Portugal

&quot;We present ERwEM (Events Represented with Emotive Music), a system that generates cross-domain artefacts between text and music by drawing from emotional sentiments. Our system uses keywords extracted from a
news article to filter live-stream tweets containing these keywords and analyze the tweet collection’s emotion data. It then uses the emotion sentiment (a scale from positive to negative) to influence the mood of the music it writes using an adapted bi-axial long short term memory (BALSTM) model. From this, our system determines
which mode the generated song will be transposed to. We use the FACE model to characterize the creative aspects of our system as a collection of generative acts. We provide examples of the artefacts our system generates as well as the response we received from external sources who reviewed the generated songs.&quot;

ICCC&#39;20

ERwEM: Events Represented with Emotive Music Using Topic-Filtered Tweets

cross-domain artefacts

music

emotion

### **Welcome to the Twelfth International Conference on Computational Creativity, ICCC’21!**

<iframe width=1280 height=720 style="border:0;" scrolling="no" src="https://screencast-o-matic.com/player/crQbitV66dw?width=1280&height=720&ff=1&title=0" allowfullscreen="true"></iframe>

Computational creativity is an interdisciplinary endeavor that is located at the intersection of the fields of artificial intelligence, cognitive psychology, philosophy, social sciences and the arts. The goal of computational creativity is to model, simulate or replicate creativity using a computer, to achieve one of several ends:

* to construct a program or computer capable of showing some level of creativity
* to better understand human creativity and to formulate an algorithmic perspective on creative behavior in humans
* to design programs that can enhance human creativity without necessarily being creative themselves

<br>The ICCC conference series organized by the [**Association for Computational Creativity**](https://computationalcreativity.net/) since 2010 is the only scientific conference that focuses on computational creativity alone and also covers all aspects of it.



To access the Twelfth International Conference on Computational Creativity, ICCC’21, you need to register for the conference.  Instructions on how to access the event will be provided directly to attendees and included on the Twelfth International Conference on Computational Creativity, ICCC’21 conference website. 

[Register now](https://computationalcreativity.net/iccc21/registration/)

Register now

ICCC'21

Welcome to the Twelfth International Conference on Computational Creativity, ICCC’21!

"We present ERwEM (Events Represented with Emotive Music), a system that generates cross-domain artefacts between text and music by drawing from emotional sentiments. Our system uses keywords extracted from a
news article to filter live-stream tweets containing these keywords and analyze the tweet collection’s emotion data. It then uses the emotion sentiment (a scale from positive to negative) to influence the mood of the music it writes using an adapted bi-axial long short term memory (BALSTM) model. From this, our system determines
which mode the generated song will be transposed to. We use the FACE model to characterize the creative aspects of our system as a collection of generative acts. We provide examples of the artefacts our system generates as well as the response we received from external sources who reviewed the generated songs."

technical paper

Computational creativity is the art, science, philosophy and engineering of computational systems which, by taking on particular responsibilities, exhibit behaviours that unbiased observers would deem to be creative. As a field of research, this area is thriving, with progress in formalising what it means for software to be creative, along with many exciting and valuable applications of creative software in the sciences, the arts, literature, gaming and elsewhere.

The ICCC conference series organized by the Association for Computational Creativity since 2010 is the only scientific conference that focuses on computational creativity alone and also covers all aspects of it.


ICCC'20

The ICCC conference series organized by the Association for Computational Creativity since 2010 is the only scientific conference that focuses on computational creativity alone and also covers all aspects of it.
Computational creativity is the art, science, philosophy and engineering of computational systems which, by taking on particular responsibilities, exhibit behaviors that unbiased observers would deem to be creative. As a field of research, this area is thriving, with progress in formalizing what it means for software to be creative, along with many exciting and valuable applications of creative software in the sciences, the arts, literature, gaming and elsewhere.



"We propose three methods for the adaptation of well-known sayings~(e.g., proverbs, movie titles) for a context, given by a textual input~(e.g. news headline).
These methods -- word substitution, analogy and vector difference -- present different ways of exploiting word embeddings for word replacement towards a new text that should be semantically related to the input, in the sense that it could be used as a sub-title or comment, though more creative.
They were further combined with two selection methods, based on word overlap and on sentence embeddings, and used in the production of text in context with a small set of Portuguese headlines. To better understand how well our purpose was suit, results were manually assessed. All methods produced text with both syntax and relatedness to the input above average, contrasting the underachieving funniness scores."

Exploring Word Embeddings for Text Adaptation to a given Context

In this paper, we present a system that generates letterpress-inspired typographic posters from a user-given text. This system employs lexicon-based approaches not only to recognise emotions and sentiments but also the colours related to the content. Moreover, the system generates and evolves outputs employing an Evolutionary Computation approach. The generated outputs are evaluated according to their legibility, aesthetics and semantics, throughout a multi-criteria hardwired fitness function scheme. Also, this system enables its users to guide the generation process through the dynamic definition of several setting parameters.

Evolutionary Experiments in Typesetting of Letterpress-Inspired Posters

The Pokérator is a generator of Pokémon names and descriptions, based on user input. The names are generated by blending words based on syllables or characters according to a bigram language model. An accompanying description is generated by filling a template with ConceptNet answers. This sentence is then used as a prompt for text generation with the GPT-2 language model which was finetuned on Pokédex entries. The evaluation of the generated Pokémon names shows that the names are not realistic, but appreciated and creative.

Pokérator - Unveil your inner Pokémon

In this paper, we provide a philosophical account of the value of creative systems for individuals and society. We characterize creativity in very broad philosophical terms, encompassing natural, existential, and social creative processes, such as natural evolution and entrepreneurship, and explain why creativity understood in this way is instrumental for advancing human well-being in the long term. We then explain why current mainstream AI tends to be anti-creative, which means that there are moral costs of employing this type of AI in human endeavors, although computational systems that involve creativity are on the rise. In conclusion, there is an argument for ethics to be more hospitable to creativity-enabling AI, which can also be in a trade-off with other values promoted in AI ethics, such as its explainability and accuracy.

The societal and ethical relevance of computational creativity

Trust is often considered valuable in a broad range of relationships, from professional collaborations to personal partnerships. This article examines the possibility of trust in a robotic system. By posing the question “can a robot do a trust fall?”, an investigation on the issues embedded in designing trusting systems is presented, using methods and perspectives from philosophy and engineering. Posing such a question helps us understand the physicality and embodiment of trust, as well as the limits and resources of robotics. 

Can a Robot Do a Trust Fall? Absurdity as a Component of Human Intelligence and Embodiment

In this paper we present R-VAE, a system designed for the exploration of latent spaces of musical rhythms. Unlike most previous work in rhythm modeling, R-VAE can be trained with small datasets, enabling rapid customization and exploration by individual users. R-VAE employs a data representation that encodes simple and compound meter rhythms. To the best of our knowledge, this is the first time that a network architecture has been used to encode rhythms with these characteristics, which are common in some modern popular music genres.

Creating Latent Spaces for Modern Music Genre Rhythms Using Minimal Training Data

The task of translating text to images holds some valid creative potential and has been the subject of study in Computational Creativity. In this paper, we present preliminary work focused on emoji translation. The work-in-progress system is based on techniques of information retrieval. We compare the performance of our system with three deep learning approaches using a text-to-emoji task. The preliminary results suggest some advantages of using a knowledge-base as opposed to a purely data-driven approach. This paper aims to situate the research, underline its relevance and attract valuable feedback for future developments.

An Approach for Text-to-Emoji Translation

A growing number of visual artists use neural networks in their practice. While these networks show promise as an art form, the lack of interpretability limits control to high level decisions based on observations. As an alternative, this research investigates the hand-crafting of network weights coupled with explanatory visualizations as a form of creative control over the internal and lower level processes. Two experimental tools were developed: one for parametrically generating first layer kernels and the second for editing multiple layers. These tools attempt to transform the hand-crafting of features into ``crafting'' in a richer sense by bringing network weights and visual materials into a tight feedback loop. The first author extensively engaged with these tools and these case studies serve to examine the affordances of internal interaction for art-making. The findings suggest that direct manipulation can be used intentionally and can yield insights into network representations, but that hand-crafting networks of greater sophistication would likely require a hybrid approach integrating data-driven methods.

Hand-Crafting Neural Networks for Art-Making

In human-human collaboration, gesture, verbal communications, and emotional responses are among the communication strategies that shape the interactions between collaborators to negotiate the contributions. Emotional feedback allows human collaborators to passively communicate their stance about the experience and convey their perception of the process without distracting the flow of the task. In human-human co-creative collaboration, participants inter-act and contribute to the task based on their perception of the collaboration over time.  In human-AI co-creativity, perceiving the cognitive and emotional state of the user in order to determine the dynamics of collaboration and decide what the agent should contribute to the artifact are two primary challenges of building effective co-creative Artificial Intelligence systems. This paper addresses these challenges with the design of a co-creative agent that can sense the user’s emotional state through facial expression.

ARNY: A Co-Creative System Design Based On Emotional Feedback

We present a general computational approach that enables a machine to generate a dance for any input music. We encode intuitive, flexible heuristics for what a 'good' dance is: the structure of the dance should align with the structure of the music. This flexibility allows the agent to discover creative dances. Human studies show that participants find our dances to be more creative and inspiring compared to meaningful baselines. We also evaluate how perception of creativity changes based on different presentations of the dance. Our code is available at github.com/purvaten/feel-the-music.

Downloads

Next from ICCC'20

Exploring Word Embeddings for Text Adaptation to a given Context

Similar lecture

Framing through Music: A Pilot Study

.css-70qvj9{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;}Downloads

Next from ICCC'20

Exploring Word Embeddings for Text Adaptation to a given Context

Similar lecture

Framing through Music: A Pilot Study

Downloads