The Artist in the Machine: The World of AI-Powered Creativity (The MIT Press)

A cautiously optimistic study of the AI-powered computers creating art, literature, and music—which may well surpass the creations of humans. Today's computers are composing music that sounds “more Bach than Bach,” turning photographs into paintings in the style of Van Gogh's Starry Night, and even writing screenplays. But are computers truly creative—or are they merely tools to be used by musicians, artists, and writers? In this book, Arthur I. Miller takes us on a tour of creativity in the age of machines. An authority on creativity, Miller identifies the key factors essential to the creative process, from “the need for introspection” to “the ability to discover the key problem.” He talks to people on the cutting edge of artificial intelligence, encountering computers that mimic the brain and machines that have defeated champions in chess, Jeopardy!, and Go. In the central part of the book, Miller explores the riches of computer-created art, introducing us to artists and computer scientists who have unleashed an artificial neural network to create a nightmarish, multi-eyed dog-cat; taught AI to imagine; developed a robot that paints; created algorithms for poetry; and produced the world's first computer-composed musical, Beyond the Fence, staged by Android Lloyd Webber and friends. But in order to be truly creative, machines will need to step into the world. He probes the nature of consciousness and speaks to researchers trying to develop emotions and consciousness in computers. Miller argues that computers can already be as creative as humans—and someday will surpass us. But this is not a dystopian account; Miller celebrates the creative possibilities of artificial intelligence in art, music, and literature. Series Page Title Page Copyright Dedication Table of Contents List of Illustrations Epigraph Preface Introduction I: Understanding Creativity 1. What Makes Us Creative? Einstein, Bach, Picasso: What Makes These People Special? 2. Seven Hallmarks of Creativity and Two Marks of Genius 1. The Need for Introspection 2. Know Your Strengths 3. Focus, Persevere, and Don’t Be Afraid to Make Mistakes 4. Collaborate and Compete 5. Beg, Borrow, or Steal Great Ideas 6. Thrive on Ambiguity 7. The Need for Experience and Suffering The Two Marks of Genius Intent, Imagination, and Unpredictability 3. Margaret Boden’s Three Types of Creativity 4. Unconscious Thought: The Key Ingredient The Four Stages of Creativity The Importance of Taking Time off Unconscious Thought and Computers 5. The Birth of Artificial Intelligence The First Inklings of Computer Creativity Computers That Mimic the Brain 6. Games Computers Play Deep Blue Defeats Garry Kasparov IBM Watson Becomes Jeopardy! Champion AlphaGo Defeats the Reigning World Go Champion II: Portrait of the Computer as an Artist 7. DeepDream: How Alexander Mordvintsev Excavated the Computer’s Hidden Layers Mike Tyka Takes the Dream Deeper 8. Blaise Agüera y Arcas Brings Together Artists and Machine Intelligence Memo Akten Educates a Neural Network 9. What Came after DeepDream? Damien Henry and a Machine That Dreams a Landscape Mario Klingemann and His X Degrees of Separation Angelo Semeraro’s Recognition: Intertwining Past and Present Leon Gatys’s Style Transfer: Photography “In the Style Of” 10. Ian Goodfellow’s Generative Adversarial Networks: AI Learns to Imagine Mike Tyka’s Portraits of Imaginary People Refik Anadol Creates a Dreaming Archive Theresa Reimann-Dubbers’s AI Looks at the Messiah Jake Elwes’s Dreams of Latent Space 11. Phillip Isola’s Pix2Pix: Filling in the Picture Mario Klingemann Changes Faces with Pix2Pix Anna Ridler’s Fall of the House of Usher 12. Jun-Yan Zhu’s CycleGAN Turns Horses into Zebras Mario Klingemann Plays with CycleGAN 13. Ahmed Elgammal’s Creative Adversarial Networks 14. “But Is It Art?”: GANs Enter the Art Market 15. Simon Colton’s The Painting Fool 16. Hod Lipson and Patrick Tresset’s Artist Robots III: Machines That Make Music: Putting the “Rhythm” into “Algorithm” 17. Project Magenta: AI Creates Its Own Music 18. From WaveNet and NSynth to Coconet: Adventures in Music Making WaveNet: From Voice to Music NSynth—Creating Sounds Never Heard Before Coconet: Filling in the Gaps 19. François Pachet and His Computers That Improvise and Compose Songs The Flow Machine 20. Gil Weinberg and Mason Bretan and Their Robot Jazz Band 21. David Cope Makes Music That Is “More Bach than Bach” 22. “The Drunken Pint” and Other Folk Music Composed by Bob Sturm and Oded Ben-Tal’s AI 23. Rebecca Fiebrink Uses Movement to Generate Sound 24. Marwaread Mary Farbood Sketches Music 25. Eduardo Miranda and His Improvising Slime Mold IV: Once Upon a Time: Computers That Weave Magic with Words 26. The Pinocchio Effect 27. The Final Frontier: Computers with a Sense of Humor 28. AI and Poetry Pablo Gervás and His Poetic Algorithms 29. Rafael Pérez y Pérez and the Problems of Creating Rounded Stories 30. Nick Montfort Makes Poetry with Pi 31. Allison Parrish Sends Probes into Semantic Space 32. Ross Goodwin and the First AI-Scripted Movie 33. Sarah Harmon Uses AI to Create Illuminating Metaphors 34. Tony Veale and His Metaphor- and Story-Generating Programs 35. Hannah Davis Turns Words into Music 36. Simon Colton’s Poetic Fool V: Staged by Android Lloyd Webber and Friends 37. The World’s First Computer-Composed Musical: Beyond the Fence VI: Can Computers Be Creative? 38. A Glimpse of the Future? Creativity in Humans and Machines 39. What Goes On in the Computer’s Brain? Jason Yosinski and the Puzzle of What Machines See Mark Riedl on Teaching Neural Networks to Communicate 40. What Drives Creativity? Margaret Boden and Computer Creativity 41. Evaluating Creativity in Computers Geraint Wiggins and the Mind’s Chorus Graeme Ritchie’s Mathematical Criteria for Measuring the Creativity of a Computer Program Anna Jordanous’s Fourteen Components of Creativity 42. Computers with Feelings Rosalind Picard on Developing Machines That Feel Machines Gaining Experience of the World Machines That Suffer 43. The Question of Consciousness John Searle’s Chinese Room and the Question of Whether Computers Can Actually Think Reducing Consciousness to the Sum of Its Parts 44. Michael Graziano: Developing Conscious Computers Awareness and Attention Self-Awareness, Introspection, and Perseverance in Computers Giving Computers Consciousness 45. Two Dissenting Voices Douglas Hofstadter and the Horrors of a Future Controlled by Creative Machines Pat Langley and Machines That Work More like People 46. Can We Apply the Hallmarks of Creativity to Computers? The Need to Know Your Strengths The Need to Beg, Borrow, or Steal Great Ideas, and the Need for Collaboration and Competition The Need to Focus and Not Be Afraid to Make Mistakes The Need to Thrive on Ambiguity and the Need for Experience and Suffering The Ability to Discover the Key Problem and to Spot Connections 47. The Future Where We Are Now Where We Are Going And into the Future ... Acknowledgments Illustration Credits Bibliography Index An authority on creativity introduces us to AI-powered computers that are creating art, literature, and music that may well surpass the creations of humans. Today's computers are composing music that sounds "more Bach than Bach," turning photographs into paintings in the style of Van Gogh's Starry Night , and even writing screenplays. But are computers truly creative--or are they merely tools to be used by musicians, artists, and writers? In this book, Arthur I. Miller takes us on a tour of creativity in the age of machines. Miller, an authority on creativity, identifies the key factors essential to the creative process, from "the need for introspection" to "the ability to discover the key problem." He talks to people on the cutting edge of artificial intelligence, encountering computers that mimic the brain and machines that have defeated champions in chess, Jeopardy! , and Go. In the central part of the book, Miller explores the riches of computer-created art, introducing us to artists and computer scientists who have, among much else, unleashed an artificial neural network to create a nightmarish, multi-eyed dog-cat; taught AI to imagine; developed a robot that paints; created algorithms for poetry; and produced the world's first computer-composed musical, Beyond the Fence , staged by Android Lloyd Webber and friends. But, Miller writes, in order to be truly creative, machines will need to step into the world. He probes the nature of consciousness and speaks to researchers trying to develop emotions and consciousness in computers. Miller argues that computers can already be as creative as humans--and someday will surpass us. But this is not a dystopian account; Miller celebrates the creative possibilities of artificial intelligence in art, music, and literature. An authority on creativity introduces us to AI-powered computers that are creating art, literature, and music that may well surpass the creations of humans. Today's computers are composing music that sounds "more Bach than Bach," turning photographs into paintings in the style of Van Gogh's Starry Night, and even writing screenplays. But are computers truly creative - or are they merely tools to be used by musicians, artists, and writers? In this book, Arthur I. Miller takes us on a tour of creativity in the age of machines. Miller, an authority on creativity, identifies the key factors essential to the creative process, from "the need for introspection" to "the ability to discover the key problem." He talks to people on the cutting edge of artificial intelligence, encountering computers that mimic the brain and machines that have defeated champions in chess, Jeopardy!, and Go. In the central part of the book, Miller explores the riches of computer-created art, introducing us to artists and computer scientists who have, among much else, unleashed an artificial neural network to create a nightmarish, multi-eyed dog-cat; taught AI to imagine; developed a robot that paints; created algorithms for poetry; and produced the world's first computer-composed musical, Beyond the Fence, staged by Android Lloyd Webber and friends. But, Miller writes, in order to be truly creative, machines will need to step into the world. He probes the nature of consciousness and speaks to researchers trying to develop emotions and consciousness in computers. Miller argues that computers can already be as creative as humans--and someday will surpass us. But this is not a dystopian account; Miller celebrates the creative possibilities of artificial intelligence in art, music, and literature "Today's computers are composing music that sounds 'more Bach than Bach,' turning photographs into paintings in the style of Van Gogh's Starry Night, and even writing screenplays. But are computers truly creative--or are they merely tools to be used by musicians, artists, and writers? In this book, Arthur I. Miller takes us on a tour of creativity in the age of machines. Miller, an authority on creativity, identifies the key factors essential to the creative process, from 'the need for introspection' to 'the ability to discover the key problem.' He talks to people on the cutting edge of artificial intelligence, encountering computers that mimic the brain and machines that have defeated champions in chess, Jeopardy!, and Go. In the central part of the book, Miller explores the riches of computer-created art, introducing us to artists and computer scientists who have, among much else, unleashed an artificial neural network to create a nightmarish, multi-eyed dog-cat; taught AI to imagine; developed a robot that paints; created algorithms for poetry; and produced the world's first computer-composed musical, Beyond the Fence, staged by Android Lloyd Webber and friends. But, Miller writes, in order to be truly creative, machines will need to step into the world. He probes the nature of consciousness and speaks to researchers trying to develop emotions and consciousness in computers. Miller argues that computers can already be as creative as humans--and someday will surpass us. But this is not a dystopian account; Miller celebrates the creative possibilities of artificial intelligence in art, music, and literature."-- Provided by publisher "Los ordenadores actuales componen música que "suena más a Bach que Bach", transforman fotografías en pinturas al estilo de la "Noche estrellada" de Van Gogh, e incluso escriben guiones. ¿Quiere eso decir que los ordenadores son verdaderamente creativos, o son simplemente herramientas al servicio de músicos, artistas y escritores? Miller dialoga con investigadores que trabajan en el desarrollo de la conciencia y las emociones en los ordenadores."