Computational creativity research has produced many computational systems that are described as creative. A comprehensive literature survey reveals that although such systems are labelled as creative, there is a distinct lack of evaluation of the creativity of creative systems. As a research community, we should adopt a more scientific approach to evaluation of the creativity of our systems if ...

We introduce two descriptive models for evaluating creative software; the FACE model, which describes creative acts performed by software in terms of tuples of generative acts, and the IDEA model, which describes how such creative acts can have an impact upon an audience. We show how these models have been inspired both by ideas in the psychology of creativity and by an analysis of acts of huma...

In this article the authors argue that a new category of creativity, called “mini-c” creativity, is needed to advance creativity theory and research. Mini-c creativity differs from little-c (everyday) or Big-C (eminent) creativity as it refers to the creative processes involved in the construction of personal knowledge and understanding. The authors discuss how the category of mini-c creativity...

This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the ...

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Introduction With the exception of research carried out by Bamberger (1977, 1978, 1991), studies of the music composition process have used predominantly positivistic approaches, in experimental, laboratory, non real-world scenarios for data collection. The aim of this paper is to describe the cognitive processes, in real-time, of a composer in the act of writing music by assuming an alternativ...

The computational creativity community (rightfully) takes a dim view of supposedly creative systems that operate by mere generation. However, what exactly this means has never been adequately defined, and therefore the idea of requiring systems to exceed this standard is problematic. Here, we revisit the question of mere generation and attempt to qualitatively identify what constitutes exceedin...

In this paper I discuss reasons for viewing human creativity more as a social process than as an individual act. These reasons include the subjectivity of evaluation in attributing creativity, the potentially arbitrary relationship between individuals and creativity at the cultural level, the importance of the capacity for preserving cultural information over and above the capacity to innovate,...