Mexico

ICCC&#39;21

ML Design for Creative Pursuits

magenta

generative models

# Welcome everyone to ACL 2022!

The 60th Annual Meeting of the Association for Computational Linguistics is taking place May 22-27, 2022 as a hybrid event, in Dublin and online. We are happy to welcome all of you to this anniversary edition with an almost 50-50 in-person and virtual participation. 
The main conference program features oral presentations, in-person and virtual posters and demo sessions, a plenary session for our best paper presentations and awards, three amazing keynote events and two new initiatives of invited talks: Spotlight Talks for Young Rising Stars (STIRS) and The Next Big Idea Talks. Posters (including Findings of ACL 2022) and demos are grouped by areas for both the in-person and the virtual sessions. For the virtual component, the talks will be on Zoom and the posters and the demos will be in GatherTown. The Student Research Workshop will have an oral session and a poster session as part of Poster Session 1. The program also features eight Tutorials and 28 Workshops. 

 
We wish you a wonderful conference! 
[**The ACL 2022 Organizing Committee**](https://www.2022.aclweb.org/organisers)
 
[**Conference Handbook**](https://drive.google.com/file/d/1_BUCMfhMVrjG9E2e71aHdHeE28KSje0l/view?usp=sharing) 
[**Mini Handbook**](https://drive.google.com/file/d/1qlBKl0wzmlVF1oCeMQl3BahLd9nLP5Ce/view?usp=sharing) 
[**Posters and Demo guides**](https://drive.google.com/file/d/1UucMAoCNncIOaH1rMMDa0owuG9qgvJTG/view?usp=sharing)

ACL 2022

The Association for Computational Linguistics (ACL) is the premier international scientific and professional society for people working on computational problems involving human language, a field often referred to as either computational linguistics or natural language processing (NLP). 

technical paper

### **Welcome to the Twelfth International Conference on Computational Creativity, ICCC’21!**

<iframe width=1280 height=720 style="border:0;" scrolling="no" src="https://screencast-o-matic.com/player/crQbitV66dw?width=1280&height=720&ff=1&title=0" allowfullscreen="true"></iframe>

Computational creativity is an interdisciplinary endeavor that is located at the intersection of the fields of artificial intelligence, cognitive psychology, philosophy, social sciences and the arts. The goal of computational creativity is to model, simulate or replicate creativity using a computer, to achieve one of several ends:

* to construct a program or computer capable of showing some level of creativity
* to better understand human creativity and to formulate an algorithmic perspective on creative behavior in humans
* to design programs that can enhance human creativity without necessarily being creative themselves

 The ICCC conference series organized by the [**Association for Computational Creativity**](https://computationalcreativity.net/) since 2010 is the only scientific conference that focuses on computational creativity alone and also covers all aspects of it.

To access the Twelfth International Conference on Computational Creativity, ICCC’21, you need to register for the conference.  Instructions on how to access the event will be provided directly to attendees and included on the Twelfth International Conference on Computational Creativity, ICCC’21 conference website. 

[Register now](https://computationalcreativity.net/iccc21/registration/)

Register now

ICCC'21

Welcome to the Twelfth International Conference on Computational Creativity, ICCC’21!

In recent years computer simulations have proven to be useful in the study of the origin and evolution of com- munication. In this paper, we present a system that is able to evolve image-based communication protocols to transmit information. We trained an encoder and a de- coder in an architecture similar to a model of commu- nication where the generator transforms a message into an image and the decoder tries to reconstruct the origi- nal message. This way the two networks are stimulated to work together to establish some type of communica- tion. We used the GloVe word to vector dataset to generate images for concepts and took advantage of its linear properties to generate new concepts. We analyse the results by comparing images of similar concepts and demonstrated that our system is capable of creating sim- ilar images for related concepts, distancing itself from different concepts.

Towards a Visual Language Using Neural Networks

We present a Computational Creativity system based on Conceptual Blending theory. To obtain diverse output -- in the form of blend spaces -- it allows a trade-off in the optimisation process according to multiple criteria. It is handled by a high performance Multiple Objective Evolutionary Algorithm supporting a large Knowledge Base, large input spaces, a high number of mappings as well of frames, all in the range of millions of elements in their structures. Some of CB's Optimality Principles were adapted into objectives as well as new ideas we decided to investigate. Initial experiments allows us to conclude that the system exhibits a form of creativity and its output is capable of depict a simple drawing or a short story.

A Heavy Duty Computational Model of Conceptual Blending Using Multiple Objective Optimisation

Wölfflin Affective Generative Analysis (WAGA) as an approach to understand and analyze the progress of machine-generated artworks in contrast to real art and their connection to our human artistic heritage, and how they extend the shape of art history. Specifically, we studied the machine-generated art after integrating creativity losses in the state-of-the-art generative models e.g., StyleGAN v1 and v2. We denote these models as Style Creative Adversarial Networks v1 and v2; in short, StyleCAN v1 and v2. We contrasted the learned representation between real and generated artworks through correlation analysis between constructed emotion (collected through Amazon MTurk) and Heinrich Wölfflin (1846-1945)'s principles of art history. Analogous to the recent ArtEmis dataset, we collected constructed emotions and explanations on generated art instead of real art to study the contrast. To enable Wölfflin Affective Generative Analysis, we collected 45,000 annotations on 1800 artworks; 1000 real and 800 generated. Our analysis shows a correlation exists between the Wölfflin principles and the emotions.

Wölfflin's Affective Generative Analysis of Artworks

MuSyFI is a system that tries to model an inspirational computational creative process. It uses images as source of inspiration and begins by implementing a possible translation between visual and musical features. Three different musical artifacts are generated: an automatic version, a co-created version, and a genetic version. The automatic version maps features from the image into musical features nondeterministically; the co-created version adds harmony lines manually composed by us to the automatic version; finally, the genetic version applies a genetic algorithm to a mixed population of automatic and co-created artifacts. In this Demo, we present the three different versions for four of the six evaluated images in our surveys

MuSyFI - Music Synthesis From Images

SOVIA, an interactive system that endows Claude Monet’s art with responsive auditory experiences. SOVIA uses computer vision trained on Monet’s artwork to take the user ``into the painting.'' When the user interacts with a digital version of Monet's landscapes, their mouse positions are mapped to sounds that artistically represent the objects that the user is currently exploring in the art. These interactive musical journeys have the potential to make classical art more captivating for modern audiences.

SOVIA: Sonification of Visual Interactive Art

In this short paper, we reflect on the long quest for intelligence and creativity of computing machinery as well as the suitability for prevailing machine learning techniques to be used in creative tasks. We believe that modularization and multi-layered structures are among essential ingredients constituting creative minds and may greatly benefit machines on handling creative tasks. For proof of concept, we select musical composition, particularly, Species Counterpoint, as the task, adopt a recently proposed computational framework designed for investigating creativity and the creative process, and present an implementation capable of producing the outcomes that exhibit the desired effect.

In the Name of Creativity: En Route to Inspiring Machines

We present a proof-of-concept prototype aimed at providing a subjectivity touch to the production of creative artifacts. The underlying idea is to have a system in which the development of the artifact occurs concurrently with the dynamic formation of a personal identity, thus enriching the overall perception of creativity.

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PRESENTATIONS

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Next from ICCC'21

Towards a Visual Language Using Neural Networks

Similar lecture

Stylistic Response Generation by Controlling Personality Traits and Intent

Stay up to date with the latest Underline news!

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Downloads