CreativeAI - On the Democratisation & Escalation of Creativity

Systems science applied to Creativity

This new spirit of creation was addressed by Buckminster Fuller in his notion of the “comprehensive designer”, which he describes as “an emerging synthesis of artist, inventor, mechanic, objective economist and evolutionary strategist”

Use tools Artificial intelligence/Machine learning/Deep learning – Deep art

See Prosthetic knowledge: Information that a person does not know, but can access as needed using technology

Think of a rider on a horse: If a rider uses deliberate movements, the horse follows exactly. As the control becomes vaguer, the horse resorts to familiar behaviour patterns and takes over control. Being able to “loosen or tighten the reins” leads to smooth ebb and flow of control between human and horse, rather than instructions and responses. Considering feedback and control is key. HCI/ML Researcher Roderick Murray-Smith suggests using the H-Metaphor and control theory when thinking about interface dynamics. He predicts:“Future devices will be able to sense much more on and around them, offering us more ways to interact. We can use this to let go sometimes and be casual about our interactions” [14].

This analogy is rather clear with Self-driving cars

Assisted Creation

Tools for thought/creation

1949 – Vannevar Bush imagines the “memex”

1962 – Douglas Engelbart writes Augmenting the Human Intellect: A Conceptual Framework – computers can be used to create an extension for the ways we do thinking, representation and association in our minds – systems that augment our intellect, humanity and creativity. His goal was to raise the human potential

1963 – Ivan Sutherland, Sketchpad, Computer-aided design, Virtual reality

Engelbart’s Stanford Augmentation Research Center (ARC) – mouse, video conference..

John McCarthy had founded the Stanford Artificial Intelligence Laboratory

1970 – Xerox PARX – the Desktop metaphor

Homebrew Computing Club – Silicon Valley, Apple, Microsoft, Personal Computer (PC)

Now – systems that negotiate the creative process in fine-grained conversations, augment creative capabilities and accelerate the skill acquisition time, from novice to expert.

Generative Creation

Computational creativity: “create computations which — if they were made by humans — would be deemed creative”

Procedural generation applied to Creativity

1950 – Claude Shannon was able to approximate proper English grammar and generate new sentences using computational methods

early 1960s, researchers at Bell Labs Creative use of Computer Graphics Michael Noll

Michael Noll. In 1970, he made a call to action: “What we really need is a new breed of artist-computer scientist”

1975 – Brian Eno was using algorithmic and generative principles to compose music – using the technology that was invented to make replicas to make originals

1979 by Benoit Mandelbrot (Fractals) – visual complexity can be created from simple rules.

Around 1978, games started to make extensive use of procedural systems to define game maps and character behaviours

Since 1980s, focused research in industry and academia has led to the formalisation of computational creativity as a scientific discipline

1980s-2010s – A.I characters, artificial musicians, journalist bots, generative architecture and neural nets that “dream”.

CreativeAI Jera, AugMath Dynamic, interactive "high-bandwidth" media, that are able to simulate, so that we don't have to simulate tedious detail on mind. See AugMath, Bret Victor, etc. User interface design..