標題: Titlebook: Computers and Creativity; Jon McCormack,Mark d’Inverno Book 2012 Springer-Verlag Berlin Heidelberg 2012 aesthetics.art.artificial intellig [打印本頁] 作者: 可樂 時間: 2025-3-21 18:00
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書目名稱Computers and Creativity網絡公開度學科排名
書目名稱Computers and Creativity被引頻次
書目名稱Computers and Creativity被引頻次學科排名
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書目名稱Computers and Creativity讀者反饋
書目名稱Computers and Creativity讀者反饋學科排名
作者: bromide 時間: 2025-3-21 21:14
Creative Ecosystemsuals in a population in terms of their suitability for a particular task. The problem for creative applications is that creativity is rarely thought of as a single optimisation. For example, could you come up with an algorithm for ranking music or painting? The difficulty is that these broad categor作者: drusen 時間: 2025-3-22 00:25 作者: incite 時間: 2025-3-22 06:38 作者: LAITY 時間: 2025-3-22 09:30 作者: 積云 時間: 2025-3-22 14:12
Live Algorithms: Towards Autonomous Computer Improvisers research, offering a high level view for the general reader, as well as more detailed and specialist analysis. The study of Live Algorithms is multi-disciplinary in nature, requiring insights from (at least) Music Technology, Artificial Intelligence, Cognitive Science, Musicology and Performance St作者: 積云 時間: 2025-3-22 17:07 作者: 公司 時間: 2025-3-22 22:11
Between Material and Ideas: A Process-Based Spatial Model of Artistic Creativityposer and improviser. The model describes the creative process as a structured exploration of the space of the possible, emphasising the interplay between a dynamic concept and the changing material form of the work. Combining ideas, tools, material and memory, creativity is described as a coherent,作者: Indolent 時間: 2025-3-23 05:20
Computer Programming in the Creative Artsming in the arts, examining how the creative process has been extended to include the authorship and execution of algorithms. The role of human perception in this process is a focus, contrasted and ultimately combined with a more usual linguistic view of programming. Practical impacts on the notatio作者: 淘氣 時間: 2025-3-23 09:31 作者: Motilin 時間: 2025-3-23 11:05 作者: Ballad 時間: 2025-3-23 14:49 作者: Ventricle 時間: 2025-3-23 18:09 作者: 幸福愉悅感 時間: 2025-3-23 23:13
Generative and Adaptive Creativity: A Unified Approach to Creativity in Nature, Humans and Machines applied wherever new things come into existence. In this chapter I propose that in order to unify various forms of creativity it is necessary to consider a distinction between two types of creativity: generative creativity, in which things are created as the result of a process regardless of their 作者: 幼稚 時間: 2025-3-24 02:32 作者: overweight 時間: 2025-3-24 07:18 作者: 使堅硬 時間: 2025-3-24 14:06 作者: Tinea-Capitis 時間: 2025-3-24 18:02
https://doi.org/10.1007/978-981-19-9143-1e, David Brown, Jon McCormack, Paul Brown and Philip Galanter. It began at the Dagstuhl seminar on computers and creativity, held in Germany in 2009 and continued over a period of several months via email. The participants discuss their views on the prospects for computational evaluation of both the artistic process and the made artefact.作者: 成份 時間: 2025-3-24 21:05 作者: 邪惡的你 時間: 2025-3-25 00:44 作者: CULP 時間: 2025-3-25 07:06 作者: OTTER 時間: 2025-3-25 09:48
https://doi.org/10.1007/978-981-19-9143-1e, David Brown, Jon McCormack, Paul Brown and Philip Galanter. It began at the Dagstuhl seminar on computers and creativity, held in Germany in 2009 and continued over a period of several months via email. The participants discuss their views on the prospects for computational evaluation of both the作者: 消散 時間: 2025-3-25 15:10 作者: FAST 時間: 2025-3-25 18:59 作者: Common-Migraine 時間: 2025-3-25 22:45
https://doi.org/10.1007/978-1-349-04606-5cess. This can engender two distinct benefits: . our practice through new capabilities or trajectories, and . our existing behaviour, thereby disrupting habits or tropes that are acquired over time. We examine these human-computer partnerships from a number of perspectives, providing a series of tax作者: Patrimony 時間: 2025-3-26 01:41 作者: 吹牛需要藝術 時間: 2025-3-26 04:22 作者: sleep-spindles 時間: 2025-3-26 08:29 作者: miscreant 時間: 2025-3-26 15:02 作者: malapropism 時間: 2025-3-26 20:10 作者: Iatrogenic 時間: 2025-3-27 00:01 作者: 性學院 時間: 2025-3-27 03:57
The Cognitive Framework for Information, applied wherever new things come into existence. In this chapter I propose that in order to unify various forms of creativity it is necessary to consider a distinction between two types of creativity: generative creativity, in which things are created as the result of a process regardless of their 作者: MUMP 時間: 2025-3-27 08:54 作者: Offensive 時間: 2025-3-27 12:20
Evaluation of Creative Aestheticse, David Brown, Jon McCormack, Paul Brown and Philip Galanter. It began at the Dagstuhl seminar on computers and creativity, held in Germany in 2009 and continued over a period of several months via email. The participants discuss their views on the prospects for computational evaluation of both the artistic process and the made artefact.作者: cipher 時間: 2025-3-27 16:25 作者: 即席演說 時間: 2025-3-27 19:23
978-3-642-43329-0Springer-Verlag Berlin Heidelberg 2012作者: innate 時間: 2025-3-27 21:59 作者: 秘傳 時間: 2025-3-28 05:48 作者: FOVEA 時間: 2025-3-28 10:05 作者: Constant 時間: 2025-3-28 10:26
Construction and Intuition: Creativity in Early Computer Artome material, it is the algorithm that takes on the role of the material in algorithmic art. Thus, creativity has become relative to semiotic situations and processes more than to material situations and processes. A?small selection of works from the history of algorithmic art are used for case studies.作者: Abnormal 時間: 2025-3-28 17:41
Live Algorithms: Towards Autonomous Computer Improvisersudies. Some of the most important issues from these fields are considered. A modular decomposition and an associated set of wiring diagrams is offered as a practical and conceptual tool. Technical, behavioural, social and cultural contexts are considered, and some signposts for future Live Algorithm research are suggested.作者: 歡騰 時間: 2025-3-28 21:07
ibutions from some of the world’s leading researchers, theor.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 作者: FOLLY 時間: 2025-3-29 01:31
https://doi.org/10.1007/978-1-349-04606-5ng habits or tropes that are acquired over time. We examine these human-computer partnerships from a number of perspectives, providing a series of taxonomies based on a systems behavioural properties, and discuss the benefits and risks that such creative interactions can provoke.作者: 螢火蟲 時間: 2025-3-29 05:58 作者: 碌碌之人 時間: 2025-3-29 09:21
The Extended Composerng habits or tropes that are acquired over time. We examine these human-computer partnerships from a number of perspectives, providing a series of taxonomies based on a systems behavioural properties, and discuss the benefits and risks that such creative interactions can provoke.作者: 心痛 時間: 2025-3-29 14:19 作者: 有說服力 時間: 2025-3-29 17:24
https://doi.org/10.1007/978-981-19-9143-1emic” approach can lead to more open and potentially creative possibilities. For explanatory purposes, I will use some successful examples that are simple enough to explain succinctly, yet still exhibit the features necessary to demonstrate the advantages of this approach.作者: Sarcoma 時間: 2025-3-29 23:04
https://doi.org/10.1007/1-4020-3851-8ntation of our definition in the context of image generation software. We explore its use to improve a computational process for generating creative images, and find when we survey the software’s users that it successfully meets human perceptions of creativity.作者: 門閂 時間: 2025-3-30 02:27
The Cognitive Framework for Information, understand human creative behaviour as part of a social process involving these two aspects, and this is relevant to understanding how manmade artefacts can act as creative agents in social networks.作者: 獸皮 時間: 2025-3-30 06:55 作者: Forehead-Lift 時間: 2025-3-30 09:29 作者: intention 時間: 2025-3-30 13:42 作者: Tractable 時間: 2025-3-30 17:21 作者: FER 時間: 2025-3-31 00:39 作者: 愉快么 時間: 2025-3-31 02:56
The Painting Fool: Stories from Building an Automated Paintern 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 engine
