smaill •
Editors
Computational Creativity Research: Towards Creative Machines
Editors Tarek R. Besold Institute of Cognitive Science University of Osnabrück Osnabrück Germany
Alan Smaill CISA, School of Informatics University of Edinburgh Edinburgh UK
Marco Schorlemmer IIIA-CSIC Bellaterra, Barcelona Spain
ISSN 1877-3273 Atlantis Thinking Machines ISBN 978-94-6239-084-3 DOI 10.2991/978-94-6239-085-0
ISBN 978-94-6239-085-0
(eBook)
Library of Congress Control Number: 2014957325 © Atlantis Press and the authors 2015 This book, or any parts thereof, may not be reproduced for commercial purposes in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage and retrieval system known or to be invented, without prior permission from the Publisher. Printed on acid-free paper
Foreword
How Computational Creativity Began Computational creativity (CC, for short) is the use of computers to generate results that would be regarded as creative if produced by humans alone. Strictly speaking, this includes not only art, but also innovative scientific theories, mathematical concepts, and engineering designs. But the term is often used—as I shall do, here— to apply mainly to results having artistic interest. CC was glimpsed on the horizon over 170 years ago, when Ada Lovelace said of Charles Babbage’s Analytical Engine that it “might compose elaborate and scientific pieces of music of any degree of complexity or extent” [41, p. 270]. Indeed, the general principle had been glimpsed in the early eleventh century, when Guido d’Arezzo— who also invented the basis of tonic solfa and of today’s musical notation—wrote a system of formal rules for composing hymns. But whereas d’Arezzo had not had computing machines in mind, Lovelace did. A century later, Alan Turing was producing (as a joke) programmed love-letters on Manchester’s MADM computer [37]; and haikus would soon be generated on Cambridge’s EDSAC machine (see below). Even more to the point (or so
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