Assessing creativity: The importance of unexpected novelty - Versionsgeschichte

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== Reference ==
Macedo, L., Cardoso, A.: Assessing creativity: The importance of unexpected novelty. In: Proceedings of the 2nd Workshop on Creative Systems (2002).

== DOI ==

== Abstract ==
In this paper we experimentally study the contribution of theunexpectedness, unpredictability or surprising value of a novel productto its overall creative value. Accordingly, this creative value iscomputed within our approach through the use of a mathematicalfunction that relies on the contribution not only of novelty but also of unexpectedness. Implemented in artificial agents “living” in a multi-agent environment comprising objects such as buildings, this function,called within this context Utility Function, provides agents with amodel of its preferences when evaluating a product, and thus allowingthem to prefer those products that elicit more surprise (elicited byunexpectedness) and curiosity (elicited by novelty andunexpectedness). We performed a series of experimental tests thatinvolved an artificial agent and humans in order to take conclusionsabout the nature of that mathematical function, and also about thecontribution of unexpectedness to it.

== Extended Abstract ==

== Bibtex ==

== Used References ==
D. Berlyne, "Novelty and curiosity as determinants of exploratory behavior",
British Journal of Psychology , 41, 68-80, 1950.

[2]M. Boden, The Creative Mind: Myths and Mechanisms . New York:Basic Books, 1992.

[3]M. Boden, "Creativity and unpredictability", SEHR, 4, 1995.

[4]R. Hamming, "Error Detecting and Error Correcting Codes",
The Bell System Technical Journal, 26, 147-60, 1950.

[5]P. Jackson and S. Messick, "The person, the product, and theresponse:
Conceptual problems in the assessment of creativity", in J.Kagan (Ed.)
Creativity and learning . Boston: Houghton Mifflin,1967, pp. 1-19.

[6]A. Koestler,The act of creation. London: Hutchinson, 1964.

[7]D. Leake, Evaluating explanations. Hillsdale, NJ: LawrenceErlbaum Associates, 1992.

[8]D. Lenat, "The automated scientific theory formation: a case studyusing the AM program", in J. Hayes, D. Mitchie, and L. Milulich(Eds.),
Machine Intelligence, vol. 9. Chichester: Ellis Horwood,1979, pp. 251-183.

[9]T. Lubart, "Creativity", in R. Sternberg (Ed.) Thinking and ProblemSolving. San Diego, CA: Academic Press, 1994.

[10]L. Macedo, "A Model for Creative Problem Solving based onDivergent Production of Solutions",
Proceedings of the 13th European Conference on Artificial Intelligence. New York: JohnWiley & Sons, 1998.

[11]L. Macedo, "Creativity and Surprise", Proceedings of the AISB'01 Symposium on Artificial Intelligience and Creativity in Artsand Science
. York, UK: University of York, 2001, pp. 84-92.

[12]L. Macedo and A. Cardoso, "The Influence of the Size of theEpisodic Memory on the Surprise-value of the Creative Agent'sProducts",
Proceedings of the First Workshop on Creative Systems- International Conference on Case-Based Reasoning
. Washington,DC: Naval Research Laboratory, 2001.

[13]L. Macedo and A. Cardoso, "Modelling Forms of Surprise in anArtificial Agent",
Proceedings of the 23rd Annual Conference of the Cognitive Science Society
. Mahwah, NJ: Erlbaum, 2001, pp.588-593.

[14]L. Macedo and A. Cardoso, "SC-EUNE - Surprise/Curiosity- based Exploration of Uncertain and Unknown Environments.",
Proceedings of the AISB'01 Symposium on Emotion, Cognition and Affective Computing
. York, UK: University of York, 2001, pp. 73-81.

[15]L. Macedo and A. Cardoso, "Using Surprise to Create Productsthat get the Attention of other Agents",
Proceedings of the AAAI Fall Symposium Emotional and Intelligent II: The Tangled Knot of Social Cognition
. Menlo Park, CA: AAAI Press, 2001, pp. 75-84.

[16]D. MacKinnon, "The nature of nurture of creative talent",
American Psychologist, 17, 484-495, 1962.

[17]W. McDougall, An introduction to social psychology. London:Methuen, 1908.

[18]B. Messmer and H. Bunke, "A new algorithm for error-tolerantsubgraph isomorphism detection",
IEEE Transactions on Pattern Analysis and Machine Intelligence, 20, 1998.

[19]W. Meyer, R. Reisenzein, and A. Schützwohl, "Towards a process analysis of emotions: The case of surprise",
Motivation and Emotion, 21, 251-274, 1997.

[20]R. Mooney, "A conceptual model for integrating four approachesto the identification of creative talent", in C. Taylor and F. Barron(Eds.),
Scientific creativity: Its recognition and development. NewYork: Wiley, 1963.

[21]K. Moorman and A. Ram, "A Model of Creative Understanding",
Proceedings of the Twelfth National Conference on Artificial Intelligence. Menlo Park, CA: AAAI Press, 1994.

[22]A. Ortony and D. Partridge, "Surprisingness and ExpectationFailure: What's the Difference?",
Proceedings of the 10tInternational Joint Conference on Artificial Intelligence. Los Altos,CA: Morgan Kaufmann, 1987, pp. 106-8.

[23]M. Peters, "Towards Artificial Forms of Intelligence, Creativity,and Surprise",
Proceedings of the Twentieth Annual Conference of the Cognitive Science Society. Mahwah, NJ: Erlbaum, 1998, pp.836-841.

[24]R. Reisenzein, "Emotional Action Generation", in W. Battmannand S. Dutke (Eds.), Processes of the molar regulation of behavior
.Lengerich: Pabst Science Publishers, 1996.

[25]R. Reisenzein, "A theory of emotions as MetarepresentationalStates of Mind",
Personality and Social Psychology Reviews, 1999.

[26]R. Reisenzein, "The subjective experience of surprise", in H.Bless and J. Forgas (Eds.),
The message within: The role of subjective experience in social cognition and behavior. Philadelphia, PA: Psychology Press, 2000.

[27]G. Ritchie, "Assessing Creativity", Proceedings of the AISB'01Symposium on Artificial Intelligence and Creativity in Arts and Science
. York, UK: University of York, 2001, pp. 3-11.

[28]S. Russel and P. Norvig, Artificial Intelligence - A Modern Approach. Englewood Cliffs, NJ: Prentice Hall, 1995.

[29]R. Saunders and J. Gero, "The digital clockwork muse: acomputational model of aesthetic evolution",
Proceedings of the AISB'01 Symposium on Artificial Intelligience and Creativity in Artsand Science. York, UK: University of York, 2001, pp. 12-21.

[30]R. Schank, Explanation Patterns: Understanding Mechanicalyand Creatively. Hillsdale, NJ: Lawrence Erlbaum Associates, 1986.

[31]G. Shafer and J. Pearl (Eds.), Readings in Uncertain Reasoning. Palo Alto, CA: Morgan Kaufmann, 1990.[32]A. Shand,
The foundations of character. London: Macmillan,1914.[33]R. Sternberg (Ed.) The nature of Creativity. New York:Cambridge University Press, 1988.

[34]M. Williams, "Aesthetics and the explication of surprise", Languages of Design, 3, 145-157, 1996.

== Links ==
=== Full Text ===
http://www.academia.edu/2890723/Assessing_creativity_the_importance_of_unexpected_novelty

[[intern file]]

=== Sonstige Links ===

@@ Zeile 14: / Zeile 14: @@
 == Used References ==
-D. Berlyne, "Novelty and curiosity as determinants of exploratory behavior",
+D. Berlyne, "Novelty and curiosity as determinants of exploratory behavior", British Journal of Psychology , 41, 68-80, 1950.
 [2]M. Boden, The Creative Mind: Myths and Mechanisms . New York:Basic Books, 1992.
@@ Zeile 32: / Zeile 31: @@
 [7]D. Leake, Evaluating explanations. Hillsdale, NJ: LawrenceErlbaum Associates, 1992.
-[8]D. Lenat, "The automated scientific theory formation: a case studyusing the AM program", in J. Hayes, D. Mitchie, and L. Milulich(Eds.),
+[8]D. Lenat, "The automated scientific theory formation: a case studyusing the AM program", in J. Hayes, D. Mitchie, and L. Milulich(Eds.), Machine Intelligence, vol. 9. Chichester: Ellis Horwood,1979, pp. 251-183.
 [9]T. Lubart, "Creativity", in R. Sternberg (Ed.) Thinking and ProblemSolving. San Diego, CA: Academic Press, 1994.
-[10]L. Macedo, "A Model for Creative Problem Solving based onDivergent Production of Solutions",
+[10]L. Macedo, "A Model for Creative Problem Solving based onDivergent Production of Solutions", Proceedings of the 13th European Conference on Artificial Intelligence. New York: JohnWiley & Sons, 1998.
-[11]L. Macedo, "Creativity and Surprise", Proceedings of the AISB'01 Symposium on Artificial Intelligience and Creativity in Artsand Science
+[11]L. Macedo, "Creativity and Surprise", Proceedings of the AISB'01 Symposium on Artificial Intelligience and Creativity in Artsand Science. York, UK: University of York, 2001, pp. 84-92.
-[12]L. Macedo and A. Cardoso, "The Influence of the Size of theEpisodic Memory on the Surprise-value of the Creative Agent'sProducts",
+[12]L. Macedo and A. Cardoso, "The Influence of the Size of theEpisodic Memory on the Surprise-value of the Creative Agent'sProducts", Proceedings of the First Workshop on Creative Systems- International Conference on Case-Based Reasoning. Washington,DC: Naval Research Laboratory, 2001.
-[13]L. Macedo and A. Cardoso, "Modelling Forms of Surprise in anArtificial Agent",
+[13]L. Macedo and A. Cardoso, "Modelling Forms of Surprise in anArtificial Agent", Proceedings of the 23rd Annual Conference of the Cognitive Science Society
 . Mahwah, NJ: Erlbaum, 2001, pp.588-593.
-[14]L. Macedo and A. Cardoso, "SC-EUNE - Surprise/Curiosity- based Exploration of Uncertain and Unknown Environments.",
+[14]L. Macedo and A. Cardoso, "SC-EUNE - Surprise/Curiosity- based Exploration of Uncertain and Unknown Environments.", Proceedings of the AISB'01 Symposium on Emotion, Cognition and  Affective Computing. York, UK: University of York, 2001, pp. 73-81.
-[15]L. Macedo and A. Cardoso, "Using Surprise to Create Productsthat get the Attention of other Agents",
+[15]L. Macedo and A. Cardoso, "Using Surprise to Create Productsthat get the Attention of other Agents", Proceedings of the AAAI  Fall Symposium Emotional and Intelligent II: The Tangled Knot of Social Cognition. Menlo Park, CA: AAAI Press, 2001, pp. 75-84.
-[16]D. MacKinnon, "The nature of nurture of creative talent",
+[16]D. MacKinnon, "The nature of nurture of creative talent", American Psychologist, 17, 484-495, 1962.
 [17]W. McDougall, An introduction to social psychology. London:Methuen, 1908.
-[18]B. Messmer and H. Bunke, "A new algorithm for error-tolerantsubgraph isomorphism detection",
+[18]B. Messmer and H. Bunke, "A new algorithm for error-tolerantsubgraph isomorphism detection", IEEE Transactions on Pattern Analysis and Machine Intelligence, 20, 1998.
-[19]W. Meyer, R. Reisenzein, and A. Schützwohl, "Towards a process analysis of emotions: The case of surprise",
+[19]W. Meyer, R. Reisenzein, and A. Schützwohl, "Towards a process analysis of emotions: The case of surprise", Motivation and  Emotion, 21, 251-274, 1997.
 [20]R. Mooney, "A conceptual model for integrating four approachesto the identification of creative talent", in C. Taylor and F. Barron(Eds.),
 Scientific creativity: Its recognition and development. NewYork: Wiley, 1963.
-[21]K. Moorman and A. Ram, "A Model of Creative Understanding",
+[21]K. Moorman and A. Ram, "A Model of Creative Understanding", Proceedings of the Twelfth National Conference on Artificial  Intelligence. Menlo Park, CA: AAAI Press, 1994.
-[22]A. Ortony and D. Partridge, "Surprisingness and ExpectationFailure: What's the Difference?",
+[22]A. Ortony and D. Partridge, "Surprisingness and ExpectationFailure: What's the Difference?", Proceedings of the 10tInternational Joint Conference on Artificial Intelligence. Los Altos,CA: Morgan Kaufmann, 1987, pp. 106-8.
-[23]M. Peters, "Towards Artificial Forms of Intelligence, Creativity,and Surprise",
+[23]M. Peters, "Towards Artificial Forms of Intelligence, Creativity,and Surprise", Proceedings of the Twentieth Annual Conference of the Cognitive Science Society. Mahwah, NJ: Erlbaum, 1998, pp.836-841.
-[24]R. Reisenzein, "Emotional Action Generation", in W. Battmannand S. Dutke (Eds.), Processes of the molar regulation of behavior
+[24]R. Reisenzein, "Emotional Action Generation", in W. Battmannand S. Dutke (Eds.), Processes of the molar regulation of behavior. Lengerich: Pabst Science Publishers, 1996.
-[25]R. Reisenzein, "A theory of emotions as MetarepresentationalStates of Mind",
+[25]R. Reisenzein, "A theory of emotions as MetarepresentationalStates of Mind", Personality and Social Psychology Reviews, 1999.
 [26]R. Reisenzein, "The subjective experience of surprise", in H.Bless and J. Forgas (Eds.),
 The message within: The role of  subjective experience in social cognition and behavior. Philadelphia, PA: Psychology Press, 2000.
-[27]G. Ritchie, "Assessing Creativity", Proceedings of the AISB'01Symposium on Artificial Intelligence and Creativity in Arts and Science
+[27]G. Ritchie, "Assessing Creativity", Proceedings of the AISB'01Symposium on Artificial Intelligence and Creativity in Arts and Science. York, UK: University of York, 2001, pp. 3-11.
 [28]S. Russel and P. Norvig, Artificial Intelligence - A Modern Approach. Englewood Cliffs, NJ: Prentice Hall, 1995.
-[29]R. Saunders and J. Gero, "The digital clockwork muse: acomputational model of aesthetic evolution",
+[29]R. Saunders and J. Gero, "The digital clockwork muse: acomputational model of aesthetic evolution", Proceedings of the AISB'01 Symposium on Artificial Intelligience and Creativity in Artsand Science. York, UK: University of York, 2001, pp. 12-21.
 [30]R. Schank, Explanation Patterns: Understanding Mechanicalyand Creatively. Hillsdale, NJ: Lawrence Erlbaum Associates, 1986.
@@ Zeile 105: / Zeile 84: @@
 [34]M. Williams, "Aesthetics and the explication of surprise", Languages of Design, 3, 145-157, 1996.
 == Links ==