#adaptive creativity

[curiousaboutcreativity]

From the broad perspective of poeisis [...] all the patterns, structures and behaviors that exist in the world can be taken as evidence of creativity. This jars with the traditional psychological view of creativity, and implies a distinction between two varieties, generative and adaptive. Generative creativity takes an indifferent approach to the problem of value, it is value-free creativity. In generative creativity, things are not created for a purpose. Things can come into existence without being created for their value. (363)

Bown O. 2012. Generative and Adaptive Creativity: A Unified Approach to Creativity in Nature, Humans and Machines, in J. McCormack & d’Inverno M. (ed.) Computers and Creativity: 361-381. Heidelberg: Springer.

[curiousaboutcreativity]

As long as adaptive and generative creativity can be recognised as distinct processes, they can be addressed simultaneously in a single project. (378)

Bown O. 2012. Generative and Adaptive Creativity: A Unified Approach to Creativity in Nature, Humans and Machines, in J. McCormack & d’Inverno M. (ed.) Computers and Creativity: 361-381. Heidelberg: Springer.

[curiousaboutcreativity]

[A] pattern is emerging in which arts-based computationally creative systems can be categorized in terms of how they relate to the wider world of human artistic value, either as prosthetic extensions of individual creative practices, as in the case of AARON and many other uses of managed generatively creative processes, or as experiments in adaptive creativity which are generally not presently capable of producing valued artistic output, such as the DrawBots project and various models of social creative processes. (378)

Bown O. 2012. Generative and Adaptive Creativity: A Unified Approach to Creativity in Nature, Humans and Machines, in J. McCormack & d’Inverno M. (ed.) Computers and Creativity: 361-381. Heidelberg: Springer.