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		<title>Improbable Creativity - Versionsgeschichte</title>
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		<id>http://de.evo-art.org/index.php?title=Improbable_Creativity&amp;diff=32247&amp;oldid=prev</id>
		<title>Gubachelier am 14. November 2015 um 22:06 Uhr</title>
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				<updated>2015-11-14T22:06:17Z</updated>
		
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				&lt;td colspan=&#039;2&#039; style=&quot;background-color: white; color:black; text-align: center;&quot;&gt;Version vom 14. November 2015, 22:06 Uhr&lt;/td&gt;
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		<author><name>Gubachelier</name></author>	</entry>

	<entry>
		<id>http://de.evo-art.org/index.php?title=Improbable_Creativity&amp;diff=4376&amp;oldid=prev</id>
		<title>Gbachelier: Die Seite wurde neu angelegt: „ == Reference == Alan Dorin; Korb, Kevin B.: Improbable Creativity. In: Dagstuhl Seminar 09291 2009: Computational Creativity: An Interdisciplinary A…“</title>
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				<updated>2015-02-02T14:16:54Z</updated>
		
		<summary type="html">&lt;p&gt;Die Seite wurde neu angelegt: „ == Reference == &lt;a href=&quot;/index.php?title=Alan_Dorin&amp;amp;action=edit&amp;amp;redlink=1&quot; class=&quot;new&quot; title=&quot;Alan Dorin (Seite nicht vorhanden)&quot;&gt;Alan Dorin&lt;/a&gt;; Korb, Kevin B.: &lt;a href=&quot;/index.php?title=Improbable_Creativity&quot; title=&quot;Improbable Creativity&quot;&gt;Improbable Creativity&lt;/a&gt;. In: Dagstuhl Seminar 09291 2009: Computational Creativity: An Interdisciplinary A…“&lt;/p&gt;
&lt;p&gt;&lt;b&gt;Neue Seite&lt;/b&gt;&lt;/p&gt;&lt;div&gt;&lt;br /&gt;
== Reference ==&lt;br /&gt;
[[Alan Dorin]]; Korb, Kevin B.: [[Improbable Creativity]]. In: [[Dagstuhl Seminar 09291 2009: Computational Creativity: An Interdisciplinary Approach]]. &lt;br /&gt;
&lt;br /&gt;
== DOI ==&lt;br /&gt;
&lt;br /&gt;
== Abstract ==&lt;br /&gt;
We begin with a number of basic facts about creativity and a brief history of the idea. These provide criteria that any definition of the term should meet and help guide us to a new definition of creativity. This definition is independent of cultural appropriateness or the perceived value of creative objects, ideas which have encumbered previous investigations. We briefly defend our definition against some plausible objections and then explore the ways in which this new definition differs from alternative views, by improving upon them. &lt;br /&gt;
&lt;br /&gt;
== Extended Abstract ==&lt;br /&gt;
&lt;br /&gt;
== Bibtex == &lt;br /&gt;
 @InProceedings{dorin_et_al:DSP:2009:2214,&lt;br /&gt;
  author =	{Alan Dorin and Kevin B Korb},&lt;br /&gt;
  title =	{Improbable Creativity},&lt;br /&gt;
  booktitle =	{Computational Creativity: An Interdisciplinary Approach},&lt;br /&gt;
  year = 	{2009},&lt;br /&gt;
  editor =	{Margaret Boden and Mark D&amp;#039;Inverno and Jon McCormack},&lt;br /&gt;
  number =	{09291},&lt;br /&gt;
  series =	{Dagstuhl Seminar Proceedings},&lt;br /&gt;
  ISSN = 	{1862-4405},&lt;br /&gt;
  publisher =	{Schloss Dagstuhl - Leibniz-Zentrum fuer Informatik, Germany},&lt;br /&gt;
  address =	{Dagstuhl, Germany},&lt;br /&gt;
  URL =		{http://drops.dagstuhl.de/opus/volltexte/2009/2214},&lt;br /&gt;
  annote =	{Keywords: Creativity, mechanism, novelty, complexity, representation.}&lt;br /&gt;
 }&lt;br /&gt;
&lt;br /&gt;
== Used References ==&lt;br /&gt;
Albert, R. S. and M. A. Runco (1999). A history of research on creativity. In R. J. Sternberg&lt;br /&gt;
(Ed.), Handbook of creativity, pp. 16–31. Cambridge University.&lt;br /&gt;
&lt;br /&gt;
Bentley, P. (2002). Is evolution creative? In P. J. Bentley and D. W. Corne (Eds.), Creative&lt;br /&gt;
evolutionary systems, pp. 28–34. London: Academic Press.&lt;br /&gt;
&lt;br /&gt;
Boden, M. (1999). Computer models of creativity. In R. J. Sternberg (Ed.), Handbook of&lt;br /&gt;
creativity, pp. 351–372. Cambridge University.&lt;br /&gt;
&lt;br /&gt;
Boden, M. (2004). The creative mind: Myths and mechanisms (2nd ed.). London: Routledge.&lt;br /&gt;
Chamberlain, W. (2007). Getting a computer to write about itself.&lt;br /&gt;
http://www.atariarchives.org/deli/write_about_itself.php Accessed 28 June, 2009.&lt;br /&gt;
&lt;br /&gt;
Cohen, H. (2002). A self-defining game for one player: On the nature of creativity and the&lt;br /&gt;
possibility of creative computer programs. In Loughborough Conference on Cognition and&lt;br /&gt;
Creativity, Volume 35, pp. 59–64.&lt;br /&gt;
&lt;br /&gt;
Colton, S. (2001). Automated theory formation in pure mathematics. Ph. D. thesis, University&lt;br /&gt;
of Edinburgh, Division of Informatics.&lt;br /&gt;
&lt;br /&gt;
Cope, D. (1996). Experiments in musical intelligence. Madison, Wisconsin: A-R Editions.&lt;br /&gt;
&lt;br /&gt;
Csikszentmihalyi, M. (1999a). Creativity. In R. Wilson and F. Keil (Eds.), Encyclopedia of the&lt;br /&gt;
cognitive sciences, pp. 205–206. MIT Press.&lt;br /&gt;
&lt;br /&gt;
Csikszentmihalyi, M. (1999b). Implications of a systems perspective for the study of creativity.&lt;br /&gt;
In R. Sternberg (Ed.), Handbook of creativity, pp. 313–335. Cambridge University.&lt;br /&gt;
&lt;br /&gt;
Descartes, R. (1637/2006). A discourse on method. Oxford: Oxford University.&lt;br /&gt;
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Earnshaw, C. (1991). Mozart’s dice waltz.&lt;br /&gt;
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http://tamw.atari-users.net/mozart.htm. Accessed 28 June, 2009.&lt;br /&gt;
&lt;br /&gt;
Hofstadter, D. (1995). Fluid concepts and creative analogies: Computer models of the&lt;br /&gt;
fundamental mechanisms of thought. Basic Books.&lt;br /&gt;
&lt;br /&gt;
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Psychological Society 40, 121–129.&lt;br /&gt;
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Korb, K. (1991). Searle’s AI program. Journal of Experimental and Theoretical AI 3, 283–296.&lt;br /&gt;
&lt;br /&gt;
Langley, P., H. Simon, G. Bradshaw, and J. Zytkow (1987). Scientific discovery: Computational&lt;br /&gt;
explorations of the creative process. Cambridge, Mass.: MIT Press.&lt;br /&gt;
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Artificial Intelligence 21, 61–98.&lt;br /&gt;
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Cambridge University.&lt;br /&gt;
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Research Report, University of Edinburg.&lt;br /&gt;
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Review 7, 43–70.&lt;br /&gt;
&lt;br /&gt;
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http://univ.gda.pl/ ̃literat/srbwski/, Accessed 8 April 2009.&lt;br /&gt;
&lt;br /&gt;
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F. Brazier (Eds.), Agents in design 2002, pp. 133–149. University of Sydney.&lt;br /&gt;
&lt;br /&gt;
Schmidhuber, J. (2008). Driven by compression progress: A simple principle explains essential&lt;br /&gt;
aspects of subjective beauty, novelty, surprise, interestingness, attention, curiosity, creativity,&lt;br /&gt;
art, science, music, jokes. http://eprintweb.org/S/authors/All/sc/Schmidhuber.&lt;br /&gt;
&lt;br /&gt;
Searle, J. (1980). Minds, brains and programs. The Behavioral and Brain Sciences 3, 417–424.&lt;br /&gt;
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&lt;br /&gt;
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Scientific Publisher.&lt;br /&gt;
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van Gulick, R. (1980). Functionalism, information and content. Nature and System 2, 139–162.&lt;br /&gt;
&lt;br /&gt;
Vasari, G. (1568/1965). The lives of the artists. Penguin. Translated by George Bull.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Links ==&lt;br /&gt;
=== Full Text === &lt;br /&gt;
http://drops.dagstuhl.de/opus/volltexte/2009/2214/pdf/09291.DorinAlan.Other.2214.pdf&lt;br /&gt;
&lt;br /&gt;
[[intern file]]&lt;br /&gt;
&lt;br /&gt;
=== Sonstige Links ===&lt;br /&gt;
http://drops.dagstuhl.de/opus/frontdoor.php?source_opus=2214&lt;/div&gt;</summary>
		<author><name>Gbachelier</name></author>	</entry>

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