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Post-Anthropocentric Creativity; Call for Submissions, special issue of Digital Creativity, 27:1, January 2016; Guest editors: Stanislav Roudavski and Jon McCormack. This special issue aims to audit existing conceptions of creativity in the light of non-anthropocentric interpretations of agency, autonomy, subjectivity, social practices and technologies. Specifically, it seeks to explore how 1) the agents, recipients and processes of creativity and 2) the purpose, value, ethics and politics of creativity relate to phenomena of computation. The editors encourage innovative narrative or visual strategies that can express relevant scenarios better that more typical forms of academic writing. Dialogues, conversations, plays, scripts, instruction sets, games or visual essays (for example) might be suitable alongside logical arguments or formulae.
Qualitative Inquiry
Rethinking the Politics of Creativity: Posthumanism, Indigeneity, and Creativity Beyond the Western AnthropoceneWith the emergence of Western posthuman understandings, new materialism, artificial intelligence (AI), and the growing acknowledgment of Indigenous epistemologies, an ongoing rethinking of existing assumptions and meanings about creativity is needed. The intersection of new technologies and philosophical stances that upend human-centered views of reality suggests that creativity is not an exclusively “human” activity. This opens new possibilities and assemblages for conceiving of creativity, but not without tensions. In this article, we connect multiple threads, to reimagine creativity in light of posthuman understandings and the possibilities for creative emergence beyond the Anthropocene. Creativity is implicated as emerging beyond non-human spaces, such as through digitality and AI or sources in the natural world. This unseats many understandings of creativity as positioned in Euro-Western literature. We offer four areas of concern for interrogating tensions in this area, aiming ...
Digital Creativity
Field Creativity and Post-Anthropocentrism2016 •
Can matter, things, nonhuman organisms, technologies, tools and machines, biota or institutions be seen as creative? How does such creativity reposition the visionary activities of humans? This article is an elaboration of such questions as well as an attempt at a partial response. It was written as an editorial for the special issue of the Digital Creativity journal that interrogates the conception of Post-Anthropocentric Creativity. However, the text below is a rather unconventional editorial. It does not attempt to provide an overview of the issue’s theme but, instead, samples it via a particular example. The idea of the issue was to think about post-anthropocentricism by considering (1) agents, recipients and processes of creativity alongside with its (2) purpose, value, ethics and politics. This article addresses the first subtheme by puzzling at the paradoxes of “field learning” and picks at the second by considering the texture of “automated beauty”. Both of these parts use chess for an example. The narrative on chess is intermitted by a section “on creativity” that attempts to contextualize the case-based discussion in the wider context and to consider motivations and implications.
Adaptive behavior
Creativity, coevolution, and computerized coproduction: reframing creativity from a nonanthropocentric approachThis 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.
2022 •
Suppose human creativity could be potentially replicated by mechanical processes. In that case, we would face a crossroads: either we could give up using the concept of creativity altogether, or if we hold to our common understanding of what creativity is, we could agree to apply this concept to non-human phenomena as well, as world champion Lee Sedol did when judging the performance of AlphaGo. However, the idea that artificial creativity discloses the mechanic nature of human creativity should also be met with a bit of critical detachment, particularly if we consider the specific case of the arts. In fact, artificial reproductions of human artifacts do not follow the same processes with which humans actually produced those artifacts. Nobody thinks that Mondrian followed procedures similar to the algorithm used in 1966 that generated pseudo-Mondrian, even though the public appreciated the artificial images more than the original ones....
Eleventh International Conference on Computational Creativity, ICCC'20
The societal and ethical relevance of computational creativity2020 •
In this paper, we provide a philosophical account of the value of creative systems for individuals and society. We characterize creativity in very broad philosophical terms, encompassing natural, existential, and social creative processes, such as natural evolution and entrepreneurship, and explain why creativity understood in this way is instrumental for advancing human well-being in the long term. We then explain why current mainstream AI tends to be anti-creative, which means that there are moral costs of employing this type of AI in human endeavors, although computational systems that involve creativity are on the rise. In conclusion, there is an argument for ethics to be more hospitable to creativity-enabling AI, which can also be in a trade-off with other values promoted in AI ethics, such as its explainability and accuracy.
2020 •
Creativity is a deeply debated topic, as this concept is arguably quintessential to our humanity. Across different epochs, it has been infused with an extensive variety of meanings relevant to that era. Along these, the evolution of technology have provided a plurality of novel tools for creative purposes. Recently, the advent of Artificial Intelligence (AI), through deep learning approaches, have seen proficient successes across various applications. The use of such technologies for creativity appear in a natural continuity to the artistic trend of this century. However, the aura of a technological artefact labeled as intelligent has unleashed passionate and somewhat unhinged debates on its implication for creative endeavors. In this paper, we aim to provide a new perspective on the question of creativity at the era of AI, by blurring the frontier between social and computational sciences. To do so, we rely on reflections from social science studies of creativity to view how curren...
Institute of Arts and Ideas
Computer creativity is a matter of agency2021 •
Computer programs are generating artworks of astonishing novelty and aesthetic value. By the standard definition of creativity, these programs would count as being creative. But if you still hesitate to call a program creative, that's for good reason, we argue. It's because real creativity requires AGENTS who are responsible for what they make, and it's not at all clear that these programs are agents. (The title was imposed by the editor. It was supposed to be called, "ARE COMPUTERS CREATIVE?")
This paper began a panel session on the nature of Creativity and Technology - in this case within the Digital Domain - and was a stochastic exploration of Right Brain/Left Brain behaviour in the construction of images. This closely followed the ideas of both David Hockney as described in his book, Secret Knowledge and Professor Ian McGilchrist as described in his book, ‘The Master and his Emissary’. I also touched upon Thomas Crow’s discussion about the effects of the Frankfurt School in its promotion of interpretive though as a means of evaluating art which he developed in his book: The Intelligence of Art.
2010 •
Energies
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Proceedings of the National Academy of Sciences
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