Stakeholder Groups in Computational Creativity Research and Practice - Computational Creativity Research: Towards Creative Machines - page 8

Fig. 1.1 An excerpt from the preface of the Proceedings of the Symposiumon Creative and Cultural
Aspects of AI and Cognitive Science, held at AISB in 2000, written by Geraint Wiggins. Note the
'natural' emergence of themes within the field, although of course these are very much subject to
the Call for Papers, the communities who received the call, the instructions given to the reviewers,
the reviewers themselves and the editor's vision

events during this time included the first ever award of a Chair in Computational Cre-
ativity (to Geraint Wiggins, in 2004, by Goldsmiths, University of London) (only
one of two—the other being held by Simon Colton also at Goldsmiths, University
of London, awarded in 2013); the first PhD with Computational Creativity in its title
(Anna Jordanous, University of Sussex, 2012 [ 9 ]) and the first NSF and EU calls for
proposals in Computational Creativity ( CreativeIT, NSF Program Solicitation 09-
572 [ 16 ] and Objective ICT-2013.8.1, Technologies and scientific foundations in the
field of creativity [ 17 , p.81]). The process has been carefully managed throughout,
with an eye on political as well as intellectual developments. Social factors have
also played a key role, being inextricably linked to internal development of scientific
knowledge [ 18 ].

1.3.2 Other Creativity Stakeholders

Each of the other stakeholder groups will have a similarly fascinating history. Some,
such as the EU funding body, are tightly bound and have a formal definition of them-
selves and their goals. Others, such as the general public—for whom the concept of
translation is meaningless—are much more loosely defined. Of note is who the deci-
sion makers are in each of these groups. In the Computational Creativity community,
it is clear that a few people have had a huge influence, and it is likely that this is also
the case for other groups of stakeholders. It may be worth considering these in detail,
especially from a point of view of motivation and power. For instance, Boden's way
of seeing creativity dominated the first decade of the community growth. Likewise,
a few core individuals working for the EU had the influence to prioritise research
into Computational Creativity, and to fund around e 10m worth of projects.