This paper introduces the basic principle and application process of simulated annealing algorithm and improves the simulated annealing algorithm so that it can converge faster to get the new parameters of cultural and creative product design and make it more in line with the reality of engineering optimization. In the cultural creative industry, it is necessary to use the creatorʼs creativity and technology to derive and develop the original cultural resources with the help of various materialization means, to refine (...) the abstract and profound contents of cultural resources to make them more visualized, and to produce products with both spiritual and economic values through the multiple development and utilization of their intellectual property contents. By studying the feasibility analysis of the cultural and creative design, the design positioning of the cultural and creative products is determined. In this article, we use the simulated annealing method to simulate and analyse the condition values in the design process of cultural creative products. As the Internet era progresses, people have more diversified requirements for cultural and creative products, and they need to have innovative ideas to follow the trend, so the design of cultural and creative products can spread culture through different design expressions and media. As one of the important pillar industries for future development, cultural and creative products are characterized by a wide range of styles and practicality, which meet the aesthetic needs and fashion trends of modern people. (shrink)

Algorithms are powerful because we invest in them the power to do things. With such promise, they can transform the ordinary, say snapshots along a robotic vacuum cleaner’s route, into something much more, such as a clean home. Echoing David Graeber’s revision of fetishism, we argue that this easy slip from technical capabilities to broader claims betrays not the “magic” of algorithms but rather the dynamics of their exchange. Fetishes are not indicators of false thinking, but social contracts in material (...) form. They mediate emerging distributions of power often too nascent, too slippery or too disconcerting to directly acknowledge. Drawing primarily on 2016 ethnographic research with computer vision professionals, we show how faith in what algorithms can do shapes the social encounters and exchanges of their production. By analyzing algorithms through the lens of fetishism, we can see the social and economic investment in some people’s labor over others. We also see everyday opportunities for social creativity and change. We conclude that what is problematic about algorithms is not their fetishization but instead their stabilization into full-fledged gods and demons – the more deserving objects of critique. (shrink)

In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it difficult to (...) understand what machine creativity actually is and how it is connected to human creativity. The aim of the paper is to investigate why, and in what sense, the functioning of some machines may be described in terms of artistic creativity and what is the relation between machine creativity and its human archetype. I start (§1) by introducing some general ideas concerning how language evolves alongside new technologies and focusing on the case of machine creativity. In §2 I review how some creative machines have been presented to the public, thus showing that a linguistic habit which connects machines to artistic creativity has already formed. In §3 I survey the debate on machine aesthetics and I highlight the main traits of the issue. In §4 I submit a primary scheme of machine creativity which draws on the concept of functional autonomy. Finally (§5), I argue that machine creativity cannot be mistaken for a substitute of the human kind, despite the fact that the word is the same. Creative machines are technological mediums by which new forms of human aesthetic experience can be explored. The kind of creativity machines enjoy displays a functional nature. (shrink)

Current research in artificial intelligence (AI) sheds light on algorithmic bias embedded in AI systems. The underrepresentation of women in the AI design sector of the tech industry, as well as in training datasets, results in technological products that encode gender bias, reinforce stereotypes and reproduce normative notions of gender and femininity. Biased behaviour is notably reflected in anthropomorphic AI systems, such as personal intelligent assistants (PIAs) and chatbots, that are usually feminized through various design parameters, such as names, (...) voices and traits. Gendering of AI entities, however, is often reduced to the encoding of stereotypical behavioural patterns that perpetuate normative assumptions about the role of women in society. The impact of this behaviour on social life increases, as human-to-(anthropomorphic)machine interactions are mirrored in human-to-human social interactions. This article presents current critical research on AI bias, focusing on anthropomorphic systems. Moreover, it discusses the significance of women’s engagement in AI design and programming, by presenting selected case studies of contemporary female media artists and designers. Finally, it suggests that women, through their creative practice, provide feminist and critical approaches to AI design which are essential for imagining alternative, inclusive, ethic and de-biased futures for anthropomorphic AIs. (shrink)

How should we incorporate algorithms into humanistic scholarship? The typical approach is to clone what humans have done but faster, extrapolating expert insights to landfills of source material. But creative scholars do not clone tradition; instead, they produce readings that challenge closely held understandings. We theorize and then illustrate how to construct bad robots trained to surprise and provoke. These robots aren’t the most human but rather the most alien—not tame but dangerous. We explore the relationship between the reproduction of (...) tradition and the generation of surprise and then show how formalizing a particular humanistic theory as a Bayesian prior allows us to identify readings that disrupt it through a process of algorithmic abduction. Among the exploding universe of surprising (and mostly ridiculous) possible readings, algorithmic efficiency allows us to select readings that nonetheless garner substantial support from the total archive and so merit interpretation and engagement. It is in such interaction between alien and human readers that meaning is made and understanding disturbed; it is by extending alien readings to novel texts that the scholarly community tests the value of those readings. (shrink)

This paper describes a theory that explains both the creativity and the efficiency of people's conceptual combination. In the constraint theory, conceptual combination is controlled by three constraints of diagnosticity, plausibility, and informativeness. The constraints derive from the pragmatics of communication as applied to compound phrases. The creativity of combination arises because the constraints can be satisfied in many different ways. The constraint theory yields an algorithmic model of the efficiency of combination. The C3 model admits the (...) full creativity of combination and yet efficiently settles on the best interpretation for a given phrase. The constraint theory explains many empirical regularities in conceptual combination, and makes various empirically verified predictions. In computer simulations of compound phrase interpretation, the C3 model has produced results in general agreement with people's responses to the same phrases. (shrink)

Today, a consistent part of our everyday interaction with art and aesthetic artefacts occurs through digital media, and our preferences and choices are systematically tracked and analyzed by algorithms in ways that are far from transparent. Our consumption is constantly documented, and then, we are fed back through tailored information. We are therefore witnessing the emergence of a complex interrelation between our aesthetic choices, their digital elaboration, and also the production of content and the dynamics of creative processes. All are (...) involved in a process of mutual influences, and are partially determined by the invisible guiding hand of algorithms. -/- With regard to this topic, this paper will introduce some key issues concerning the role of algorithms in aesthetic domains, such as taste detection and formation, cultural consumption and production, and showing how aesthetics can contribute to the ongoing debate about the impact of today’s “algorithmic culture”. (shrink)

Nowadays creativity is fashionable. Writers on management and organisation, for example, mention creativity as vital to entrepreneurship.1 They consider it to be as important as land, labour and capital, which form the traditional factors of production.2 And related terms such as ‘genius’ are in use again. An example of this is the widely read book Built to Last.3 Moreover, creativity and rationality are presented as alternatives. To be creative, managers are urged to put rationality aside: ‘being reasonable (...) does not win the day’ they are assured4 and ‘all progress depends on the unreasonable man’.5 This view that rationality and creativity oppose each other is, however, unsatisfactory involving, as it does, a form of epistemological schizophrenia. One excludes the other only if we adopt a simplistic concept of rationality and an esoteric view of creativity. This article, therefore, sets out to clarify the relationship between the concepts of creativity and rationality. Three ideal-type concepts of rationality will be introduced (algorithmic, judgemental, reflective) and their tolerance of novelty discussed. Then two modes of creativity (explorative and transcendentive) are distinguished, followed by a discussion of whether rationality can enhance creativity. I conclude by reviewing some factors involved in creativity, such as tolerance for ambiguity, playfulness and attentiveness, and with a short discussion of the relationship of creativity to power.6. (shrink)

This paper analyzes notions and models of optimized cognition emerging at the intersections of psychology, neuroscience, and computing. What I somewhat polemically call the algorithms of mindfulness describes an ideal that determines algorithmic techniques of the self, geared at emotional resilience and creative cognition. A reframing of rest, exemplified in corporate mindfulness programs and the design of experimental artificial neural networks sits at the heart of this process. Mindfulness trainings provide cues as to this reframing, for they detail each (...) in their own way how intermittent periods of rest are to be recruited to augment our cognitive capacities and combat the effects of stress and information overload. They typically rely on and co-opt neuroscience knowledge about what the brains of North Americans and Europeans do when we rest. Current designs for artificial neural networks draw on the same neuroscience research and incorporate coarse principles of cognition in brains to make machine learning systems more resilient and creative. These algorithmic techniques are primarily conceived to prevent psychopathologies where stress is considered the driving force of success. Against this backdrop, I ask how machine learning systems could be employed to unsettle the concept of pathological cognition itself. (shrink)

Digital media presents an array of interesting challenges adapting new modes of collaborative, online communication to traditional writing and literary practices at the practical and theoretical levels. For centuries, popular concepts of the modern author, regardless of genre, have emphasized writing as a solo exercise in human communication, while the act of reading remains associated with solitude and individual privacy. "The Community and the Algorithm: A Digital Interactive Poetics" explores important cultural changes in these relationships thanks to the rapid development (...) of digital internet technologies allowing near-instantaneous, synchronous, multimedia interaction across the globe. The radical shift in how we author and consume media as an online, electronic transmission effectively resituates the writing process across the liberal arts as less a solitary act of individual enquiry and reflection, and more an ongoing, collaborative process of creative interaction within a multimedia environment or network. Contributions in this anthology demonstrate a robust history and equally diverse contemporary approach to multimedia interaction for literary and artistic ends. Central to all media formats, computation is explored throughout this volume to critically examine how algorithmic procedures in writing help bring forward many key concepts to building creative communities in a digital environment. Each chapter in this book accordingly introduces readers to various new collaborative experiments using a broad range of different digital media formats, including VR, Natural Language Generation (NLG), and metagaming tools. This book will appeal broadly to students, instructors, and independent artists working in the digital arts, while its emphasis on social interactivity will interest theorists and teachers working in theatre, social media, and cyberpsychology. Its secondary focus on computation and media programming as a site of artistic experimentation will also interest programmers and web designers at various professional levels. (shrink)

: Creativity, mostly ignored in Western philosophy due to its supposed mysteriousness, has recently become a respected research topic in psychology, neuroscience, and artificial intelligence. We discuss how in science the approach has mainly been to describe creativity as an information-based process, coherently with a computational view of the human mind started with the cognitive revolution. This view has produced progressively convincing models of creativity, up to current artificial neural network systems, vaguely inspired by biological neural processing, (...) but already competing with human creativity in several fields. These successes suggest that creativity might not be an exclusively human function, but actually a way of functioning of any natural or artificial system implementing the creative process. We conclude by acknowledging that the information-based view of creativity has tremendous explanatory and generative power, but we propose a thought experiment to start discussing how it actually leaves out the experiential side of being creative. Keywords: Creative Cognition; Cognitive Neuroscience; Computational Creativity; Generative Algorithms; Cognitive Science La creatività come processo basato sull’informazione Riassunto: La creatività, spesso ignorata dalla filosofia occidentale per la sua presunta oscurità, in tempi recenti è diventata un rispettabile oggetto di ricerca per la psicologia, la neuroscienza e l’intelligenza artificiale. Vogliamo illustrare il modo in cui lo sguardo scientifico sia rivolto prevalentemente a considerare la creatività come processo information-based, coerentemente con la prospettiva computazionale sulla mente umana aperta dalla rivoluzione cognitiva. Questa prospettiva ha prodotto modelli della creatività sempre più convincenti, fino agli attuali sistemi di reti neurali artificiali, vagamente inspirati al processamento biologico neurale, ma già competitivi rispetto alla creatività umana in molti ambiti. Questi successi suggeriscono che la creatività possa non essere una funzione esclusivamente umana ma in effetti un modo di funzionare di un sistema naturale o artificiale capace di implementare il processo creativo. In conclusione, pur riconoscendo come il considerare la creatività come processo information-based possieda grande potere esplicativo e generativo, proporremo un esperimento mentale per aprire una discussione sul come questa prospettiva non copra in effetti il lato esperienziale dell’essere creativo. Parole chiave: Cognizione creativa; Neuroscienza cognitiva; Creatività computazionale; Algoritmi generativi; Scienza cognitiva. (shrink)

Algorithms and automated learning systems have been successfully applied to produce images, pieces of music, or texts that are appealing to humans and that are often compared to artworks. Computational technologies are able to find surprising and original solutions–new patterns that humans cannot anticipate– but does this mean we ascribe to them the kind of creativity that is expressed by human artists? Even though AI can successfully detect humans’ preferences as well as select the objects that satisfy taste, can (...) we ascribe to them the capacity of recognizing the intrinsic value of artworks? To answer these questions, I am first going to explain the kind of creativity that is expressed by contemporary predictive systems, then, in the second part of this paper, I will try to show the difference between the creativity of algorithms and the creativity of artists by expanding on Deleuze’s reflections. (shrink)

Much writing on, first, analogue and, later, digital archives has focused on related power-dynamics and the structuring effects of archives and their technologies on discursive freedom and cultural dynamics. In recent years, however, work within the media archaeology domain, especially by Wolfgang Ernst, has addressed how the specific materialities of digital archives, and the nature of their algorithms and particular functions, could be seen to facilitate dynamics in cultures. This article sets this work in dialogue with the cultural semiotics of (...) Juri Lotman, whose late work focused on how communicative processes between and within different subsystems of culture facilitate their dynamic change and the production of new forms and cultural systems. The article suggests further interdisciplinary dialogue between media archaeology and cultural semiotics in order to understand the role of archives in facilitating communicative processes and interlinking in culture and the emergence of novelties – that is, for understanding the ‘creativity’ of archives. (shrink)

In decision making quite often we face permanently changeable and potentially infinite databases when we cannot apply conventional algorithms for choosing a solution. A decision process on infinite databases is called troubleshooting. A decision on these databases is called creative reasoning. One of the first heuristic semi-logical means for creative decision making were proposed in the theory of inventive problem solving by Genrich Altshuller. In this paper, I show that his approach corresponds to the so-called content-generic logic established by Soviet (...) philosophers as an alternative to mathematical logic. The main assumption of content-genetic is that we cannot reduce our thinking to a mathematical combination of signs or to a language as such and our thought is ever cyclic and reflexive so that it contains ever a history. (shrink)

The present article reports several applied experiments in the generation of aesthetic forms from algorithms and data. In these experiments algorithms and data are the driving morphogenetic force to such an extent that the role of the human creator must be reexamined case-by-case. Artists that program the graphics or sound generating algorithms may in turn be said to be programmed perceptually by the resulting artworks, in the sense that they must adapt their perception in a conscious or involuntary effort to (...) detect or project meaning in their form. While forms generated by algorithms or data are to a large extent unpredictable, an intimate relationship between programmer, performer/listener/viewer and the piece is created through instinctive, empirical familiarity with the tools and the creative process, which is afforded by the immediate and highly interactive nature of the frameworks employed. A simple iterative algorithm that produces a novel kind of chaotic geometric shapes is presented. Examples of an application of Paul Klee’s principles of visual form in programming interactive audio-visual dance performance are given. These principles are directly derived from the language-based metaphor of active, medial and passive voice. Finally, ongoing experiments in letting language structures emerge from data derived from a sound database are presented. (shrink)

In this paper we analyze methodological and philosophical implications of algorithmic aspects of unconventional computation. At first, we describe how the classical algorithmic universe developed and analyze why it became closed in the conventional approach to computation. Then we explain how new models of algorithms turned the classical closed algorithmic universe into the open world of algorithmic constellations, allowing higher flexibility and expressive power, supporting constructivism and creativity in mathematical modeling. As Goedels undecidability theorems demonstrate, (...) the closed algorithmic universe restricts essential forms of mathematical cognition. In contrast, the open algorithmic universe, and even more the open world of algorithmic constellations, remove such restrictions and enable new, richer understanding of computation. (shrink)

A large portion of mathematics education centers heavily around imitative reasoning and rote learning, raising concerns about students’ lack of deeper and conceptual understanding of mathematics. To address these concerns, there has been a growing focus on students learning and teachers teaching methods that aim to enhance conceptual understanding and problem-solving skills. One suggestion is allowing students to construct their own solution methods using creative mathematical reasoning, a method that in previous studies has been contrasted against algorithmic reasoning with (...) positive effects on test tasks. Although previous studies have evaluated the effects of CMR, they have ignored if and to what extent intrinsic cognitive motivation play a role. This study investigated the effects of intrinsic cognitive motivation to engage in cognitive strenuous mathematical tasks, operationalized through Need for Cognition, and working memory capacity. Two independent groups, consisting of upper secondary students, practiced non-routine mathematical problem solving with CMR and AR tasks and were tested 1 week later. An initial t-test confirmed that the CMR group outperformed the AR group. Structural equation modeling revealed that NFC was a significant predictor of math performance for the CMR group but not for the AR group. The results also showed that WMC was a strong predictor of math performance independent of group. These results are discussed in terms of allowing for time and opportunities for struggle with constructing own solution methods using CMR, thereby enhancing students conceptual understanding. (shrink)

Our private perception of listening to an individualized playlist during a jog is very different from the interaction we might experience at a live concert. We do realize that music is not necessarily a performing art, such as dancing or theater, while our demands regarding musical performances are conflicting: We expect perfect sound quality and the thrill of the immediate. We want the artist to overwhelm us with her virtuosity and we want her to struggle, just like a human. We (...) want to engage with the musical expression and rely on visual and physical cues. Considering that the ears of today's listeners are used to technologically mediated music, in this paper I explore the unique qualities of musical live performances and examine if our conception allows for new mechatronic inventions, in particular robotic musicians, to participate in this art form. Some of Godlovitch's main thoughts expounded in his work on "musical performance" [11] serve as a reference and starting point for this investigation. His concept of `personalism', which deprives computer-/program-based musical performances from expressive potential and creative accomplishment is an issue that I want to challenge by pointing out new approaches arising from a reective discourse on technology, embodiment and expression. The enquiry conducted illustrates, how in reasoning about machine performers and algorithmic realization of music, we also examine the perceptual, physical and social aspects of human musicianship, reconceptualizing our understanding of a musical live performance. (shrink)

The article brings to light the use of recommender systems as technologies of the self, complementing the observations in current literature regarding their employment as technologies of ‘soft’ power. User practices on the music recommendation website last.fm reveal that many users do not only utilize the website to receive guidance about music products but also to examine and transform an aspect of their self, i.e. their ‘music taste’. The capacity of assisting users in self-cultivation practices, however, is not unique to (...) last.fm but stem from certain properties shared by all recommendation systems. Furthermore, unlike other oft-studied digital/web technologies of the self which facilitate ‘self-publishing’ vis-à-vis virtual companions in social media, recommender algorithms themselves can act as ‘intimate experts’, accompanying users in their self-care practices. Thus, recommendation systems can facilitate both algorithmic control and creative self-transformation, which calls for a theorization of this new cultural medium as a space of tension. (shrink)

The recent emergence of generative AI software as viable tools for use in the cultural and creative industries has sparked debates about the potential for “creativity” to be automated and “augmented” by algorithmic machines. Such discussions, however, begin from an ontological position, attempting to define creativity by either falling prey to universalism (i.e. “creativity is X”) or reductionism (i.e. “only humans can be truly creative” or “human creativity will be fully replaced by creative machines”). Furthermore, (...) such an approach evades addressing the real and material impacts of AI on creative labour in these industries. This article thus offers more expansive methodological and conceptual approaches to the recent hype on generative AI. By combining (Csikszentmihalyi, The systems model of creativity, Springer, Dordrecht, 2014) systems view of creativity, in which we emphasise the shift from “what” to “where” is creativity, with (Lievrouw, Media technologies, The MIT Press, 2014) relational-materialist theory of “mediation”, we argue that the study of “creativity” in the context of generative AI must be attentive to the interactions between technologies, practices, and social arrangements. When exploring the relational space between these elements, three core concepts become pertinent: creative labour, automation, and distributed agency. Critiquing “creativity” through these conceptual lenses allows us to re-situate the use of generative AI within discourses of labour in post-industrial capitalism and brings us to a conceptualisation of creativity that privileges neither the human user nor machine algorithm but instead emphasises a relational and distributed form of agency. (shrink)

Biological evolution provides a creative fount of complex and subtle adaptations, often surprising the scientists who discover them. However, because evolution is an algorithmic process that transcends the substrate in which it occurs, evolution’s creativity is not limited to nature. Indeed, many researchers in the field of digital evolution have observed their evolving algorithms and organisms subverting their intentions, exposing unrecognized bugs in their code, producing unexpected adaptations, or exhibiting outcomes uncannily convergent with ones in nature. Such stories (...) routinely reveal creativity by evolution in these digital worlds, but they rarely fit into the standard scientific narrative. Instead they are often treated as mere obstacles to be overcome, rather than results that warrant study in their own right. The stories themselves are traded among researchers through oral tradition, but that mode of information transmission is inefficient and prone to error and outright loss. Moreover, the fact that these stories tend to be shared only among practitioners means that many natural scientists do not realize how interesting and lifelike digital organisms are and how natural their evolution can be. To our knowledge, no collection of such anecdotes has been published before. This paper is the crowd-sourced product of researchers in the fields of artificial life and evolutionary computation who have provided first-hand accounts of such cases. It thus serves as a written, fact-checked collection of scientifically important and even entertaining stories. In doing so we also present here substantial evidence that the existence and importance of evolutionary surprises extends beyond the natural world, and may indeed be a universal property of all complex evolving systems. (shrink)

This article recapitulates and develops the attempts in the Nietzschean traditions to address and overcome the proliferation of nihilism that Nietzsche predicted to unfold in the next 200 years (WP 2). Nietzsche approached nihilism not merely as a psychology but as a labyrinthic and pervasive historical process whereby the highest values of culture and founding assumptions of philosophical thought prevented the further flourishing of life. Therefore, he thought nihilism had to be encountered and experienced on many, often opposing, fronts to (...) be fully consumed and left behind. Thus, just as Nietzsche captured the subtle reinventions of nihilism in new forms in his time, in the new doers assumed behind new deeds (WP 488), this article focuses on the contemporary tectonic shifts brought by digital technology and challenges subjectivation and narrativization of algorithmic will to power in human-like interfaces such as ChatGPT. Having identified philosophers and himself as the most advanced nihilists in their overvaluation of truth, in the 4th part of Thus Spoke Zarathustra, Nietzsche grappled with the difficult, perhaps impossible, temporality of post-nihilistic historicity that oscillates between highest creativity and highest truths, especially in the sections entitled The Shadow and At Noon whereby he explored new temporal techniques to evade the relapses into temporal nihilisms of the notions of linear progress or eternity (TSZ, 4). By drawing on this juncture, this article offers ways to address transfigurations of nihilism behind new technological performances of subjectivity. The article points toward creative temporalities beyond narrativity and subjectivity insofar as the statistical operations and probabilistic estimations of language-models exceed grammatical construction of meaning. This multifaceted application of his thought on the contemporary ontic reality is necessary to perceive our comet's incalculable movement as a veritable ray of sunshine. (shrink)

Digitalisation and platformisation are continuously impacting and reshaping the societies we live in. In this context, we are witnessing the rise of phenomena such as fake news, hate speech, and the sharing of any other illegal content through social media. In this paper, I propose some ethical reflections on content moderation in the context of digital (social) media, as this topic seems – to me – to already incorporate other relevant digital issues in it, such as algorithms bias, the spread (...) of fake news, and the potential misuses of artificial intelligence. In the first section, I will provide a few hermeneutic reflections over a speech given by the Italian scholar Umberto Eco, which appears to underline the necessity of a content moderation in an era of digital (social) media. In the second section, I will analyse, through a consequentialist perspective, critical and ethical issues posed by content moderation. In particular, I suggest the idea of a ‘moderate’ (reasonable and limited) content moderation that can only be assured by humans, as they are able to contextualise the content, to take emotions and subjective elements into account, to apply critical thinking and adaptability in complex circumstances. (shrink)

Storytelling is a pervasive part of our daily lives and culture. The task of creating stories for the purposes of entertaining, educating, and training has traditionally been the purview of humans. This sets up the conditions for a creative authoring bottleneck where the consumption of stories outpaces the production of stories by human professional creators. The automation of story creation may scale up the ability to produce and deliver novel, meaningful story artifacts. From this practical perspective, story generation systems replicate (...) the creative abilities of humans and can thus be considered instances of computational creativity. Computational systems that are purported to be creative typically utilize one of three general approaches: exploration of a space of concepts, combination of concepts, and transformation of concepts. In this article we present an approach to story generation that utilize exploration, combination, and transformation. Our approach, implemented in the Vignette Based Partial Order Causal Link story planner, is an algorithm that searches through a space of possible story solutions, guided by combinations of existing story fragments called vignettes. The vignettes are made relevant to novel story generation contexts through an automated transformation pre-process. Through these processes, we show that story generation can incorporate multiple perspectives on computational creativity. Our approach is presented at both the theoretical and technical levels. (shrink)

PurposeThis paper aims to investigate algorithmic governmentality – as proposed by Antoinette Rouvroy – specifically in relation to law. It seeks to show how algorithmic profiling can be particularly attractive for those in legal practice, given restraints on time and resources. It deviates from Rouvroy in two ways. First, it argues that algorithmic governmentality does not contrast with neoliberal modes of government in that it allows indirect rule through economic calculations. Second, it argues that critique of such (...) systems is possible, especially if the creative nature of law can be harnessed effectively.Design/methodology/approachThis is a conceptual paper, with a theory-based approach, that is intended to explore relevant issues related to algorithmic governmentality as a basis for future empirical research. It builds on governmentality and socio-legal studies, as well as research on algorithmic practices and some documentary analysis of reports and public-facing marketing of relevant technologies.FindingsThis paper provides insights on how algorithmic knowledge is collected, constructed and applied in different situations. It provides examples of how algorithms are currently used and how trends are developing. It demonstrates how such uses can be informed by socio-political and economic rationalities.Research limitations/implicationsFurther empirical research is required to test the theoretical findings.Originality/valueThis paper takes up Rouvroy’s question of whether we are at the end of critique and seeks to identify where such critique can be made possible. It also highlights the importance of acknowledging the role of political rationalities in informing the activity of algorithmic assemblages. (shrink)

In the field of mathematics education, one of the main questions remaining under debate is whether students’ development of mathematical reasoning and problem-solving is aided more by solving tasks with given instructions or by solving them without instructions. It has been argued, that providing little or no instruction for a mathematical task generates a mathematical struggle, which can facilitate learning. This view in contrast, tasks in which routine procedures can be applied can lead to mechanical repetition with little or no (...) conceptual understanding. This study contrasts Creative Mathematical Reasoning (CMR), in which students must construct the mathematical method, with Algorithmic Reasoning (AR), in which predetermined methods and procedures on how to solve the task are given. Moreover, measures of fluid intelligence and working memory capacity are included in the analyses alongside the students’ math tracks. The results show that practicing with CMR tasks was superior to practicing with AR tasks in terms of students’ performance onpracticed test tasksandtransfer test tasks. Cognitive proficiency was shown to have an effect on students’ learning for both CMR and AR learning conditions. However, math tracks (advanced versus a more basic level) showed no significant effect. It is argued that going beyond step-by-step textbook solutions is essential and that students need to be presented with mathematical activities involving a struggle. In the CMR approach, students must focus on the relevant information in order to solve the task, and the characteristics of CMR tasks can guide students to the structural features that are critical for aiding comprehension. (shrink)

In cinematic experience, a view from nowhere appears in an instituting moment – neither in time nor out of time, but part of time itself – when a camera reflex lifts the viewer’s perception out of somewhere and into the infinite time of the film. We argue that the view from nowhere found in Birt Acres’s film Rough Sea at Dover – a fifteen-second shot of waves breaking against a sea wall in Dover, England in 1895 – transcends all attempts (...) to turn it into a view from somewhere, as an empty space that carries the auratic trace of the past into the present through phase shifts of technical mediation. In Simondon’s terms, the view from nowhere opens up possibilities of becoming all ways at once in the reflexive capacity of the human organon. Following Stiegler’s organological technics, we identify the capture of perception by the apparatus of recording and playback in the digitally automated algorithm as a threat to the reflexive capability of the organon to see otherwise in the creative individuation opened up in the phase-shifting process. Our analysis triggers a switch from an anthropocentric to a neganthropic-ecological mode of seeing in which the auratic trace of the event of waves crashing against the pier is seen in an inhuman view from nowhere that carries the threat of automatized systems in which human noesis – self-reflexive capacity – is eclipsed by machines. By seeing otherwise, the eclipse by machines is reversed to reveal the complex becoming of the film in its materiality as a work of creative individuation. (shrink)

In the wake of the digital, some have recommended that we abandon the tedium of teaching handwriting to children in service of promoting “more creative” digital literacies. Others worry that an early diet of keyboard and screen may have deleterious effects on children's social, emotional, and cognitive development, as well as their physical well-being. Yet in this debate, the algorithmic scripts and digital surfaces underwriting these new reading, writing, and mathematical practices are, with a few notable exceptions, almost exclusively (...) ignored. In this essay, Catherine Adams asks whether the digital, and the reading and writing spaces it affords, are of consequence to our habits of thinking and ways of being, particularly in light of the possible obsolescence of pen and paper in schools. She shows that writing using a word processor is no mere mechanical pressing of keys, but an intricate ballet of writerly reading eyes and readerly writing hands, caught up in a dynamic environment of algorithmic paratexts and copy-cut-paste thinking. (shrink)

This paper uses an improved deep learning algorithm to judge the rationality of the design of landscape image feature recognition. The preprocessing of the image is proposed to enhance the data. The deficiencies in landscape feature extraction are further addressed based on the new model. Then, the two-stage training method of the model is used to solve the problems of long training time and convergence difficulties in deep learning. Innovative methods for zoning and segmentation training of landscape pattern features are (...) proposed, which makes model training faster and generates more creative landscape patterns. Because of the impact of too many types of landscape elements in landscape images, traditional convolutional neural networks can no longer effectively solve this problem. On this basis, a fully convolutional neural network model is designed to perform semantic segmentation of landscape elements in landscape images. Through the method of deconvolution, the pixel-level semantic segmentation is realized. Compared with the 65% accuracy rate of the convolutional neural network, the fully convolutional neural network has an accuracy rate of 90.3% for the recognition of landscape elements. The method is effective, accurate, and intelligent for the classification of landscape element design, which better improves the accuracy of classification, greatly reduces the cost of landscape element design classification, and ensures that the technical method is feasible. This paper classifies landscape behavior based on this model for full convolutional neural network landscape images and demonstrates the effectiveness of using the model. In terms of landscape image processing, the image evaluation provides a certain basis. (shrink)

This paper proposes a deep analysis of the latest research of digital humanities scholar Beatrice Fazi, and especially her critique of computational automation, to understand the roles of digital creative technologies, and more specifically of creative software. After a close analysis of Fazi’s main contribution to a new understanding of computational aesthetics, we will briefly outline the potential implications of her work to understand the contemporary evolution of creative software, and especially the implementation of machine learning algorithms in these kinds (...) of software. This will lead us to contextualise the contemporary anxieties regarding how machines could replace humans in the act of artistic creation. (shrink)

To make the interface design of computer application system better, meet the psychological and emotional needs of users, and be more humanized, the emotional factor is increasingly valued by interface designers. In the design of human-computer interaction graphical interfaces, the designer attaches great importance to the emotional design of the interface, and enhances the humanized design of the interface, which cannot only improve the comfort of the interface, but also improve the fun of the interface, to ensure the psychological and (...) emotional needs of users can be better satisfied. It may acquire information that is favorable to innovative design by utilizing cluster analysis algorithm to tackle the problem of complicated cultural information, and then utilize cellular genetic algorithm to carry out creative design of cultural items. It increases the availability of cultural and creative goods. The classic cluster analysis technique offers the maximum data clustering effect of 53.3%, according to the findings of this paper’s experiments. While the improved cluster analysis algorithm has the highest data clustering effect of 90%. It can be seen that the improved cluster analysis algorithm can effectively perform cluster analysis on a large amount of data in cultural and creative products. It thus finds out the most suitable designer’s creative information, which helps designers create better products. (shrink)

Irony is an effective but challenging mode of communication that allows a speaker to express viewpoints rich in sentiment with concision, sharpness and humour. Creative irony is especially common in online documents that express subjective and deeply-felt opinions, and thus represents a significant obstacle to the accurate analysis of sentiment in web texts. In this paper we look at one commonly used framing device for linguistic irony—the simile—to show how even the most creative uses of irony are often marked in (...) ways that make them computationally feasible to detect. We conduct a very large corpus analysis of web-harvested similes to identify the most interesting characteristics of ironic comparisons, and provide an empirical evaluation of a new algorithm for separating ironic from non-ironic similes. (shrink)

The aim of this paper is to discuss how the image of the artist has formed in Western culture and how digital art may shed light on some of its internal contradictions, if not perhaps even help us overcome them. Firstly, I take into consideration the Jewish and Christian tradition according to which the image of God as Creator may play the role of the archetypal artist, of whom the human artist is a sort of copy and imitator – an (...) idea that fully established itself during the Renaissance and even now widely influences the image of the creative artist, whom is commonly endowed with an almost absolute subjectivity able to derive from her boundless spontaneity everything is needed for the making of the work of art. Next to the image of God as Creator I focus on the influence exerted by the Platonic myth of the Demiurge, the divine craftsman who, trusting its own ability and insight, shapes a given matter according to a preexisting model it contemplates. It will then be shown how the image of the Demiurge might temper the absoluteness proper to the notion of the artist deriving from the image of God as Creator and, therefore, how it might help rediscover the dimension of historicity and conditionedness that is inseparable from human artistic creativity, even though it has been strongly downplayed and despised. Finally, I argue that the philosophical study of digital art – particularly of computational creativity and remix – may offer a precious occasion for shedding new light on the objective and conditioned elements of artistic creativity and, as such, may lead the way towards a reconfiguration of the image of the artist (and of the many concepts connected to it) not under the absolute sign of God as Creator, but rather under the historical aegis of the Demiurge. (shrink)

The relevance of the research of current problem is that the development of information and digital technologies contributes to digital development of the society, which is based on new wave of technological progress. The purpose of the research is to show how informative revolution of the XX1 century contributes formation of developmental concept of information-digital technologies in the conditions of the electronic era; to identify contradictory phenomena that contribute to the reduction of labor as a result of progressive robotics, which (...) is being introduced through digital technologies. The technologies that are used today to replace people are different; the need for human resources is reduced thanks to robots, automation and computerization, and other high-tech gadgets. Methodology. The methods of theoretical analysis - deduction and induction, historical and logical, comparative and system analysis, informational method, which contribute insight into the essence of the studied phenomenon as a complex phenomenon and dynamic process. Results : It has been proven that, thanks to various well-known developments in information digital technologies and robotics, many experts believe that society is at an early stage of the new industrial revolution. This type of revolution in the future can change the way people live and work, just as a steam engine did 200 years ago. Technological unemployment is one of the main reasons for introducing the concept of development of information and digital technologies in the conditions of the electronic era, which has contributed to increasing the overall unemployment rate in Western countries over the past 30 years. The development of information-computer technologies, as well as other types of automation and the Internet, played a significant role in shaping the concept of information-digital technologies. Conclusion. Digital society focuses on the development of human resources; therefore, in connection with the introduction of the concept of development of information and digital technologies, many workplaces with cheap labor can disappear. The world is turning into a digital society and the world is ruled by a figure, the world is controlled by intelligence, intelligence, algorithms and digitalization. The digital society consists of a set of algorithms that are controlled by information and computer technologies that penetrate digital management, which is based on intellectual and rational power, represented by intellectual and creative human resources. It is human resources that develop robotics, artificial intelligence, computerization, automation, robotics, which are based on the activity of algorithms. These varieties of digital society accelerate the potential for long-term productivity gains through intellectualization. Practical recommendations. Formation of the concept of development of information and digital technologies in the digital era will contribute to the development of information bases of the society, which is based on advanced technologies, small business development, which is based on networked intelligent platforms, which requires the creation of jobs in the Internet and the search for new types of employment. (shrink)

As machines take over more tasks previously done by humans, artistic creation is also considered as a candidate to be automated. But, can machines create art? This paper offers a conceptual framework for a philosophical discussion of this question regarding the status of machine art and machine creativity. It breaks the main question down in three sub-questions, and then analyses each question in order to arrive at more precise problems with regard to machine art and machine creativity: What (...) is art creation? What do we mean by art? And, what do we mean by machines create art? This then provides criteria we can use to discuss the main question in relation to particular cases. In the course of the analysis, the paper engages with theory in aesthetics, refers to literature on computational creativity, and contributes to the philosophy of technology and philosophical anthropology by reflecting on the role of technology in art creation. It is shown that the distinctions between process versus outcome criteria and subjective versus objective criteria of creativity are unstable. It is also argued that we should consider non-human forms of creativity, and not only cases where either humans or machines create art but also collaborations between humans and machines, which makes us reflect on human-technology relations. Finally, the paper questions the very approach that seeks criteria and suggests that the artistic status of machines may be shown and revealed in the human/non-human encounter before any theorizing or agreement takes place; an experience which then is presupposed when we theorize. This hints at a more general model of what happens in artistic perception and engagement as a hybrid human-technological and emergent or even poetic process, a model which leaves more room for letting ourselves be surprised by creativity—human and perhaps non-human. (shrink)

This article offers a Nietzschean theory of digital will to power to conceptualize the temporality of social media feeds run by algorithms. Stylistic and methodological temporalities of Nietzsche are discussed as well as their influence in subsequent social theory of political technologies. The paradox of heavy investment in both subjective expression and nonhuman temporalization in social media milieus is addressed with the concept of an event-without-witness drawn from Nietzsche’s account of himself as the solitary thinker of catastrophe of nihilism and (...) psychoanalytical and deconstructive literatures on the catastrophes of the 20th century. Nietzsche’s fundamental resistance to and fascination with the philosophical and cultural modes of mummyfication, i.e. eternalization as an expression of the will to power is used to think the will to power in the creative algorithmic temporalization of social interactions through the selection, distribution and serialization of data for social media feeds. (shrink)

Emphasizing the creative nature of mathematics, this conversational textbook guides students through the process of discovering a proof as they transition to advanced mathematics. Using several strategies, students will develop the thinking skills needed to tackle mathematics when there is no clear algorithm or recipe to follow.

The relevance of the research topic is that the theme of education is relevant in the information society, which is called "the society of knowledge", digital society, smart society, which requires the formation of an appropriate model of creative education and creative personality. The purpose of the article is the conceptualization of the creative model of education as a factor of innovative development of society. Objectives of the research: to develop a model of creative education of the society of the (...) e-era, where the algorithms and digital technologies dominate; to reveal the conditions and directions of the development of the technological revolution 4.0 and globalization 4.0, which distinguishes the incredible speed during which changes are taking place; to reveal the essence of the creative process and the consequences of its implementation in the model of creative education. Using the methodology of system analysis, forecasting and modeling, to explore the conceptualization of the influence of the creative model of education on the development of an innovative society in the conditions of technological revolution 4.0 and globalization 4.0. An analysis of recent research and publications, which launched the solution to this problem. We rely on the research of O. Bazaluk, V. Bekh, V. Andrushchenko, O. Kivlyuk, R. Oleksenko, M. Kyrichenko, V. Kremen, V. Melnyk, V. Nikitenko, A. Punchchenko, D.Sviridenko, S. Terepischiy, in whose works a creative model of the information society was launched. Among the foreign authors, we highlight the work of such authors as Al-Khalili Jim, E. Brignolfsson, E. Makafi, K. Kevin, O 'Riley Tim, D. Rose, K. Stainer, V. Stargins, V. Tsekalo, P. Florida, M. Ford and others, who presented the theme of creativity in the conditions of technological revolution 4.0 and globalization 4.0. The scientific novelty of the research is the conceptualization of the creative model of education as a factor of innovative development of society. Results of the research: the conditions of the formation of an innovative society were found out, based on which the creation of a model of creative education and creative personality; the definition of creative education and creativity personality and the need to form a new model of education and personality. Conclusion - Higher school should equip young people to work in the conditions of the innovation era - new knowledge, prepare to master the necessary skills and competencies, to be constantly prepared for the constant updating of knowledge of their profession and obtaining new demanded skills of digital society, namely, to develop creative competencies, with the communication, information, digital competencies of the digital era. (shrink)

A critique of algorithmic rationalisation offers at best some initial reasons and preliminary ideas. Critique is understood as a reflection on validity. It is limited to an “epistemological investigation” of the limits of the calculable or of what appears “knowable” in the mode of the algorithmic. The argumentation aims at the mathematical foundations of computer science and goes back to the so-called “foundational crisis of mathematics” at the beginning of the 20th century with the attempt to formalise concepts (...) such as calculability, decidability and provability. The Gödel theorems and Turing’s halting problem prove to be essential for any critical approach to “algorithmic rationalisation”. Both, however, do not provide unambiguous results, at best they run towards what later became known as “Gödel’s disjunction”. The chosen path here, however, suggests the opposite way, insofar as, on the one hand, the topos of creativity appear constitutive for what can be regarded as cognitive “algorithmic rationalisation” and which encounters systematic difficulties in the evaluation of non-trivial results. On the other hand, the investigations lead to a comparison between the “mediality” of formally generated structures, which have to distinguish between object-and metalanguages, and the “volatile” differentiality of human thought, which calls for syntactically non-simulatable sense structures. (shrink)