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 Creativity 
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Post Creativity
This article has a neural net designed 30 years ago but is just now gaining wide acceptance for it's breakthrough approach. It's useful to you because it explains how the brain comes up with revolutionary ideas. The creator's neural net has discovered extra hard substances by "thinking" about the possibilities inherent in the materials database it was programmed with, and it has discovered new chemical compounds. It also composes music.

The creator programmed all his favorite tunes in, and out came good music, some of it approaching better than good. It can do all this because it assumes that ideas are just degraded memories which the neighboring neurons find to be interesting. If you push the amount of degradation to it's extreme, you only get nonsense. If you keep it at zero, you only get the status quo.

If you find the sweet spot where the amount of degradation applied leads to revolutionary ideas, then you will need another patent for something "IT" designed to go with the first one you registered for when you built it (this is actually the case for the inventor). If you're a composer, it's absolutely worth your time.

Snippets;

Creativity is perhaps the most celebrated of human capacities, embraced by the human potential movement and revered in the same light as other "folk" attributes such as spirit, soul, and free will. In the objective analysis of creativity, however, we must recognize that much of the grandeur and mystique of this cognitive phenomenon may be no more than a societal judgment that falls far short of established scientific standards.

No longer squinting at the reality, we must account for why human progress is so desultory and why human intellectual activity does not take the most direct deductive path toward a final and ultimate product. Adhering to a reductionist model, we must account for ostensibly breathtaking paradigm shifts and innovations based upon a system of cortical neurons exchanging nothing more than matter and energy with the environment.

Recently I have demonstrated (Thaler, 1995, 1996 a, b, c) that a trained artificial neural network supplied no inputs whatsoever, and driven by random perturbations to its internal architecture may generate valuable ideas related to the conceptual space embodied within the examples it was trained with.

In short, the network is perceiving something when in fact there are no presented environmental inputs. If we were to train a simple auto-associative feedforward net on numerous examples (hence bypassing the tedious Bayesian statistics used to construct this net), setting the inputs of the network to values of zero and then randomly perturbing the connection weights from their trained values, we would observe a progression of network activations corresponding to plausible schemes.

The difference in operating procedure from other work is significant, representing the distinction between perception with its processing of environmental features, and internal imagery with its inherent independence from such external entities.

In Rumelhart’s original work, an associative net is interpreting some partial environmental vector as something it has never seen. In the case of virtual input effect described here, the net is in a state tantamount to sensory deprivation, in effect hallucinating within a silent and darkened room.

The abstract in the link might be dificult to understand but the article itself isn't.

http://imagination-engines.com/iei_semi ... nition.php

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Last edited by Tatsu on Tue Sep 23, 2014 7:38 pm, edited 1 time in total.

Tue Sep 23, 2014 7:12 pm
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Post Re: Creativity
I forgot to mention, if you're a musical instrument designer, it's sure to be useful also.

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Tue Sep 23, 2014 7:27 pm
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Post Re: Creativity
The cool thing that it mentions is that only a few connections (about 4) are given random peturbations as this has been found to be optimal for innovative ideas. I thought he said the sweet spot for the amount of perturbation you give to those 4 is about 5/6ths if I understand what he's saying, but I saw a chart in another article he has on his website (they're all worth reading if you have the time) that seemed to imply it was somewhere between 50 and 60%.

He said every half-cycle the network is reset to it's trained state and then about 4 new randomly selected connections are given the same amount of perturbations. I wish I knew what he considers to be a half-cycle. But we can think for ourselves also, what is an innovative rate of change within a musical composition.

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Tue Sep 23, 2014 7:36 pm
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Post Re: Creativity
Thank you so much for sharing this.

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Wed Sep 24, 2014 4:03 pm
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Post Re: Creativity
You're welcome. Thalers neural net was the inventor of the Oral B toothbrush with the bristles angled in opposite directions.

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Wed Sep 24, 2014 5:17 pm
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Post Re: Creativity
Here's a list of parameters for tweakage...
style
tempo
embellishment
texture
tuning
# of pitches per chord
# of chord alterations
which instruments
# of instruments
time signatures
melodic intervals
# of intervals
harmonic intervals
# of melodic pitches
techniques
accompaniments
agreement of harmonic, melodic and rhythmic cadences.
minimalist processes
articulations
melodic rhythm
harmonic rhythm
chord progressions
variation procedures
section lengths
dynamics
form
# of measures per section
theme lengths
# of themes
motive schemes
inversions
voicings

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Thu Sep 25, 2014 1:06 am
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Post Re: Creativity
Interesting posts. Here is a concept to ponder. It has been said by more than a few music theorist that "humans are the only creatures that we know of which can create music"

Now many point to birds and whales among others, saying that this is an untruth. However, the main point of the argument is that ONLY HUMANS CAN PERCEIVE ORGANIZED SOUNDS AS MUSIC. So if this is true then whale/bird songs are only such because we say they are. And by proxy this would apply to computer based creation. So my question is....if the computers are not self aware enough to pronounce what they do as art? is it? or is it art because we say it is?

Is the gestalt of the process dependent upon human interpretation? and finally is it us (therefore) which are the true creators of the art?

just a perspective for discussion, the jury is still out on such things.......however the birds ard computers won't be chiming in......hmmmmmm


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Thu Sep 25, 2014 9:18 am
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Post Re: Creativity
Mozart kept a bird for the beauty of its song and several composers have used both bird and whale song. The way the stick was created by a man and cant be played well until it becomes an integrated extension of yourself is like a prosthetic arm, our relationship to computers is the same. The computer's inventor can chime in and if he's an expert composer or expert on creativity, we can use what he says even without the computer.

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Thu Sep 25, 2014 4:25 pm
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Post Re: Creativity
I forgot to mention that the net goes through a thousand cycles before giving it's first output so think about that when you're composing a piece of music. People accuse me of paralysis by analysis but it doesn't paralyze me, though I see it paralyzes really most other people. The opposite end of the spectrum is extinction by instinct which rarely does something novel coming from such a closed system.

I saw on NHK these developmentally disabled people who were given cloth, needle and thread to create something. They've got perturbations to their nets as it were and although they may only come up with one thing they do which is not like anything we'd ever do, collectively they have a plethora of novel approaches to "embroidering" a shirt.

Artists and designers were so impressed they went there to study the different techniques embodied in their output.

btw my list leaves out;
resolving goal tones or not
set patterns for chords or not
how long accents allowed to contradict the meter or not
asymmetrical time sections or not (sixteen and a half measures per section).

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Thu Sep 25, 2014 7:41 pm
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Post Re: Creativity
Video with music generated by the artificial neural net (ANN).
http://imagination-engines.com/iei_son.php

An article how it’s made and why its valuable.
http://imagination-engines.com/iei_musi ... sition.php

First shot is of the design of the artificial neural net. Rows of dots at the top are the ideas it was programmed with such as types of vehicles, benefit from resources, keywords, favorite artistic images, faces or favorite songs. But I think for this song it was only programmed with musical constraints that prevented it from composing something unmusical.

Later it shows robots learning to walk over uneven terrain.
Reddish purple dots running around a floor-plan are mapping it just like what a baby does when exploring a room.

It can know a vehicle is a semi-trailer truck without seeing all of it.
It can recognize military vehicles even though its only looking at 10% of it.

After you see the first robot arm, it seems to be filtering through a massive amount of news or communications relevant to military intelligence like Bin Laden or Tajjikistan.

When its rifling through 100s of photos on the left, he moves the slider from .06 mean synaptic damage to a very high number and then the faces become unrecognizable.

I’m certain now .06 means six tenths or just over half of the way to total degradation is the sweet spot for innovation and not the 5/6th I originally thought I understood.

I found i my other readings on computer generated music that programmers are better able to explain what expert composers are doing than the experts themselves.

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Sun Sep 28, 2014 2:01 am
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