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Zusammenfassung von The Creativity Code

Name: The Creativity Code
Rating: 4.4 (132 reviews)
Author: Marcus du Sautoy

Marcus du Sautoy

How AI is learning to write, paint and think

4.4 (132 Bewertungen)

25 Min.

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Künstliche Intelligenz Mensch-Maschine-Interaktion Kreativer Flow

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The Creativity Code
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What’s in it for me? A closer look at art-making AI.

Algorithms that paint psychedelic images, apps that do your makeup, programs that generate photos of people that don’t exist – even if you’re not a tech nerd, you’ve probably read about some of AI’s recent advances in your news feed. Many of the headlines concern AI forays into art, music and other areas of human creativity.

Perhaps AI art is such a hot topic because creativity is one of our most distinguishing features. In fact, the human urge to express oneself through art might be older than modern humans. For instance, archeologists have found 500,000-year-old carved shells in Java that they believe to be the work of Homo erectus, ancestor to both the Neanderthals and us.

If creativity predates humans, is it possible that it will transcend us? Is the proliferation of AI already paving the way for the next step of evolution – giving rise to intelligent machine artists who create paintings, music and literature of their own?

To answer this question, mathematician and art enthusiast Marcus du Sautoy takes us on a journey, from the basic principles of computing to the math of music and the near future of art-making AI.

Creativity is about exploring, combining and transforming existing structures to make something new.

Let’s face it: in many ways, computers are smarter than people. They can store more facts, crunch bigger numbers and they’re better at spelling. Perhaps the one thing we humans can still take solace in is our creativity. Surely a machine could never come up with a joke, compose a symphony or write a book – or could it? To answer this existential query, let’s first take a look at what we mean when we talk about creativity.

Being creative means coming up with something new, surprising and valuable. French painter Claude Monet is famous for his beautiful paintings of water lilies – but his paintings are more than just beautiful. Layering flecks upon flecks of color instead of using traditional brush strokes, Monet showed the world a new way to appreciate the interplay of light and color. This novel painting style, called impressionism, inspired generations of artists and helped pave the way from figurative to abstract art.

Just as our ideas about art have changed over the centuries, so too have our ideas of creativity constantly evolved. We often measure a creative act by how much it differs from those that have come before. Consider early twentieth-century composer Arnold Schönberg. Composers before Schönberg took for granted that a central key, or tone, was the basis for any composition. Schönberg boldly disregarded this rule to invent atonality – bringing the world unexpected listening pleasures. Cognitive scientist Margaret Boden calls this type of rule-breaking transformational creativity. Transformational creativity can completely overturn what we think is possible in a given discipline.

In addition, Boden identified two other types of creativity. She says that Monet’s work exhibits exploratory creativity – that it explores what is possible within the rules of the discipline. Monet still depicted water lilies in a figurative way, but he did so in a completely new, impressionist, manner.

Combinatorial creativity is the ability to merge structures that, on the surface, might not belong together. Contemporary architect Zaha Hadid translates her love of abstract art into impossible-looking, curvaceous buildings. The Heydar Aliyev Centre that she designed in Azerbaijan, for instance, looks less like a building than an oversized seashell. Her buildings are also a great example of the practical applications of creativity. Creativity, it turns out, isn’t just for artists.

Human creativity drives art, but also mathematics.

Being creative means bending – sometimes even breaking – the rules to come up with something new. But this skill isn’t limited to art, music and literature. Look closely, and you’ll find creativity in places you’d never expect, such as the author’s field: math.

To understand how mathematicians are creative, we must first understand what they do.

Algorithms shape modern life.

Mathematicians and computers have something in common – they both follow sets of logical rules to reach a desired outcome. The rules encoded into a computer are called algorithms. You can think of them as a bunch of “if-then” sentences that tell the computer how to behave. For example, your email filter may follow the rule, “if an email contains the word Viagra, then place it in the spam folder.”

But algorithms do much more than sort your emails for you.

The advent of bottom-up machine learning has revolutionized the field of AI.

Before the dawn of machine learning, programmers were united in the belief that “You can only get out what you put in.” Meaning, a program is only as smart as the person who coded it. So, what changed their mind? It was a computer that plays board games.

Go is an ancient Chinese board game that requires intelligence, skill and creativity. Two players take turns placing black and white stones on a 19 x 19 grid. The goal is to capture your opponent’s stones by surrounding them with your own. Because Go requires complex pattern recognition and because the number of possible games is endless, it was long believed to be impossible to teach a computer how to play it. But in 2016, in a man-versus-machine showdown followed around the globe, Demis Hassabis’s AlphaGo computer took down the reigning human Go champion Lee Sedol in a four-to-one victory. How did AlphaGo achieve the impossible?

Math, music and algorithms are closely connected.

In 1993, classical composer David Cope released Bach by Design, an album of original piano pieces typical of eighteenth-century composer Johann Sebastian Bach. But the pieces weren’t written by Bach, nor were they written by Cope. They were written by Emmy, a musical software created by Cope to simulate Bach’s composition style.

The AI did such a good job that it fooled even seasoned Bach lovers. At a concert at the University of Oregon, the audience mistook one of her compositions for the original Bach – judging a lesser-known piece by the real Bach to be a fake.

AIs are already being used to create music, art and literature.

We’ve gotten to know computers that compose classical music and improvise jazz riffs. Musicians, it seems, are already making ample use of the growing capabilities of AI. But what about the rest of the art world?

Computers that create visual art are actually not that new. As early as 1965, Siemens engineer Georg Nees programmed a computer to create drawings on its own. Nees’s program started from a fixed point on the screen, drawing 23 connected lines of random lengths in random directions. The result was a fascinating series of geometrical drawings.

Vision and language still provide big challenges for AI.

Consider this sentence: “The children won’t eat the grapes because they are old.” Who or what is old? Unlike you – a human with some experience with children and grapes – a computer couldn’t easily answer this question. It has no definitive way of knowing who is meant by “they” in this sentence.

Natural language is full of such ambiguities. How we interpret a word often depends on context, requiring prior knowledge of the world. Because computers lack the type of intuitive knowledge that humans gather through experience, linguistic nuance is often lost on them. For the same reason, they struggle to create a meaningful narrative structure. Computer programs may be able to write a few sentences that sound like Hemingway, but they are nowhere near understanding, let alone weaving, a story like The Old Man and the Sea.

AIs are useful creative tools, but they’re not creative in their own right – yet.

Though there’s still room for technical improvement, there’s no doubt that AIs are already creating fascinating pieces of art, music and writing. Creations like the psychedelic images of DeepDream surprise even the programmers behind the programs, proving that, in modern computing, you can get more out than you put in.

But creativity is about more than processing input and generating output. Drawing something of creative value from the algorithmic calculations of a computer still requires a human hand.

Final Summary

The talents of modern AI exceed many of our previous expectations. Although they’re still struggling to recognize images and understand language, computers already create fascinating pieces of art, music and literature. However, until they learn to do so consciously and with purpose, they remain creative tools rather than being creative agents themselves.

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Worum geht es in The Creativity Code?

The Creativity Code (2019) explores the growing capabilities of artificial intelligence and its recent venture into creative fields such as art, music and literature – previously thought to be exclusively human territory. Author Marcus du Sautoy takes us on a journey from the origins of our own creativity to a future of art-making algorithms in a quest to answer the existential question: Can machines be creative?

Bestes Zitat aus The Creativity Code

At the moment all the creativity in machines is being initiated and driven by the human code.

—Marcus du Sautoy

Wer The Creativity Code lesen sollte

Anyone interested in artificial intelligence
Lovers of art, math and music
Futurists who like to speculate about the coming union of human and machine

Über den Autor

Marcus du Sautoy is a British mathematician and author of the best seller The Music of the Primes (2003). On the strength of his writing about science, he was appointed to the Simonyi Professorship for the Public Understanding of Science at Oxford University, a post previously held by Richard Dawkins.

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Kreativität Technologie & Zukunft

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