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Boden, M. A. (2012). Creativity and art: Three roads to surprise. The British Journal of Aesthetics, 52(1), 116–119. Added by: alexb44 (3/5/25, 11:20 AM) Last edited by: alexb44 (3/5/25, 11:21 AM) |
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| Resource type: Journal Article DOI: 10.1093/aesthj/ayr041 ID no. (ISBN etc.): 0007-0904 BibTeX citation key: Boden2012 Email resource to friend View all bibliographic details  |
Categories: AI/Machine Learning Creators: Boden Collection: The British Journal of Aesthetics |
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| Abstract |
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Margaret Boden is one of the leading researchers on creativity. Her important book, The Creative Mind: Myths and Mechanisms (2nd ed, Routledge, 2004), is a systematic account of the nature of creativity, which argues for the value of computer modelling in understanding creative processes, both scientific and artistic, and discusses computers that can replicate scientific discoveries and produce artworks. Building on her views in that book, the current volume concentrates almost exclusively on creativity in art, and, although it is only tangentially concerned with computer modelling of creativity, it contains an extended account of computer art that goes considerably beyond her earlier discussion. Comprised of an Introduction and eleven papers, two of them wholly new, it covers a wide range of topics, including the distinction between art and craft; the aesthetics of interactive art, where she notes that there is no settled standard of aesthetic evaluation; a discussion of the view that A-Life (computer simulation of life) is genuine life, which she convincingly refutes on the grounds that A-Life entities have no metabolism, in the sense of the use and budgeting of energy for bodily maintenance and behaviour; and a fascinating account of the project by the computer artist, Paul Brown, who is attempting to use line-drawing robots to create artworks that bear no trace of his personal ‘signature’, a project the success of which Boden is somewhat sceptical about, since Brown has to choose the evaluative criteria for the selection of the artworks. Despite their variety, two broad themes run through the essays: an account of three types of creativity and their application to artworks and types of art, and a defence of the existence of computer art.
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