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7.4.2
Drawing Apprentice
The Drawing Apprentice is a co-creative agent that collaborates with human users
to draw abstract artworks on a digital canvas in real time (Davis et al. 2014 ). The
system improvises with users in a turn-taking manner. First, the user draws a line.
The system then reacts with a line of its own. The system analyzes the user's lines
and drawing behavior (i.e., line length, speed, time between strokes, location, etc.)
through time to construct a directive. This directive guides how the agent perceives
its environment (lines) by applying one of the three layers of perceptual logic that
each consider different scales of the drawing (i.e., local, regional, and global). Local
perceptual logic modifi es individual lines (i.e., mirror, translate, scale, trace, shade,
etc.) and redraws them. Regional perceptual logic employs gestalt principles to
group lines into regions that can be modifi ed in a similar way as individual lines.
Finally, the agent can consider the relationship between groups to evaluate the over-
all composition, such as balance. The agent doesn't have any pre-encoded drawing
algorithms, per se. It only has the ability to direct its attention, perceive the user's
lines, and manipulate and interact with those lines according to its perceptual logic.
The program will be provided with some perceptual rules of gestalt grouping to
inform perception how to group sensory input into larger gestalt wholes (i.e., prin-
ciples of perceptual grouping: good continuity, closure, proximity, fl ow, etc.) that
allow the system to build its own knowledge base through its experience collaborat-
ing with artists (Fig. 7.7 ).
7.4.3
Multiple Sets of Perceptual Logic
The argument we have built in this chapter contends that experts gradually develop
perceptual logic that enables them to intelligently perceive their environment to
navigate specifi c situations. When a creative expert attempts to accomplish their
creation process on a creativity support tool, like a designer using a traditional CAD
tool, they have to acquire a completely different set of perceptual logic relating to
how to navigate the interface and accomplish tasks. Users have to alternate between
these sets of perceptual logic when they interact with creativity support tools, which
can take users out of the immersive and interactive fl ow that the enactive model of
creativity proposes is critical for facilitating creativity. As a result, people often use
CAD tools at late stages in the design process to fi nalize their design, instead of
using them to facilitate creative thinking and exploration early in the design process.
One overarching design principle of an enactive approach is to design interactions
as conversations, where each party tries to understand and build meaning through
negotiation and feedback over time. In a conversation, each person actively works
to understand what was said and respond appropriately. This suggests that creativity
support tools might develop a dynamic model of the user over time based on their
interactions and behaviors such that we might understand what type of perceptual
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