Computational Creativity: Coming of Age
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This editorial provides an introduction to current AI research on computationally created artifacts as well as to the papers and topics covered by this special issue on computational creativity.
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Work on creative interfaces clusters around two ends of a spectrum: traditional creativity support tools (human as creator, computer as tool) and computational creativity (computer as creator, human as audience).
“Historically, work on such creative interfaces broadly clusters around two ends of a spectrum [2,3] (fig. 1): on the one end, we find traditional creativity support tools like computer-aided design or search, visualization and collaboration software for creative work [1]. Here, the human is the initiating and deciding agent and the computer a mediating tool. On the opposite end sits computational”
From Mixed-Initiative Creative Interfaces (2017) · cites this paper as [4]
The passage labeled Abstract (page unavailable) contrasts computers as tools for human creators with computers as creative entities capable of autonomous work. It does not establish that creative-interface research historically clusters at those two ends; it also describes computers acting as creative collaborators, rather than humans serving only as an audience. (LLM, conf=0.84)
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Recurrent Neural Network Model for Constructive Peptide Design
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“a substantial and increasing growth in the number of papers presented to such research events and in program committee sizes;8 it can be said that computational creativity research is ‘coming of age’ [17].”
BackgroundMixed-Initiative Creative Interfaces
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“On the opposite end sits computational creativity [4]: the computer is a ‘heroic’ [2] artificial intelligence (AI) agent that autonomously produces creative work, and the human its audience.”
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“Both prediction and decision-making can be understood as typically calculative one of [computational creativity’s] aims” (Colton et al. 2009, 14).”
BackgroundOrganic creativity for well-being in the post-information society
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“The term “computational creativity” refers to the study of building software that exhibits behavior that can be deemed creative in humans [18].”
BackgroundInfluentialA big data approach to computational creativity: The curious case of Chef Watson
Varshney, L. R., Pinel, F., Varshney, K. R., Bhattacharjya, D., Schörgendorfer, A., & Chee, Y.-M. (2019) · IBM Journal of Research and Development · doi:10.1147/jrd.2019.2893905 · Cited by 82 · see citing works
The Dynamic Universal Creativity Process
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“Because of this element of surprise, rather than mere tools, computationally creative systems are often framed as collaborators or assistants to their human creators or users (Colton et al., 2009).”
BackgroundLet the computer evaluate your idea: evaluation apprehension in human-computer collaboration
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Robotic Arts: Current Practices, Potentials, and Implications
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“Specifically, it also needs to serve as a creative collaborator rather than a mere tool [9].”
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“Another direction from which to approach Autocousmatic is the developing field of computational creativity (Cardoso, Veale, and Wiggins 2009; Colton, Lopez de Mantaras, and Stock 2009 ).”
BackgroundBinding representational spaces of colors and emotions for creativity
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AI as a creative partner: a PRISMA review of AI’s role in supporting creativity in education
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“, (Colton et al., 2009; Cardoso et al., 2009)).”
AI-driven computational creativity in fashion design: a review
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“12 Although computational creativity is regarded as a subfield of AI and has largely involved AI-driven outputs in various creative domains such as art, music, literature, and design, 13 it is important to note its endeavors far predate the recent generative AI developments of generative pretrained…”
Siemon, D., Strohmann, T., Braunschweig, I. M. T. U., & Michalke, S. (2022) · Communications of the Association for Information Systems · doi:10.17705/1cais.05009 · Cited by 18 · see citing works
“…researchers see creativity as something intangible and even mystical (Boden, 2004), others see creativity as something systematic and explainable, which means that "computers can-and do-exhibit the same kinds of behaviors that creative humans do" (Colton, López de Mantaras, & Stock, 2009, p. 12).”
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“Currently, there are several approaches to computational creativity (Colton et al., 2009; Lamb et al., 2018) and AI creativity (Boden, 1998; McCormack et al., 2020; Vocke et al., 2019).”
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“Computational creativity refers to the study of computer systems which generate content or behave in a manner that an unbiased observer would consider creative, whilst being capable of challenging humans on both a creative and scientific level [13].”
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“Pinning down computational creativity is difficult—a common working definition is “the study of building software that exhibits behavior that would be deemed creative in humans” [8].”
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“In another frontier of artificial intelligence, called computational creativity [10, 11], machines play an active role in the creation of new content.”
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“…ways, or having a beneficial use, or being of practical use” (Sarkar & Chakrabarti, 2011); (Chulvi et al., 2012); (Pozzebon et al., 2011); (S Colton et al., 2009); (Stojcic et al., 2018); (Glaveanu, 2012); (Sawle et al., 2011); (Kaufman & Beghetto, 2009); (Bila-Deroussy et al., 2015);…”
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“In the last few years, the discipline of Computational Creativity has come of age (Colton and Lopez 2009).”
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“Its characteristics and modes of assessment have been widely discussed by researchers in Psychology [27, 14] as well as in the AI subfield of Computational Creativity [4, 28, 12].”
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“Computational creativity is a lively research area that focuses on understanding and facilitating human creativity through the implementation of software programs [2].”
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“At its heart, computational creativity is the study of building software that exhibits behavior that would be deemed creative in humans [3].”
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“…of matter evolution at the material layer (Prigogine, 1967, 1996), species evolution at the biological layer (Darwin, 2004), dynamic human creativity at the psycho-social layer (Corazza, 2016; Kaufman & Sternberg, 2010), and computing-based innovation at the artificial layer (Colton et al., 2009).”
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“While computational creativity investigates automated approaches to visual art and storytelling [20, 48, 49], creativity support tools (CSTs) explore co-creation between AI and artists [19, 23, 36].”
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“These systems are designed to stimulate and support creativity up to a point where the system itself is capable of humanlevel creativity [13,14,24,70,71].”
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“Indeed, if the answer to the question of whether a computer can be creative was most probably negative a few years ago [12], recent advances in AI, especially in generative models, have revived the debate [35].”
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“…the artificial intelligence problem-solving paradigm, with its well-defined goals and algorithms to achieve them, into an artifact-generating paradigm that incorporates cognitive aspects of creativity and social and cultural interactions (Colton et al. 2009; Chen et al. 2009; Shneiderman 2007).”
BackgroundLife in the Cyber-Physical Society: The Need for Organic Creativity
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“For additional information on approaches to computational creativity, we refer the reader to the special issue of AI Magazine (AI Magazine, 2009) edited by Colton et al. (2009).”
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“[9].”
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“The application of artificial intelligence tools 2 in the arts is a relatively new and burgeoning area of interest (Colton, López de Mántaras, and Stock 2009).”
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“Creative AI, also called computational creativity , is perhaps best understood as the “subfield of artificial intelligence research where we study how to build software that exhibits behavior deemed creative in people” [5].”
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“…Sport Sparks was designed to automate activities associated with the four creative thinking techniques, consistent with Shneiderman’s first fresh idea for human-centered AI [47] and uses of computational creativity outputs such as images (e.g., [14]), music (e.g., [11]) and stories (e.g., [25]).”
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“One kind of definition that is found in much recent literature is one that uses human creativity as a defining behaviour: for example, ‘‘the study of building software that exhibits behavior that would be deemed creative in humans’’ [3].”
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“Since art is sensitive to society challenges, also media artists and interaction designers started to use learned feature as part of their artistic production in order to explore the relation between human and autonomous software [1][2][11].”
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“Computational creativity is coming of age as the sub-field of AI research concerned with the development of programs that generate creative output and, by extension, that can show intelligent creative behavior (Colton et al., 2009).”
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“The focus then shifts to artificial creativity [18], [19], exploring the capacity of machines producing creative output and the suitability of humans as role models for creativity [20].”
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- Authors
- Colton, S., de Mántaras, R. L., & Stock, O.
- Affiliations
- Imperial College London (GB)
- ORCID
- Stock, Oliviero
- Venue
- AI Magazine
- Publisher
- Wiley
- Published
- 2009-09
- Volume
- 30
- Issue
- 3
- Pages
- 11-14
- ISSN
- 0738-4602 (ISSN-L)
- 2371-9621
- OpenAlex
- W1792506368
- Cited by
- 92
- References
- 0
- Citations by year
- 2026: 3 · 2025: 7 · 2024: 3 · 2023: 6 · 2022: 9 · 2021: 3 · 2020: 5 · 2019: 8 · 2018: 5 · 2017: 8 · 2016: 4 · 2015: 7 · 2014: 6 · 2013: 4 · 2012: 11
- Type
- journal article
- Language
- en
- Open access
- bronze
- doi.org
- Locations
- AI Magazine (publishedVersion)
- DIGITAL.CSIC (Spanish National Research Council (CSIC)) (submittedVersion, other-oa)
- Topics
- Physical Sciences › Computer Science › Artificial Intelligence › Artificial Intelligence in Games
- Social Sciences › Psychology › Experimental and Cognitive Psychology › Creativity in Education and Neuroscience
- Social Sciences › Arts and Humanities › Visual Arts and Performing Arts › Art, Technology, and Culture
- Keywords
- computational creativity, artificial intelligence, creative systems
About these checks
Registry, retraction, Cites and statistics results are computed, not judged, with one exception: a printed reference that no index lists is read once by a model before it counts as a citation error. Claims are extracted by a model and kept only when their quote appears verbatim in the text; each cited source is then checked, with a model’s help, for whether it says what the claim relies on. Those verdicts can be wrong — read the claim’s quote and the cited source before relying on one.
Statistics and arithmetic are recomputed, not judged.
Confidence bands are shown only for fields calibrated on our annotated test set. None is calibrated yet, so no band is shown.
What counts as a claim ›How we measure confidence ›How we check this ›
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