We investigate the performance of non-expert judges in using leading computational poetry evaluation metrics to evaluate poetry written by humans. We find that regardless of the model used, non-expert judges are very poor at using metrics to evaluate creativity, even displaying the reverse of the desired rating pattern, preferring novice poetry to professional poetry. We discuss likely reasons ...

Creativity is the hallmark of human cognition and is behind every innovation, scientific discovery, piece of music, artwork, and idea that have shaped our lives, from ancient times till today. Yet scientific understanding of creative processes is quite limited, mostly due to the traditional belief that considers creativity as a mysterious puzzle, a paradox, defying empirical enquiry. Recently, ...

Creativity cannot exist in a vacuum; it develops through feedback, learning, reflection and social interaction with others. However, this perspective has been relatively under-investigated in computational creativity research, which typically examines systems that operate individually. We develop a thought experiment showing how structured dialogues can help develop the creative aspects of comp...

Among the central ideas associated with the name of Winnicott, scant mention is made of motility. This is largely attributable to Winnicott himself, who never thematized motility and never wrote a paper specifically devoted to the topic. This paper suggests both that the idea of motility is nonetheless of central significance in Winnicott's thought, and that motility is of central importance in...

Creativity is thought to require the flexible reconfiguration of multiple brain regions that interact in transient and complex communication patterns. In contrast to prior emphases on searching for specific regions or networks associated with creative performance, we focused on exploring the association between the reconfiguration of dynamic functional connectivity states and creative ability. ...

Humans are the ultimate judges on how creative is an artifact. In order to be creative, most researchers agree that an artifact has to be at least new and valuable. However, metrics to evaluate novelty and value are often craft for individual studies. Even within the same domain, these metrics commonly differ. Although this variety of metrics extends the spectrum of alternatives to assess creat...

The purpose of this study is to identify creative measures for information systems development. Content analysis was used as a methodology ,for analyzing key attributes to distinguish between creative and less creative IS applications. Twenty descriptions of information systems and the development process, published in Information d Management -an international academic journal -served as the s...

In this diary investigation, over 2 weeks we monitored the intensity of selfie posting among 292 Facebook users (60% females), aged between 18 and 50, to estimate the extent of selfying's day-to-day variability and its predictors. The obtained effect was large; 64% of the variability in selfying was located within rather than between individuals. Day-to-day changes in creative activity explaine...

This paper empirically examines a variety of instructional strategies as impetus for creative thinking and achievement in a graduate-level university course. This empiricism considers students’ opinions about the strategies used and the resulting effect of the class more holistically. Results indicate that reading the textbook and writing bi-weekly reflection journals were the most valued strat...

A recent definition of computational creativity has emphasised that computational creativity systems should “take on certain responsibilities” for generating creative behaviour. This paper examines the notion of responsibilities in that definition, and looks at a number of aspects of the creative act and its context that might play a role in that responsibility, with an emphasis on artistic and...