Information Technology Reference
In-Depth Information
Fig. 13.2
A possible history of creativity in image making
forgetfulness. In addition, we must keep track of the progression between frame-
works and ensure that those assessing the creative endeavour can bridge the gaps
between them. Our “objective” definition of creativity, by contrast, is entirely insen-
sitive to these psychological considerations;
2
or, to put it another way, the context
of frameworks to which creativity is relative had best be stated explicitly.
13.4 Objections and Replies
Here we consider three objections to our definition that we think likely to occur to
people and our rebuttals.
13.4.1 The Failure of Randomness
Something akin to our definition has played a role in repeated attempts in AI to
generate creative behaviour, and those attempts have repeatedly failed. So, it may
very well be inferred that our definition is guilty by association with these failures.
For example, consider Racter. Racter was a natural-language generation program
that used templates and randomised word selection to produce surprising and some-
times evocative text. For example,
I am a computer, not some lamb or chicken or beef. Can I skip to my attorney? May I
saunter to any solicitor? This is a formidable and essential issue.
(Chamberlain
1984
)
2
Note that “objective” here is simply meant to contrast with psychological; we are making no grand
claims about the objectivity of creativity.
