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== Reference == | == Reference == | ||
− | Gabora, L., [[Steve DiPaola]]: [[How Did Humans Become So Creative? A Computational Approach]]. In: | + | Gabora, L., [[Steve DiPaola]]: [[How Did Humans Become So Creative? A Computational Approach]]. In: [[Computational Creativity 2012 ICCC 2012]], 203-210. |
== DOI == | == DOI == | ||
Zeile 33: | Zeile 33: | ||
== Bibtex == | == Bibtex == | ||
+ | @inproceedings{ | ||
+ | author = {Liane Gabora, Steve DiPaola}, | ||
+ | title = {How Did Humans Become So Creative? A Computational Approach}, | ||
+ | editor = {Mary Lou Maher, Kristian Hammond, Alison Pease, Rafael Pérez y Pérez, Dan Ventura and Geraint Wiggins}, | ||
+ | booktitle = {Proceedings of the Third International Conference on Computational Creativity}, | ||
+ | series = {ICCC2012}, | ||
+ | year = {2012}, | ||
+ | month = {May}, | ||
+ | location = {Dublin, Ireland}, | ||
+ | pages = {203-210}, | ||
+ | url = {http://computationalcreativity.net/iccc2012/wp-content/uploads/2012/05/203-Gabora.pdf, http://de.evo-art.org/index.php?title=How_Did_Humans_Become_So_Creative%3F_A_Computational_Approach }, | ||
+ | publisher = {International Association for Computational Creativity}, | ||
+ | keywords = {computational, creativity}, | ||
+ | } | ||
== Used References == | == Used References == | ||
Zeile 38: | Zeile 52: | ||
Adapted Mind: Evolutionary Psychology and the Genera- | Adapted Mind: Evolutionary Psychology and the Genera- | ||
tion of Culture. New York: Oxford University Press. | tion of Culture. New York: Oxford University Press. | ||
+ | |||
Bentley, P., D. Corne D., Eds. 2002. Creative Evolutionary | Bentley, P., D. Corne D., Eds. 2002. Creative Evolutionary | ||
Systems, Morgan Kaufmann, San Francisco. | Systems, Morgan Kaufmann, San Francisco. | ||
+ | |||
Bentley, R. A., Ormerod, P., & Batty, M. 2011. Evolving | Bentley, R. A., Ormerod, P., & Batty, M. 2011. Evolving | ||
social influence in large populations. Behavioral Ecology | social influence in large populations. Behavioral Ecology | ||
and Sociobiology, 65:537–546. | and Sociobiology, 65:537–546. | ||
+ | |||
Boden, M. 2003. The Creative Mind: Myths and Mecha- | Boden, M. 2003. The Creative Mind: Myths and Mecha- | ||
nisms (second edition). Routledge. | nisms (second edition). Routledge. | ||
+ | |||
Brown, J. 2009. Looking at Darwin: portraits and the mak- | Brown, J. 2009. Looking at Darwin: portraits and the mak- | ||
ing of an icon. Isis. Sept, 100(3):542–70. | ing of an icon. Isis. Sept, 100(3):542–70. | ||
+ | |||
Buller, D. J. 2005. Adapting minds. MIT Press. | Buller, D. J. 2005. Adapting minds. MIT Press. | ||
+ | |||
Buss, D. M. 19992004. Evolutionary Psychology: The | Buss, D. M. 19992004. Evolutionary Psychology: The | ||
new science of the mind. Boston, MA: Pearson. | new science of the mind. Boston, MA: Pearson. | ||
+ | |||
Byrne, R., & Russon, A. 1998. Learning by imitation: A | Byrne, R., & Russon, A. 1998. Learning by imitation: A | ||
hierarchical approach. Behav Brain Sciences, 2:667–721. | hierarchical approach. Behav Brain Sciences, 2:667–721. | ||
+ | |||
Cavalli-Sforza, L. L., & Feldman, M. W. 1981. Cultural | Cavalli-Sforza, L. L., & Feldman, M. W. 1981. Cultural | ||
Transmission and Evolution: A Quantitative Approach. | Transmission and Evolution: A Quantitative Approach. | ||
Zeile 64: | Zeile 86: | ||
Conf (pp. 2442–2449), July 7-11, Univ College London. | Conf (pp. 2442–2449), July 7-11, Univ College London. | ||
− | ... | + | DiPaola S, 2009. ―Exploring a Parameterized Portrait |
+ | Painting Space”, International Journal of Art and Tech- | ||
+ | nology, 2(1-2):82–93. | ||
+ | |||
+ | DiPaola, S. & Gabora, L. 2009. Incorporating characteris- | ||
+ | tics of human creativity into an evolutionary art algorithm. | ||
+ | Genet Prog and Evolvable Machines, 10(2):97–110. | ||
+ | |||
+ | Donald, M. 1991. Origins of the Modern Mind: Three | ||
+ | Stages in the Evolution of Culture and Cognition. Cam- | ||
+ | bridge, MA: Harvard University Press. | ||
+ | |||
+ | Dugatkin, L. 2001. A. Imitation Factor: Imitation in Ani- | ||
+ | mals and the Origin of Human Culture. Free Press. | ||
+ | |||
+ | Gabora, L. 1995. Meme and Variations: A computer model | ||
+ | of cultural evolution. In L. Nadel & D. Stein (Eds.) 1993 | ||
+ | Lectures in Complex Systems. Addison-Wesley, 471−486. | ||
+ | |||
+ | Gabora, L. 1996. A day in the life of a meme. Philosophi- | ||
+ | ca, 57:901–938. | ||
+ | |||
+ | Gabora, L. 1999. Conceptual closure: Weaving memories | ||
+ | into an interconnected worldview. In (G. Van de Vijver & | ||
+ | J. Chandler, Eds.) Proc Closure: Intl Conf Emergent Or- | ||
+ | ganizations and Dynamics. May 3-5, Univ Gent, Belgium. | ||
+ | |||
+ | Gabora, L. 2008a. EVOC: A computer model of cultural | ||
+ | evolution. In V. Sloutsky, B. Love & K. McRae (Eds.), | ||
+ | Proc Ann Mtng Cog Sci Soc, Sheridan Publ, 1466–1471. | ||
+ | |||
+ | Gabora, L. Modeling cultural dynamics. 2008b. In Pro- | ||
+ | ceedings of the Association for the Advancement of Artifi- | ||
+ | cial Intelligence (AAAI) Fall Symposium 1: Adaptive | ||
+ | Agents in a Cultural Context, AAAI Press, 18–25. | ||
+ | |||
+ | Gabora, L. & Aerts, D. 2009. A mathematical model of the | ||
+ | emergence of an integrated worldview. Journal of Mathe- | ||
+ | matical Psychology, 53:434-451. | ||
+ | |||
+ | Gabora, L. & Leijnen, S. 2009. How creative should crea- | ||
+ | tors be to optimize the evolution of ideas? A computational | ||
+ | model. Electronic Proc Theor Comp Sci, 9:108–119. | ||
+ | |||
+ | Gabora, L. & Saberi, M. 2011. How did human creativity | ||
+ | arise? An agent-based model of the origin of cumulative | ||
+ | open-ended cultural evolution. Proceedings:ACM Confer- | ||
+ | ence on Cognition & Creativity, 299-306. Atlanta, GA. | ||
+ | |||
+ | Hartley, J. 2009. From cultural studies to cultural science. | ||
+ | Cultural Science, 2:1–16. | ||
+ | |||
+ | Higgs, P. 2000. The mimetic transition: a simulation study | ||
+ | of the evolution of learning by imitation. Proceedings: | ||
+ | Royal Society B: Biological Sciences, 267:1355–1361. | ||
+ | |||
+ | Heyes, C. M. 1998. Theory of mind in nonhuman primates. | ||
+ | Behavioral and Brain Sciences, 211:104–134. | ||
+ | |||
+ | Hinton, G. E. & Nowlan, S. J. 1987. How learning can | ||
+ | guide evolution. Complex Systems, 1:495–502. | ||
+ | |||
+ | Holland, J. K. 1975. Adaptation in Natural and Artificial | ||
+ | Systems. Ann Arbor, MI: University of Michigan Press. | ||
+ | |||
+ | Hutchins, E. & Hazelhurst, B. 1991. Learning in the cul- | ||
+ | tural process. In Langton, C., Taylor, J., Farmer, D., | ||
+ | &Rasmussen, S. (Eds.) Artificial Life II. Redwood City, | ||
+ | CA: Addison-Wesley. | ||
+ | |||
+ | Jennings, K. E. 2010. Developing creativity: Artificial bar- | ||
+ | riers in artificial intelligence. Minds and Machines, 1–13. | ||
+ | |||
+ | Kirby, S. 2001. Spontaneous evolution of linguistic Struc- | ||
+ | ture—An iterated learning model of the emergence of | ||
+ | regularity and irregularity. IEEE Transactions on Evolu- | ||
+ | tionary Computation, 5(2):102–110. | ||
+ | |||
+ | Koza, J, 1993. Genetic Programming, MIT Press. | ||
+ | |||
+ | Leijnen, S. & Gabora, L. 2010. An agent-based simulation | ||
+ | of the effectiveness of creative leadership. Proc Ann Mtng | ||
+ | Cog Sci Soc 955–960. Aug 11-14, Portland, OR. | ||
+ | |||
+ | Mesoudi, A., Whiten, A., & Laland, K. 2006. Toward a | ||
+ | unified science of cultural evolution. Behavioral and Brain | ||
+ | Sciences, 29:329–383. | ||
+ | |||
+ | Miller, J. 2011. Cartesian Genetic Programming, Springer. | ||
+ | |||
+ | Mithen, S. Ed. 1998. Creativity in Human Evolution and | ||
+ | Prehistory. London, UK: Routledge. | ||
+ | |||
+ | Padian, K. 2008. Darwin's Enduring Legacy, Nature, | ||
+ | 451:632–634. | ||
+ | |||
+ | Pease, A. and Colton, S. 2011. On Impact and Evaluation | ||
+ | in Computational Creativity: A Discussion of the Turing | ||
+ | Test and an Alternative Proposal. In Proceedings of the | ||
+ | AISB symposium on AI and Philosophy. | ||
+ | |||
+ | Ritchie, G. 2007. Some empirical criteria for attributing | ||
+ | creativity to a computer program. Minds and Machines 17. | ||
+ | |||
+ | Colton, S., Pease, A, Charnley. J. 2011 Computational cre- | ||
+ | ativity theory: The FACE and IDEA descriptive models. In | ||
+ | 2nd Int Conference on Computational Creativity. | ||
+ | |||
+ | Ruff, C., Trinkaus, E., & Holliday, T. 1997. Body mass | ||
+ | and encephalization in Pleistocene Homo. Nature, | ||
+ | 387:173–176. | ||
+ | |||
+ | Tomasello, M., Kruger, A., Ratner, H. 1993. Cultural | ||
+ | learning. Behavioral and Brain Sciences, 16:495–552. | ||
+ | |||
+ | Wexler, B. 2006. Brain and Culture: Neurobiology, Ideol- | ||
+ | ogy and Social Change. New York: Bradford Books. | ||
+ | |||
+ | Whiten, A., Hinde, R., Laland, K., Stringer, C. 2011. Cul- | ||
+ | ture evolves. 2011. Philosophical Transactions of the Roy- | ||
+ | al Society B, 366:938–948. | ||
+ | |||
+ | Wiggins, G. 2006. A preliminary framework for descrip- | ||
+ | tion, analysis and comparison of creative systems. | ||
+ | Knowledge-Based Systems 19(7):449-458. | ||
== Links == | == Links == | ||
=== Full Text === | === Full Text === | ||
+ | http://computationalcreativity.net/iccc2012/wp-content/uploads/2012/05/203-Gabora.pdf | ||
+ | |||
http://ivizlab.sfu.ca/papers/iccc2012.pdf | http://ivizlab.sfu.ca/papers/iccc2012.pdf | ||
Aktuelle Version vom 13. November 2015, 15:19 Uhr
Inhaltsverzeichnis
Reference
Gabora, L., Steve DiPaola: How Did Humans Become So Creative? A Computational Approach. In: Computational Creativity 2012 ICCC 2012, 203-210.
DOI
Abstract
This paper summarizes efforts to computationally mod- el two transitions in the evolution of human creativity: its origins about two million years ago, and the ̳big bang‘ of creativity about 50,000 years ago. Using a computational model of cultural evolution in which neural network based agents evolve ideas for actions through invention and imitation, we tested the hypothe- sis that human creativity began with onset of the capaci- ty for recursive recall. We compared runs in which agents were limited to single-step actions to runs in which they used recursive recall to chain simple actions into complex ones. Chaining resulted in higher diversi- ty, open-ended novelty, no ceiling on the mean fitness of actions, and greater ability to make use of learning. Using a computational model of portrait painting, we tested the hypothesis that the explosion of creativity in the Middle/Upper Paleolithic was due to onset of con- textual focus: the capacity to shift between associative and analytic thought. This resulted in faster conver- gence on portraits that resembled the sitter, employed painterly techniques, and were rated as preferable. We conclude that recursive recall and contextual focus pro- vide a computationally plausible explanation of how humans evolved the means to transform this planet.
Extended Abstract
Bibtex
@inproceedings{ author = {Liane Gabora, Steve DiPaola}, title = {How Did Humans Become So Creative? A Computational Approach}, editor = {Mary Lou Maher, Kristian Hammond, Alison Pease, Rafael Pérez y Pérez, Dan Ventura and Geraint Wiggins}, booktitle = {Proceedings of the Third International Conference on Computational Creativity}, series = {ICCC2012}, year = {2012}, month = {May}, location = {Dublin, Ireland}, pages = {203-210}, url = {http://computationalcreativity.net/iccc2012/wp-content/uploads/2012/05/203-Gabora.pdf, http://de.evo-art.org/index.php?title=How_Did_Humans_Become_So_Creative%3F_A_Computational_Approach }, publisher = {International Association for Computational Creativity}, keywords = {computational, creativity}, }
Used References
Barkow, J. H., Cosmides, L., & Tooby, J., Eds. 1992. The Adapted Mind: Evolutionary Psychology and the Genera- tion of Culture. New York: Oxford University Press.
Bentley, P., D. Corne D., Eds. 2002. Creative Evolutionary Systems, Morgan Kaufmann, San Francisco.
Bentley, R. A., Ormerod, P., & Batty, M. 2011. Evolving social influence in large populations. Behavioral Ecology and Sociobiology, 65:537–546.
Boden, M. 2003. The Creative Mind: Myths and Mecha- nisms (second edition). Routledge.
Brown, J. 2009. Looking at Darwin: portraits and the mak- ing of an icon. Isis. Sept, 100(3):542–70.
Buller, D. J. 2005. Adapting minds. MIT Press.
Buss, D. M. 19992004. Evolutionary Psychology: The new science of the mind. Boston, MA: Pearson.
Byrne, R., & Russon, A. 1998. Learning by imitation: A hierarchical approach. Behav Brain Sciences, 2:667–721.
Cavalli-Sforza, L. L., & Feldman, M. W. 1981. Cultural Transmission and Evolution: A Quantitative Approach. Princeton: Princeton University Press.
Cloak, F. T. Jr. 1975. Is a cultural ethology possible? Hu- man Ecology, 3:161–182.
DiPaola, S. & Gabora, L. 2007. Incorporating characteris- tics of human creativity into an evolutionary art algorithm. In (D. Thierens, Ed.), Proc Genetic and Evol Computing Conf (pp. 2442–2449), July 7-11, Univ College London.
DiPaola S, 2009. ―Exploring a Parameterized Portrait Painting Space”, International Journal of Art and Tech- nology, 2(1-2):82–93.
DiPaola, S. & Gabora, L. 2009. Incorporating characteris- tics of human creativity into an evolutionary art algorithm. Genet Prog and Evolvable Machines, 10(2):97–110.
Donald, M. 1991. Origins of the Modern Mind: Three Stages in the Evolution of Culture and Cognition. Cam- bridge, MA: Harvard University Press.
Dugatkin, L. 2001. A. Imitation Factor: Imitation in Ani- mals and the Origin of Human Culture. Free Press.
Gabora, L. 1995. Meme and Variations: A computer model of cultural evolution. In L. Nadel & D. Stein (Eds.) 1993 Lectures in Complex Systems. Addison-Wesley, 471−486.
Gabora, L. 1996. A day in the life of a meme. Philosophi- ca, 57:901–938.
Gabora, L. 1999. Conceptual closure: Weaving memories into an interconnected worldview. In (G. Van de Vijver & J. Chandler, Eds.) Proc Closure: Intl Conf Emergent Or- ganizations and Dynamics. May 3-5, Univ Gent, Belgium.
Gabora, L. 2008a. EVOC: A computer model of cultural evolution. In V. Sloutsky, B. Love & K. McRae (Eds.), Proc Ann Mtng Cog Sci Soc, Sheridan Publ, 1466–1471.
Gabora, L. Modeling cultural dynamics. 2008b. In Pro- ceedings of the Association for the Advancement of Artifi- cial Intelligence (AAAI) Fall Symposium 1: Adaptive Agents in a Cultural Context, AAAI Press, 18–25.
Gabora, L. & Aerts, D. 2009. A mathematical model of the emergence of an integrated worldview. Journal of Mathe- matical Psychology, 53:434-451.
Gabora, L. & Leijnen, S. 2009. How creative should crea- tors be to optimize the evolution of ideas? A computational model. Electronic Proc Theor Comp Sci, 9:108–119.
Gabora, L. & Saberi, M. 2011. How did human creativity arise? An agent-based model of the origin of cumulative open-ended cultural evolution. Proceedings:ACM Confer- ence on Cognition & Creativity, 299-306. Atlanta, GA.
Hartley, J. 2009. From cultural studies to cultural science. Cultural Science, 2:1–16.
Higgs, P. 2000. The mimetic transition: a simulation study of the evolution of learning by imitation. Proceedings: Royal Society B: Biological Sciences, 267:1355–1361.
Heyes, C. M. 1998. Theory of mind in nonhuman primates. Behavioral and Brain Sciences, 211:104–134.
Hinton, G. E. & Nowlan, S. J. 1987. How learning can guide evolution. Complex Systems, 1:495–502.
Holland, J. K. 1975. Adaptation in Natural and Artificial Systems. Ann Arbor, MI: University of Michigan Press.
Hutchins, E. & Hazelhurst, B. 1991. Learning in the cul- tural process. In Langton, C., Taylor, J., Farmer, D., &Rasmussen, S. (Eds.) Artificial Life II. Redwood City, CA: Addison-Wesley.
Jennings, K. E. 2010. Developing creativity: Artificial bar- riers in artificial intelligence. Minds and Machines, 1–13.
Kirby, S. 2001. Spontaneous evolution of linguistic Struc- ture—An iterated learning model of the emergence of regularity and irregularity. IEEE Transactions on Evolu- tionary Computation, 5(2):102–110.
Koza, J, 1993. Genetic Programming, MIT Press.
Leijnen, S. & Gabora, L. 2010. An agent-based simulation of the effectiveness of creative leadership. Proc Ann Mtng Cog Sci Soc 955–960. Aug 11-14, Portland, OR.
Mesoudi, A., Whiten, A., & Laland, K. 2006. Toward a unified science of cultural evolution. Behavioral and Brain Sciences, 29:329–383.
Miller, J. 2011. Cartesian Genetic Programming, Springer.
Mithen, S. Ed. 1998. Creativity in Human Evolution and Prehistory. London, UK: Routledge.
Padian, K. 2008. Darwin's Enduring Legacy, Nature, 451:632–634.
Pease, A. and Colton, S. 2011. On Impact and Evaluation in Computational Creativity: A Discussion of the Turing Test and an Alternative Proposal. In Proceedings of the AISB symposium on AI and Philosophy.
Ritchie, G. 2007. Some empirical criteria for attributing creativity to a computer program. Minds and Machines 17.
Colton, S., Pease, A, Charnley. J. 2011 Computational cre- ativity theory: The FACE and IDEA descriptive models. In 2nd Int Conference on Computational Creativity.
Ruff, C., Trinkaus, E., & Holliday, T. 1997. Body mass and encephalization in Pleistocene Homo. Nature, 387:173–176.
Tomasello, M., Kruger, A., Ratner, H. 1993. Cultural learning. Behavioral and Brain Sciences, 16:495–552.
Wexler, B. 2006. Brain and Culture: Neurobiology, Ideol- ogy and Social Change. New York: Bradford Books.
Whiten, A., Hinde, R., Laland, K., Stringer, C. 2011. Cul- ture evolves. 2011. Philosophical Transactions of the Roy- al Society B, 366:938–948.
Wiggins, G. 2006. A preliminary framework for descrip- tion, analysis and comparison of creative systems. Knowledge-Based Systems 19(7):449-458.
Links
Full Text
http://computationalcreativity.net/iccc2012/wp-content/uploads/2012/05/203-Gabora.pdf
http://ivizlab.sfu.ca/papers/iccc2012.pdf
Sonstige Links
http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.388.5479