Information Technology Reference
In-Depth Information
Nevertheless, on the broad issue of how computers relate to creativity, we are still
left with many more questions than we have answers. This final chapter contains a
selective cross-section of what we think are the twenty-one most important ques-
tions, many of which are raised in one form or another in the preceding chapters.
Whilst all these questions are clearly interrelated and overlapping, we have cate-
gorised them into four topics: (i) how computers can enhance human creativity, (ii)
whether computer art can ever be properly valued, (iii) what computing and com-
puter science can tell us about creativity, and finally—while not covered specifically
in this topic but an important motivation for future research—(iv) how creativity and
computing can be brought together in learning.
I
How Can Computers Enhance Human Creativity?
i No one likes software that makes simplistic assumptions about what we mean
or are trying to do (think of the failed Microsoft Word paperclip or automated
typing correction). This raises the question: what are the kinds of responses
and interactions we desire of computational systems so as to inspire, provoke,
and challenge us to develop meaningful creative dialogues with machines,
and to have both the confidence in the system and in ourselves?
ii Relatedly, how can we remain mindful about the ways in which new technol-
ogy can limit or defer creativity? We are increasingly seeing software devel-
oped which is intended to make creative decisions on our behalf. For exam-
ple, modern digital cameras now take responsibility for many aspects of the
creative photographic process, automatically adjusting numerous dependent
properties in order to give the “best” picture. Should we be concerned when
creative decision making is implicitly transferred to software at the expense
of human creative exploration?
iii Can we re-conceptualise the methods of interaction between computers and
people so as to better encourage creative flow and feedback? We have had
many years of the mouse, keyboard and screen as the primary interface, but
we have now entered the era of networked mobility and surface touch in-
terfaces, where simple hand or body gestures form the locus of interaction.
What new ways of enhancing creative exchange are possible if we move be-
yond the standard mass-market paradigms and consumer technologies?
iv How can our developing relationship with computers be better understood
in order to encourage new opportunities for experiencing both human- and
computer-generated creative artefacts?
v Is there a point at which individual human creativity can no longer be en-
hanced by technology or society, no matter how sophisticated? A number of
recent computational systems have demonstrated a “counterintuitive” design
logic that exceeds human designs significantly. These designs were possible
for a computer to find, but seemingly impossible for human designers to dis-
cover. Will the goal of augmenting or enhancing human creativity always be
limited by our cognitive capacity and inherent genetically and socially con-
ferred biases? Do computers face different limitations, or can they exceed
areas of human creativity independently as they have begun to do in limited
areas of human endeavour?