Creative AI defines art and media practices that have AI embedded into the process of creation, but also encompass novel AI approaches in the realisation and experience of such work, e.g. robotic art, distributed AI artworks across locations, AI performers, artificial musicians, synthetic images generated by neural networks, AI authors and journalist bots. This book builds on the discourse of AI and creativity and extends the notion of embedded and co-operative creativity with intelligent software. It does so through a human-centred approach in which AI is empowered to make the human experience more creative. It presents ways-of-thinking and doing by the creators themselves so as to add to the ongoing discussion of AI and creativity at a time when the field needs to expand its thinking. This will avoid over-academization of this emerging field, and help counter engrained prejudice and bias. The Language of Creative AI contains technical descriptions, theoretical frameworks, philosophical concepts and practice-based case studies. It is a compendium of thinking around creative AI for technologists, human-computer interaction researchers and artists who are wishing to explore the creative potential of AI.

Offers a range of perspectives to discuss creative AI, from technologists, artists, musicians, researchers and academics Presents a systematic thesis of the main role of AI with human creativity for the benefit of technologists and creatives Includes creative AI research and case studies on interactive/visual art, music performance and robotic improvisation

Autorentext

Craig Vear is Professor of Music and Computer Science at the University of Nottingham, UK. His research is naturally hybrid as he draws together the fields of music, digital performance, creative technologies, Artificial Intelligence, creativity, gaming, mixed reality and robotics. He has been engaged in practice-based research with emerging technologies for nearly three decades, and was editor for The Routledge International Handbook of Practice-Based Research, published in 2022. His recent monograph The Digital Score: Creativity, Musicianship and Innovation, was published by Routledge in 2019, and he is Series Editor of Springer's Cultural Computing Series. In 2021 he was awarded a EUR2Million ERC Consolidator Grant to continue to develop his Digital Score research. Fabrizio Augusto Poltronieri is a computer artist, researcher, and curator interested in the relationships between Art, Digital Media, Design, and Technology. His expertise is in developing creative coding and its exchanges with philosophical questions. He is an Associate Professor in Creative Technologies at IOCT (Institute of Creative Technologies), De Montfort University. He holds a PhD in Semiotics from the Pontifical Catholic University of São Paulo (PUC/SP), Brazil. In 2011-2012, he was awarded a fellowship to develop a Postdoctoral research project on the early days of computer art at the Royal College of Art in London. One of the outcomes of this research was a major exhibition with four pioneer computer artists. This exhibition, entitled 'Primary Codes', took place in Rio de Janeiro, Brazil, in 2015. His second Postdoctoral research, at Leuphana Universität's Gamification Lab, in Lüneburg, Germany, was on how the universe of video games, the notions of gamification, and post-history affect the production of language mediated by digital apparatuses. He has been exhibiting his artworks around the globe. His work is part of important collections, such as the Victoria and Albert Museum in London. In 2021, Fabrizio was one of the artists representing the UK in the World Expo Dubai with an AI artwork.

Inhalt
Introduction.- Part I: Aesthetics and contexts.- On purpose: An enquiry into the possible roles of the computer in art.- Towards a symbiotic future: Art and creative AI.- Artificial intelligence and creativity under interrogation.- AI, creativity and art.- The ethics of creative AI.- Part II: Structures and frameworks.- Ecosystemic thinking: Beyond human narcissism in AI.- Embodied AI and musicking robotics.- Latent spaces: A creative approach.- Intersections of living and machine agencies: Possibilities for creative AI.- Conformed thoughts, representational systems, and creative procedures.- Part III: Practices.- Creative AI, embodiment, and performance.- Musebots and I: Collaborating with creative systems.- Composition with computer models of the brain: An alternative approach to music with artificial intelligence.- Tuning topological morphologies: Creative processes of natural and artificial cognitive systems.- Sketching symbiosis: Towards the development of relational systems.