Creatividad computacional
DOI:
https://doi.org/10.3989/arbor.2013.764n6005Palabras clave:
Inteligencia Artificial, Creatividad ComputacionalResumen
Las nuevas tecnologías y en particular la Inteligencia Artificial están cambiando de forma importante la naturaleza del proceso creativo. Los ordenadores están jugando un papel muy significativo en actividades artísticas tales como la música, la arquitectura, las bellas artes y la ciencia. Efectivamente, el ordenador ya es el lienzo, el pincel, el instrumento musical, etc. Sin embargo creemos que debemos aspirar a relaciones más ambiciosas entre los ordenadores y la creatividad. En lugar de verlos solamente como herramientas de ayuda a la creación, los ordenadores podrían ser considerados agentes creativos. Este punto de vista ha dado lugar a un nuevo subcampo de la Inteligencia Artificial denominado Creatividad Computacional. En este artículo abordamos la cuestión de la posibilidad de alcanzar dicha creatividad computacional mediante algunos ejemplos de programas de ordenador capaces de replicar algunos aspectos relacionados con el comportamiento creativo en los ámbitos de la música y la ciencia.
Descargas
Citas
Arcos, J. L.; López de Mántaras, R. (2001). "An Interactive Case-Based Reasoning Approach for Generating Expressive Music". Applied Intelligence, 14 (1), pp. 115-129. http://dx.doi.org/10.1023/A:1008311209823
Arcos, J. L.; López de Mántaras, R.; Serra, X. (1998). "Saxex: A Case-Based Reasoning System for Generating Expressive Musical Performances. Journal of New Music Research, 27 (3), pp. 194-210. http://dx.doi.org/10.1080/09298219808570746
Bentley, P. J.; Corne, D.W. (eds.) (2002). Creative Evolutionary Systems. Morgan Kaufmann.
Bharucha, J. (1993). MUSACT: "A connectionist model of musical harmony". In S. M. Schwanauer and D.A. Levitt (eds.), Machine Models of Music (pp. 497-509). Cambridge, Mass.: The MIT Press.
Biles, J. A. (1994). "GenJam: A genetic algorithm for generating Jazz solos". In Proceedings of the 1994 International Computer Music Conference. San Francisco, Calif., International Computer Music Association.
Boden, M. (1991). The Creative Mind: Myths and Mechanisms. New York: Basic Books.
Boden, M. (ed.) (1994). Dimensions of Creativity. Cambridge, Mass.: The MIT Press.
Boden, M. (2009). "Computers Models of Creativity". AI Magazine, 30 (3), pp. 23-34. Bresin, R. (1998). "Artificial neural networks based models for automatic performance of musical scores". Journal of New Music Research, 27 (3), pp. 239-270. http://dx.doi.org/10.1080/09298219808570748
Bresin, R. (2001). "Articulation rules for automatic music performance". In Proceedings of the 2001 International Computer Music Conference. San Francisco, Calif.: International Computer Music Association.
Buchanan, B. G. (2001). "Creativity at the Metalevel: AAAI-2000 Presidential Address". AI Magazine, 22 (3), pp. 13-28. Canazza, S.; De Poli, G.; Roda, A.; Vidolin, A. (1997). "Analysis and synthesis of expressive intention in a clarinet performance". In Proceedings of the 1997 International Computer Music Conference (pp. 113-120). San Francisco, Calif.: International Computer Music Association.
Colton, S.; López de Mántaras, R.; Stock, O. (2009). "Computational Creativity: Coming of Age". Special Issue of AI Magazine, vol. 30 no. 3, pp. 11-88.
Cope, D. (1987). "Experiments in Music Intelligence". In Proceedings of the 1987 International Computer Music Conference. San Francisco, Calif.: International Computer Music Association.
Cope, D. (1990). "Pattern Matching as an engine for the computer simulation of musical style". In Proceedings of the 1990 International Computer Music Conference. San Francisco, Calif.: International Computer Music Association.
Dannenberg, R. B. (1993). "Software design for interactive multimedia performance". Interface, 22 (3), pp. 213-218. http://dx.doi.org/10.1080/09298219308570633
Dannenberg, R. B.; Derenyi, I. (1998). "Combining instrument and performance models for high quality music synthesis". Journal of New Music Research, 27 (3), pp. 211-238. http://dx.doi.org/10.1080/09298219808570747
Dartnall, T. (ed.) (1994). Artificial Intelligence and Creativity. Kluwer Academic Pub. http://dx.doi.org/10.1007/978-94-017-0793-0
Desain, P.; Honing, H. (1993). "Tempo curves considered harmful". In J. D. Kramer (ed.), Time in contemporary musical thought. Contemporary Music Review, 7 (2).
Ebcioglu, K. (1993). "An expert system for harmonizing four-part chorales". In S.M. Schwanauer and D.A. Levitt (eds.), Machine Models of Music (pp. 385-401). Cambridge, Mass.: The MIT Press.
Feulner, J. (1993). "Neural Networks that learn and reproduce various styles of harmonization". In Proceedings of the 1993 International Computer Music Conference. San Francisco: International Computer Music Association.
Fletcher, P.; Haswell, S.; Watts, P. & Zhang, X. (2001). "Lab-on-a-Chip Micro Reactors for Chemical Synthesis". Dekker Encyclopedia of Nanoscience and Nanotechnology.
Franklin, J. A. (2001). "Multi-phase learning for jazz improvisation and interaction". In Proceedings of the Eight Biennial Symposium on Art and Technology.
Friberg, A. (1995). A quantitative rule system for musical performance. (unpublished PhD dissertation). KTH, Stockholm.
Friberg, A.; Bresin, R.; Fryden, L.; Sunberg, J. (1998). "Musical punctuation on the microlevel: automatic identification and performance of small melodic units". Journal of New Music Research, 27 (3), pp. 271-292. http://dx.doi.org/10.1080/09298219808570749
Friberg, A.; Sunberg, J.; Fryden, L. (2000). "Music From Motion: Sound Level Envelopes of Tones Expressing Human Locomotion". Journal on New Music Research, 29 (3), pp. 199-210. http://dx.doi.org/10.1076/jnmr.29.3.199.3093
Fry, C. (1984). "Flavors Band: A language for specifying musical style". Reprinted in S.M. Schwanauer and D.A. Levitt (eds.) (1993), Machine Models of Music (pp. 427-451). Cambridge, Mass.: The MIT Press.
Grachten, M.; Arcos, J. L.; Lopez de Mantaras, R. (2004). "TempoExpress, a CBR Approach to Musical Tempo Transformations". In P. Funk and P. A. Gonzalez Calero, (eds.), Proceedings of the 7th European Conference on Case-Based Reasoning), Lecture Notes in Artificial Intelligence, vol. 3155, pp. 601-615.
Gould, S. J. (1996). "Creating the Creators". Discover Magazine, October, pp. 42-54.
Hiller, L.; Isaacson, L. (1958). "Musical composition with a high-speed digital computer". Reprinted in S.M. Schwanauer and D.A. Levitt (eds.) (1993), Machine Models of Music (pp. 9-21). Cambridge, Mass.: The MIT Press.
Holmes, B. (1996). "Steve Thaler's 'Creativity Machine'". New Scientist, Vol. 2013, pp. 22-24.
Hörnel, D.; Degenhardt, P. (1997). "A neural organist improvising Baroque-style melodic variations". In Proceedings of the 1997 International Computer Music Conference (pp. 430-433). San Francisco: International Computer Music Association.
Hörnel, D.; Menzel, W. (1998). "Learning musical structure and style with Neural Networks". Journal on New Music Research, 22 (4), pp. 44-62.
Johnson, M. L. (1992). "An expert system for the articulation of Bach fugue melodies". In D.L. Baggi (ed.), Readings in Computer Generated Music (pp. 41-51), Los Alamitos, Calif.: IEEE Press.
Johnson-Laird, P. N. (1991). "Jazz improvisation: A theory at the computational level". In P. Howell, R. West, and I. Cross, (ed.), Representing Musical Structure. London, UK and San Diego, Calif.: Academic Press.
Kendall, R. A., Carterette, E. C. (1990). "The communication of musical expression". Music Perception, 8 (2), pp. 129-164. http://dx.doi.org/10.2307/40285493
King, R. D.; Whelan, K. E.; Jones, F. M.; Reiser, P. G. K.; Bryant, C. H.; Muggleton, S. H.; Kell, D. B.; Oliver, S. G. (2004). "Functional genomic hypothesis generation and experimentation by a robot scientist". Nature, Vol. 427, pp. 247-252. http://dx.doi.org/10.1038/nature02236
Langley, P.; Simon, H. A.; Bradshaw, G. L.; Zytkow, J. M. (1987). Scientific Discovery, Computational Explorations of the Creative Mind. Cambridge, Mass.: The MIT Press.
Lenat, D. B. (1983). "The role of heuristics in learning by discovery: Three case studies". In Machine Learning: An Artificial Intelligence Approach. Tioga. http://dx.doi.org/10.1007/978-3-662-12405-5_9
Lerdahl, F.; Jackendoff, R. (1983). "An overview of hierarchical structure in music". Music Perception, vol. 1, pp. 229-252. http://dx.doi.org/10.2307/40285257
Levitt, D. A. (1993). "A Representation for Musical Dialects". In S.M. Schwanauer and D.A. Levitt (eds.), Machine Models of Music (pp. 455-469). Cambridge, Mass.: The MIT Press.
Lopez de Mantaras, R.; Arcos, J. L. (2002). "AI and Music: From Composition to Expressive Performance". AI Magazine, 23 (3), pp. 43-57.
Minsky, M. (1981). "Music, Mind, and Meaning". Reprinted in S.M. Schwanauer and D.A. Levitt (eds.) (1993), Machine Models of Music (pp. 327-354). Cambridge, Mass.: The MIT Press.
Mitchell, M.; Hofstadter, D. (1990). "The Emergence of Understanding in a Computer Model of Concepts and Analogy Making". Physica D, vol. 42, pp. 322-334. http://dx.doi.org/10.1016/0167-2789(90)90086-5
Moorer, J. A. (1972). "Music and computer composition". Reprinted in S.M. Schwanauer and D.A. Levitt (eds.) (1993), Machine Models of Music (pp. 167-186). Cambridge, Mass.: The MIT Press.
Morales-Manzanares, R.; Morales, E. F.; Dannenberg, R.; Berger, J. (2001). "SICIB: An Interactive Music Composition System Using Body Movements". Computer Music Journal, 25 (2), pp. 25-36. http://dx.doi.org/10.1162/014892601750302561
Muggleton, S. H. (2006). "Exceeding human limits". Nature, Vol. 440, pp. 409-410. Pachet, F.; Roy, P. (1998). "Formulating constraint satisfaction problems on part-whole relations: The case of automatic harmonization". In ECAI'98 Workshop on Constraint Techniques for Artistic Applications. Brighton, UK.
Papadopoulos, G.; Wiggins, G. (1998). "A genetic algorithm for the generation of Jazz melodies". In Proceedings of the SteP'98 Conference, Finland.
Partridge, D.; Rowe, J. (1994). Computers and Creativity. Intellect Books.
Rader, G. M. (1974). "A method for composing simple traditional music by computer". Reprinted in S.M. Schwanauer and D.A. Levitt (eds.) (1993), Machine Models of Music (pp. 243-260). Cambridge, Mass.: The MIT Press.
Ritchie, G. D.; Hanna, F. K. (1984). "AM: A case study in AI methodology". Artificial Intelligence, vol. 23, pp. 249-268. http://dx.doi.org/10.1016/0004-3702(84)90015-8
Rothgeb, J. (1969). "Simulating musical skills by digital computer". Reprinted in S.M. Schwanauer and D.A. Levitt (eds.) (1993), Machine Models of Music (pp. 157-164). Cambridge, Mass.: The MIT Press.
Rowe, J.; Partridge, D. (1993). "Creativity: A survey of AI approaches". Artificial Intelligence Review, vol. 7, pp. 43-70. http://dx.doi.org/10.1007/BF00849197
Sabater, J.; Arcos, J. L.; Lopez de Mantaras, R. (1998). "Using Rules to Support Case- Based Reasoning for Harmonizing Melodies". In AAAI Spring Symposium on Multimodal Reasoning, 147-151. Menlo Park, Calif.: American Association for Artificial Intelligence.
Schwanauer, S. M. (1993). "A learning machine for tonal composition". In S.M. Schwanauer and D.A. Levitt (eds.), Machine Models of Music (pp. 511-532). Cambridge, Mass.: The MIT Press. Schwanauer, S. M.; Levitt, D. A. (eds.) (1993). Machine Models of Music. Cambridge, Mass.: The MIT Press.
Searle, J. (1980). "Minds, Brains and Programs". Behavioral and Brain Sciences, 3 (3), pp. 417-457. http://dx.doi.org/10.1017/S0140525X00005756
Simon, H. A.; Sumner, R. K. (1968). "Patterns in Music". Reprinted in S.M. Schwanauer and D.A. Levitt (eds.) (1993), Machine Models of Music (pp. 83-110). Cambridge, Mass.: The MIT Press.
Suzuki, T.; Tokunaga, T.; Tanaka, H. (1999). "A Case-Based Approach to the Generation of Musical Expression". In Proceedings of the 16th International Joint Conference on Artificial Intelligence, Morgan Kaufmann, pp. 642-648.
Thom, B. (2001). BoB: An improvisational music companion. (unpublished PhD dissertation). School of Computer Science, Carnegie-Mellon University.
Tobudic, A.; Widmer, G. (2003). "Playing Mozart Phrase by Phrase". In K.D. Ashley and D.G. Bridge (eds.), Proceedings of the 5th International Conference on Case-Based Reasoning. Lecture Notes in Artificial Intelligence, vol. 3155, pp. 552-566.
Tobudic, A.; Widmer, G. (2004). "Case-Based Relational Learning of Expressive Phrasing in Classical Music". In P. Funk and P. A. Gonzalez Calero (eds.), Proceedings of the 7th European Conference on Case-Based Reasoning. Lecture Notes in Artificial Intelligence, vol. 3155, pp. 419-433.
Turing, A. M. (1936). "On Computable Numbers, with an Application to the Entscheidungsproblem". Proceedings of the London Mathematical Society, vol. 42, pp. 230–265.
Turing, A. M. (1938). "On Computable Numbers, with an Application to the Entscheidungsproblem: A correction". Proceedings of the London Mathematical Society, vol. 43, pp. 544–546. http://dx.doi.org/10.1112/plms/s2-43.6.544
Turing, A. M. (1950). "Computing Machinery and Intelligence". Mind, vol. LIX no. 236, pp. 433-460. http://dx.doi.org/10.1093/mind/LIX.236.433
Valdés-Pérez, R. E. (1995). "Machine discovery in chemistry: New results". Artificial Intelligence Journal, vol. 74, pp. 191-201. http://dx.doi.org/10.1016/0004-3702(94)00073-A
Wessel, D.; Wright, M.; Kahn, S. A. (1998). "Preparation for improvised performance in collaboration with a Khyal singer". In Proceedings of the 1998 International Computer Music Conference. San Francisco, Calif.: International Computer Music Association.
Widmer, G.; Flossmann, S.; Grachten, M. (2009). "YQX Plays Chopin". AI Magazine, 30 (3), pp. 35-48.
Woods, W. (1970). "Transition network grammars for natural language analysis". Communications of the ACM, 13 (10), pp. 591-606. http://dx.doi.org/10.1145/355598.362773
Publicado
Cómo citar
Número
Sección
Licencia
Derechos de autor 2013 Consejo Superior de Investigaciones Científicas (CSIC)

Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.
© CSIC. Los originales publicados en las ediciones impresa y electrónica de esta Revista son propiedad del Consejo Superior de Investigaciones Científicas, siendo necesario citar la procedencia en cualquier reproducción parcial o total.Salvo indicación contraria, todos los contenidos de la edición electrónica se distribuyen bajo una licencia de uso y distribución “Creative Commons Reconocimiento 4.0 Internacional ” (CC BY 4.0). Puede consultar desde aquí la versión informativa y el texto legal de la licencia. Esta circunstancia ha de hacerse constar expresamente de esta forma cuando sea necesario.
No se autoriza el depósito en repositorios, páginas web personales o similares de cualquier otra versión distinta a la publicada por el editor.