舉個例說明,《Edmond de Belamy》係一幅 2018 年嘅畫作。幅畫係由一個生成對抗網絡(GAN)產生出嚟嘅:生成對抗網絡係種人工神經網絡技術,用兩個網絡,一個網絡(生成網絡)負責產生一幅圖像 ,而另一個網絡(分辨網絡)會負責分辨幅圖係咪由生成網絡整(唔係由人類整)嘅,分辨網絡睇得出就當個生成網絡輸-迫個生成網絡係噉學習到要產生出同人類作品無異嘅作品[3]。《Edmond de Belamy》俾好多人認為係史上第一幅可以算係由 AI 創作嘅畫,打後仲成功以 432,500 文美金嘅高價賣出[4]。
喺廿世紀尾,運算創意俾唔少人認為係 AI 嘅最後彊界(AI's final frontier)-傳統上,創意俾人認為係人類獨有、機械展現唔到嘅特性,而運算創意响廿一世紀初取得咗一定嘅成功,引起唔少人對 AI 嘅本質同相關嘅哲學問題作出反思[1][5]。
英文原文:"... The philosophy, science and engineering of computational systems which, by taking on particular responsibilities, exhibit behaviors that unbiased observers would deem to be creative." 粵文翻譯:...(運算創意係)一門哲學、科學同工程學,專門處理一啲運算系統,呢啲系統曉負起某啲嘅責任,展現冇偏見嘅觀察者會覺得係「有創意」嘅行為[註 2][9]。
如果呢種方法教 AI 產生圖像(模擬畫畫),個生成網絡開頭嗰陣會齋靠隨機撞嘅方式產生圖像做 output,並且喺分辨網絡成功睇得出幅圖係假嗰時收到訊號。如是者,呢兩個網絡會互相「對抗」,順利嘅話,生成網絡會變到能夠產生幾可亂真嘅數據[14][15]。進階嘅做法仲可以加多幾個唔同嘅分辨網絡,每個負責判斷唔同嘅嘢-例如一個分辨網絡判斷幅圖係咪由 AI 整嘅,另外嗰個就負責判定幅圖「能唔能夠清楚噉分類做某個風格」(如果幅圖明顯屬某個已知嘅風格,就表示幅圖唔夠新穎),個生成網絡要過嗮兩個分辨網絡嘅關先算成功[11]。
Ariza, C. (2009). The interrogator as critic: The turing test and the evaluation of generative music systems. Computer Music Journal, 33(2), 48-70.
Boden, M. A. (2004). The Creative Mind: Myths and Mechanisms. London: Routledge.
Bringsjord, S., Bello, P., and Ferrucci, D. (2003). “Creativity, the turing test, and the (better) Lovelace test,” in The Turing Test, ed J. H. Moor (Dordrecht: Springer), 215-239,篇文主張話如果一個系統要算得上係「展現咗創意」,噉充分同必要條件係個系統要能夠誘過一個可重複嘅過程嚟產生某啲 output,而且個 output 冇得齋靠個系統嘅知識基礎、架構同核心功能解釋。
Colton, S., Charnley, J. W., and Pease, A. (2011). "Computational creativity theory: the FACE and IDEA descriptive models," in ICCC (Mexico City), 90-95.
Colton, S., Pease, A., Corneli, J., Cook, M., and Llano, T. (2014). "Assessing progress in building autonomously creative systems," in ICCC (Ljubljana), 137-145.
Pearce, M., & Wiggins, G. (2001, April). Towards a framework for the evaluation of machine compositions. In Proceedings of the AISB’01 Symposium on Artificial Intelligence and Creativity in the Arts and Sciences (pp. 22-32).
Riedl, M. O. (2014). The lovelace 2.0 test of artificial creativity and intelligence. arXiv: 1410.6142.
↑ 5.05.1Colton, S., & Wiggins, G. A. (2012, August). Computational creativity: The final frontier?. In Ecai (Vol. 12, pp. 21-26).
↑Sternberg, Robert J. (2011). "Creativity". Cognitive Psychology (6 ed.). Cengage Learning. p. 479.
↑Meusburger, Peter (2009). "Milieus of Creativity: The Role of Places, Environments and Spatial Contexts". In Meusburger, P.; Funke, J.; Wunder, E. (eds.). Milieus of Creativity: An Interdisciplinary Approach to Spatiality of Creativity. Springer.
↑Torrance, Paul. "Verbal Tests. Forms A and B-Figural Tests, Forms A and B.". The Torrance Tests of Creative Thinking-Norms-Technical Manual Research Edition. Princeton, New Jersey: Personnel Press. p. 6.
↑Goodfellow, I. et al. (2014). Generative Adversarial Networks (PDF). Proceedings of the International Conference on Neural Information Processing Systems (NIPS 2014). pp. 2672–2680.
↑Salimans, Tim; Goodfellow, Ian; Zaremba, Wojciech; Cheung, Vicki; Radford, Alec; Chen, Xi (2016). "Improved Techniques for Training GANs".