Titlebook: Computers and Creativity; Jon McCormack,Mark d’Inverno Book 2012 Springer-Verlag Berlin Heidelberg 2012 aesthetics.art.artificial intellig

Iatrogenic

性學(xué)院

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

MUMP

Offensive

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.

cipher

即席演說

978-3-642-43329-0Springer-Verlag Berlin Heidelberg 2012

innate

秘傳

FOVEA

Constant

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.