Artificial Intelligence and Literary Creativity: Inside the by Selmer Bringsjord

By Selmer Bringsjord

Is human creativity a wall that AI can by no means scale? many of us are chuffed to confess that specialists in lots of domain names should be matched through both knowledge-based or sub-symbolic structures, yet even a few AI researchers harbor the desire that after it involves feats of sheer brilliance, brain over laptop is an unalterable truth. during this publication, the authors push AI towards a time while machines can autonomously write not only humdrum tales of the kind visible for years in AI, yet great fiction considered the province of human genius. It experiences on 5 years of attempt dedicated to development a narrative generator--the BRUTUS.1 process.

This booklet was once written for 3 basic purposes. the 1st theoretical explanation for making an investment time, cash, and ability within the quest for a really inventive laptop is to paintings towards a solution to the query of even if we ourselves are machines. the second one theoretical cause is to silence those that think that good judgment is without end closed off from the emotional international of creativity. the sensible cause for this recreation, and the 3rd cause, is that machines capable of paintings along people in arenas calling for creativity can have incalculable worth.

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Perhaps. The obvious move to make on her behalf is to require that “changing a conceptual space” be even more radical than any of the activity just described. Specifically, the operator should be even more exotic. There are ways, perhaps, of finding the appropriate exotica. Consider again Boden's own mathematical example, the dropping of Euclid's fifth axiom, and the cultivation of consequences therefrom in mathematics and physics. While it's true that the axiom itself can 14In AI any function from percepts to behavior counts as an agent.

Do we have in it our first piece of evidence for the view that human creativity will resist computational science? In her stimulating book on computers and creativity, The Creative Mind: Myths and Mechanisms, Margaret Boden — who has of late devoted much thought to the AI-creativity connection — pronounces Lovelace's argument “too quick and too simple” ([20], p. 6), and she decomposes Lovelace's attack into four questions: Q1 Can computational ideas help us understand how human creativity is possible?

Boden's answers to these questions, and her defense of those answers, constitute her book. Her answers are not ours. 1: Bringsjord/Ferrucci versus Boden on Creativity. Boden Us Q1 Yes. No, not really. Q2 Yes — but a guarded yes. Yes, obviously! Q3 Yes — but a guarded yes. Yes, obviously! Q4 No, probably not. No. 9 Q4, Boden tells us, is actually beside the point, and she relegates discussion of it to the final chapter: For reasons explained in the final chapter, I would probably answer “No” to the fourth question.

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