Artwork creation by a cognitive architecture integrating computational creativity and dual process approaches

Artwork creation by a cognitive architecture integrating computational creativity and dual process approaches

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  ARTWORK CREATION BYA COGNITIVE ARCHITECTURE INTEGRATING COMPUTATIONAL CREATIVITY AND DUAL PROCESS APPROACHES Augello(a), I. Infantino(a), A. Lieto(a,b), G. Pilato(a), R. Rizzo(a), and F. Vella(a) (a) ICAR - CNR, Viale delle Scienze, edif.11, Palermo, Italy (b)University of Turin, Corso Svizzera 185, Torino, Italy Biologically Inspired Cognitive Architectures November 6-8 – Lyon
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  Outline 2  Human Creativity A definition of creativity  Cognitive processes involved in creativity  Computational Creativity  Dual Process Theory in Creative Thought  Modelling creativity in a cognitive agent  Proposed Architecture  Some Examples
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  The creative mind(M. Boden, 2004) 3 Creativity is the ability to come up with ideas or artefacts that are new, surprising and valuable Forms of creativity: Combinatorial Explorative Transformational
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  Cognitive processes involvedin creativity4 Subconscious, Intuitive Purposeful, Deliberative
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  Cognitive processes involvedin creativity5 Divergent and Convergent Thinking (Guilford, 1950) Blind Variation and Selective Retention (Campbell, 1960) Incubation - illumination model (Wallas, 1926) Variable Focus of Attention (Gabora, 2002)
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  Dual Process Theory (Stanovitche West 2001), (Evans, 2009), (Kahneman, 2011)6 • Fast • Unconscious • Implicit/Tacit • Automatic • Experential • Associative • Holistic • Impulsive • Stimulus Bound System 1 • Slow • Conscious • Explicit • Controlled • Sequential • Rule Based • Analytic • Reflective • Higher Order System 2
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  Dual Process Theoryin Creative Thought7 Processes involved in: the generation of ideas System 1? The refinement, evaluation and/or selection of ideas System 2? Simplistic and wrong: System1 access to “previous best” behaviour is opposite of novel idea generation. System 2 processes can create divergent ideas intentionally avoiding the obvious solutions
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  Dual Process Theoryin Creative Thought: Four Quadrant Model (Tubb and Dixon, 2014)8
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  Why Computational Creativity? 9 Toproduce artificial systems appearing to be creative, to some degree. To better understand human creativity. To design programs that can support and enhance human creativity To explore the potential of Cognitive Architectures Aaron’s paintings The Painting Fool
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  Proposed Solution 10  Acognitive architecture  for an agent exhibiting a sort of creative behaviour  arising from mechanisms of changes in the focus of attention (Gabora, 2002)  obtained trough the interaction of different implicit and explicit strategies (Tubb and Dixon, 2014)
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  Proposed Creative Style 11 •Thefocus of attention is considered as a framework that drives the creative process. •A form of Combinatorial Creativity based on: •A Relaxed focus of attention •A Flat Activation in the memory
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  Evolution of thecreative process12
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  Modeling the creativeAgent in the PSI architecture (Bartl and Dorner, 1998)(Bach et al., 2006)13
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  Modulators in PSI:a focus on the Resolution Level 14 Works on the encoded percept Communicate s with the LTM Controls the S1 process towards S2 process Modulates wide or more focused associations Early stage of modeling It is correlated in a inverse proportion w.r.t to the activation modulator
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  Associative Mechanisms inthe Memory15
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  A focus onthe first layer 16 Storage Completion into the same domain
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  Exploratory and TacitStrategy 17
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  Checking the results(analytic strategy)18 The check of the analytic strategy can trigger a refletive strategy the analytic strategy relies on a face detection algorithm which checks the presence of a face.
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  Motivation of theartist 19  Drives the choice of a particular creative style and the execution of the creative process  If too low agent can consider a re-planning by choosing a different style, or can stop the execution  It is indirectly influenced by internal and external evaluation trough the cognitive urges:  Competence: effectiveness at fulfilling correctly a set of creative acts  Certainty: depends on the amount of styles judged as of pleasant used by the agent.
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  Internal Evaluation20 Internal ModelExecuted with few colors Executed with differnt paintbrush
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  External Evaluation 21
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  Experimental Results 22 • AssociationsFaces-Flowers Domains • The similarity is evaluated considering information regarding color and texture features • The color features: information related to different color spaces (RGB, HSV, CIE L*a*b*) • Texture features: Gabor Filters and Haar Filters
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  Design of anHumanoid Painter 23 Cognitive Process Physical Execution
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  Conclusion and FutureWorks 24  Summary  Proposal of a cognitive architecture for creative agents ispired by theories and models of cognitive processes underying creativity;  “Transparent” description of the processes that occur during the creative process  Possibility to test possible results obtained inhibiting or change S1 and S2 strategies  Future Works  Physical execution of the artwork  Modeling of the Artist personality
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  THANKS! augello@pa.icar.cnr.it 25 Do you want aportrait?