Generative and adaptive creativity: A unified approach to creativity in nature, humans and machines

Computers and Creativity

Volumn 9783642317279, Issue , 2012, Pages 361-381

  Bown, Oliver ^a  

^a UNIVERSITY OF SYDNEY   (Australia)

Author keywords

[No Author keywords available]

Indexed keywords

ADAPTIVE RESPONSE; COMPUTATIONAL CREATIVITIES; CREATIVES; HUMAN CREATIVITY; HUMAN LIKE; IN-PROCESS; SOCIAL PROCESS; UNIFIED APPROACH;

BEHAVIORAL RESEARCH;

EID: 84949179023     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1007/978-3-642-31727-9_14     Document Type: Chapter

References (72)

1. Arthur, W. B. (2009). The nature of technology: what it is and how it evolves. Baltimore: Penguin.
2. Axelrod, R. (1997). The complexity of cooperation. Princeton: Princeton University Press.
3. Barkow, J. H., Cosmides, L., & Tooby, J. (1992). The adapted mind: evolutionary psychology and the generation of culture. New York: OUP.
4. Bentley, P. J. (1999a). From coffee tables to hospitals: generic evolutionary design. In P. J. Bentley (Ed.), Evolutionary design by computers. San Francisco: Morgan Kaufmann.
5. Bentley, P. J. (Ed.) (1999b). Evolutionary design by computers. San Francisco: Morgan Kaufmann.
6. Bergson, H. (1998). Creative evolution. New York: Dover.
7. Bird, J., & Stokes, D. (2006). Evolving minimally creative robots. In S. Colton & A. Pease (Eds.), Proceedings of the third joint workshop on computational creativity (ECAI '06) (pp. 1-5).
8. Blackmore, S. J. (1999). The meme machine. New York: OUP.
9. Boden, M. (1990). The creative mind. George Weidenfeld and Nicolson Ltd.
10. Bown, O. (2008). Theoretical and computational models of cohesion, competition and maladaptation in the evolution of human musical behaviour. PhD thesis, Department of Computing, Goldsmiths College, University of London.
11. Bown, O. (2009). Ecosystem models for real-time generative music: A methodology and framework. In Proceedings of the 2009 international computer music conference (ICMC 2009), Montreal, Canada.
12. Bown, O., & Wiggins, G. A. (2005). Modelling musical behaviour in a cultural-evolutionary system. In P. Gervàs, T. Veale, & A. Pease (Eds.), Proceedings of the IJCAI'05 workshop on computational creativity.
13. Boyd, R., & Richerson, P. J. (1985). Culture and the evolutionary process. Chicago: University of Chicago Press.
14. Brown, S. (2007). Contagious heterophony: A new theory about the origins of music. Musicæ Scientiæ, 11(1), 3-26.
15. Clark, A. (2003). Natural-born cyborgs: minds, technologies, and the future of human intelligence. London: Oxford University Press.
16. Coe, K. (2003). The ancestress hypothesis: visual art as adaptation. New Brunswick: Rutgers University Press.
17. Conte, R., & Paolucci, M. (2001). Intelligent social learning. Journal of Artificial Societies and Social Simulation, 4(1).
18. Cross, I. (2006). The origins of music: some stipulations on theory. Music Perception, 24(1), 79-82.
19. Csikszentmihalyi, M. (1996). Creativity: flow and the psychology of discovery and invention. New York: Harper Collins.
20. Csikszentmihalyi, M. (1999). Implications of a systems perspective for the study of creativity. In R. J. Sternberg (Ed.), The handbook of creativity. New York: Cambridge University Press.
21. Dawkins, R. (1976). The selfish gene. New York: OUP.
22. Dawkins, R. (1986). The blind watchmaker: why the evidence of evolution reveals a universe without design. London: Penguin.
23. de Landa, M. D. (1991). War in the age of intelligent machines. Swerve Editions.
24. Diamond, J. M. (1992). The rise and fall of the third chimpanzee. New York: Vintage.
25. Dissanayake, E. (2000). Antecedents of the temporal arts in early mother-infant interaction. In N. L. Wallin, B. Merker & S. Brown (Eds.), The origins of music. Cambridge: MIT Press.
26. Dunbar, R. (1998). The social brain hypothesis. Evolutionary Anthropology, 6, 178-190.
27. Fisher, R. A. (1958). The genetical theory of natural section. London: Dover.
28. Gell, A. (1998). Art and agency: an anthropological theory. Oxford: Clarendon Press.
29. Gilbert, N. (1993). Computer simulation of social processes. Social Research Update, 6. University of Surrey.
30. Greenfield, G. R. (2006). Art by computer program == programmer creativity. Digital Creativity, 17(1), 25-35.
31. Hagen, E. H., & Bryant, G. A. (2003). Music and dance as a coalition signaling system. Human Nature, 14(1), 21-51.
32. Hamilton, W. D. (1963). The evolution of altruistic behaviour. American Naturalist, 97, 354-356.
33. Hargreaves, D. J. (1986). The developmental psychology of music. Cambridge: Cambridge University Press.
34. Huron, D. (2001). Is music an evolutionary adaptation. In R. J. Zatorre & I. Peretz (Eds.), Annals of the New York academy of sciences: Vol. 960. The biological foundations of music (pp. 43-61). New York: New York Academy of Sciences.
35. Krebs, J. R., & Dawkins, R. (1984). Animal signals: mind reading and manipulation. In J. R. Krebs & N. B. Davies (Eds.), Behavioural ecology: an evolutionary approach (2nd ed., pp. 380-402). Oxford: Blackwell.
36. Laland, K. N., Odling-Smee, J., & Feldman, M. W. (1999). Niche construction, biological evolution and cultural change. Behavioral and Brain Sciences, 21(1).
37. Latour, B. (1993). We have never been modern. Cambridge: Harvard University Press.
38. Lévi-Strauss, C. (1971). The elementary structures of kinship. Beacon Press.
39. Lewis, G. E. (2000). Too many notes: computers, complexity and culture in voyager. Leonardo Music Journal, 10, 33-39.
40. Lovelock, J. (1979). Gaia. A new look at life on Earth. New York: OUP.
41. Martindale, C. (1990). The clockwork muse: the predictability of artistic change. New York: Basic Books.
42. Maynard Smith, J., & Szathmáry, E. (1995). The major transitions in evolution. New York: Oxford University Press.
43. McCorduck, P. (1990). AARON's code: meta-art, artificial intelligence, and the work of Harold Cohen. New York: Freeman.
44. McCormack, J. (2008). Facing the future: evolutionary possibilities for human-machine creativity. In J. Romero & P. Machado (Eds.), The art of artificial evolution: a handbook on evolutionary art and music (pp. 417-451). Heidelberg: Springer.
45. McCormack, J., & Bown, O. (2009). Life's what you make: niche construction and evolutionary art. In Applications of evolutionary computing: EvoWorkshops, 2009.
46. Merker, B. (2001). Synchronous chorusing and human origins. In N. L. Wallin, B. Merker & S. Brown (Eds.), The origins of music, Cambridge: MIT Press.
47. Miller, G. (2000). The mating mind. New York: Random House.
48. Miranda, E. R., Kirby, S., & Todd, P. M. (2003). On computational models of the evolution of music: from the origins of musical taste to the emergence of grammars. Contemporary Music Review, 22(3), 91-111.
49. Odling-Smee, F. J., Laland, K. N., & Feldman, M. W. (2003). Niche construction: the neglected process in evolution. Monographs in population biology: Vol. 37. Princeton: Princeton University Press.
50. Owings, D. H., & Morton, E. S. (1998). Animal vocal communication: a new approach. New York: Cambridge University Press.
51. Parncutt, R. (2009). Prenatal and infant conditioning, the mother schema, and the origins of music and religion. Musicæ Scientiæ, 119-150. Special issue on evolution and music.
52. Pearce, M. T., & Wiggins, G. A. (2001). Towards a framework for the evaluation of machine compositions. In Proceedings of the AISB'01 symposium on artificial intelligence and creativity in the arts and sciences (pp. 22-32). Brighton: SSAISB.
53. Perkins, D. N. (1996). Creativity: beyond the Darwinian paradigm. In M. Boden (Ed.), Dimensions of creativity (Chap. 5, pp. 119-142). Cambridge: MIT Press.
54. Pinker, S. (1998). How the mind works. London: Allen Lane The Penguin Press.
55. Richman, B. (2001). How music fixed "nonsense" into significant formulas: on rhythm, repetition and meaning. In N. L. Wallin, B. Merker & S. Brown (Eds.), The origins of music. Cambridge: MIT Press.
56. Romero, J., Machado, P., & Santos, A. (2009). On the socialization of evolutionary art. In M. Giacobini, A. Brabazon, S. Cagnoni, G. A. Di Caro, A. Ekárt, A. Esparcia-Alcázar, M. Farooq, A. Fink, P. Machado, J. McCormack, M. O'Neill, F. Neri, M. Preuss, F. Rothlauf, E. Tarantino & S. Yang (Eds.), Lecture notes in computer science: Vol. 5484. EvoWorkshops (pp. 557-566). Berlin: Springer.
57. Saunders, R. (2001). Curious design agents and artificial creativity. PhD thesis, Faculty of Architecture, The University of Sydney.
58. Saunders, R., & Gero, J. S. (2001). The digital clockwork muse: a computational model of aesthetic evolution. In G. A. Wiggins (Ed.), Proceedings of the AISB'01 symposium on AI and creativity in arts and science, SSAISB, University of York, York, UK (pp. 12-21).
59. Secretan, J., Beato, N., Ambrosio, D. B., Rodriguez, A., Campbell, A., & Stanley, K. O. (2008). Picbreeder: evolving pictures collaboratively online. In CHI '08: proceeding of the twenty-sixth annual SIGCHI conference on human factors in computing systems (pp. 1759-1768). New York: ACM.
60. Sims, K. (1994). Artificial life IV proceedings. In Evolving 3D morphology and behaviour by competition. Cambridge: MIT Press.
61. Sobel, D. (1996). Longitude: the true story of a lone genius who solved the greatest scientific problem of his time. Baltimore: Penguin.
62. Sosa, R., & Gero, J. S. (2003). Design and change: a model of situated creativity. In C. Bento, A. Cardoso & J. Gero (Eds.), Proceedings of the IJCAI'03 workshop on creative systems.
63. Sperber, D. (2000). An objection to the memetic approach to culture. In Darwinizing culture. London: Oxford University Press.
64. Sperber, D. (2007). Seedless grapes: nature and culture. In E. Margolis & S. Laurence (Eds.), Creations of the mind: theories of artefacts and their representation. London: Oxford University Press. Chapter 7.
65. Stanley, K. O., & Miikkulainen, R. (2004). Competitive coevolution through evolutionary complexification. Journal of Artificial Intelligence Research, 21, 63-100.
66. Takagi, H. (2001). Interactive evolutionary computation: fusion of the capabilities of ec optimization and human evaluation. Proceedings of the IEEE, 89, 1275-1296.
67. Thornton, C. (2007). How thinking inside the box can become thinking outside the box. In A. Cardoso & G. A. Wiggins (Eds.), Proceedings of the 4th international joint workshop on computational creativity (pp. 113-119). Goldsmiths: University of London.
68. Tomasello, M. (1999). The cultural origins of human cognition. Harvards: Harvard University Press.
69. Whitelaw, M. (2004). Metacreation: art and artificial life. Cambridge: MIT Press.
70. Williams, R. (1983). Keywords (revised ed.). London: Fontana Press.
71. Wilson, E. O. (1975). Sociobiology: the new synthesis. Harvards: Harvard University Press.
72. Zahavi, A. (1975). Mate selection - a selection for a handicap. Journal of Theoretical Biology, 53(1), 205-214.