“A brilliant travel guide to the coming world of AI.”
—Jeanette Winterson

What does it mean to be creative? Can creativity be trained? Is it uniquely human, or could AI be considered creative?

Mathematical genius and exuberant polymath Marcus du Sautoy plunges us into the world of artificial intelligence and algorithmic learning in this essential guide to the future of creativity. He considers the role of pattern and imitation in the creative process and sets out to investigate the programs and programmers—from Deep Mind and the Flow Machine to Botnik and WHIM—who are seeking to rival or surpass human innovation in gaming, music, art, and language. A thrilling tour of the landscape of invention, The Creativity Code explores the new face of creativity and the mysteries of the human code.

“As machines outsmart us in ever more domains, we can at least comfort ourselves that one area will remain sacrosanct and uncomputable: human creativity. Or can we?…In his fascinating exploration of the nature of creativity, Marcus du Sautoy questions many of those assumptions.”
—Financial Times

“Fascinating…If all the experiences, hopes, dreams, visions, lusts, loves, and hatreds that shape the human imagination amount to nothing more than a ‘code,’ then sooner or later a machine will crack it. Indeed, du Sautoy assembles an eclectic array of evidence to show how that’s happening even now.”
—The Times

Considers the cultural and philosophical assumptions underlying virtual reality, and how the technology affects the real world. Virtual reality is in the news and in the movies, on TV and in the air. Why is the technology--or the idea--so prevalent precisely now? What does it mean--what does it do--to us? Digital Sensations looks closely at the ways representational forms generated by communication technologies--especially digital/optical virtual technologies--affect the "lived" world. Virtual reality, or VR, is a technological reproduction of the process of perceiving the real; yet that process is "filtered" through the social realities and embedded cultural assumptions about human bodies, perception, and space held by the technology's creators. Through critical histories of the technology--of vision, light, space, and embodiment--Ken Hillis traces the various and often contradictory intellectual and metaphysical impulses behind the Western transcendental wish to achieve an ever more perfect copy of the real. Because virtual technologies are new, these histories also address the often unintended and underconsidered consequences--such as alienating new forms of surveillance and commodification--flowing from their rapid dissemination. Current and proposed virtual technologies reflect a Western desire to escape the body, Hillis says. Exploring topics from VR and other, earlier visual technologies, Hillis's penetrating perspective on the cultural power of place and space broadens our view of the interplay between social relations and technology. "His discussion is ambitious; not only does he bring together multiple disciplines and philosophies, he traces history from the Renaissance to the present." --Technical Communication Quarterly "Ken Hillis has written a wise interrogation of the impact of virtual environments and the marriage of new digital and visual technologies. Carefully balancing between the dangers of all-too-common and too-easy skepticism and the risk of being seduced by the new medium, this book analyses the manner in which the use of technologies to produce virtual environments (VEs) changes the bases on which assumptions concerning democratic politics and identity flourish." --Space and Culture Ken Hillis is assistant professor in the Department of Communication Studies and adjunct professor of geography at the University of North Carolina at Chapel Hill.

Explores how creative digital technologies and artificial intelligence are embedded in culture and society.
 
In The Inspiration Machine, Eitan Y. Wilf explores the transformative potentials that digital technology opens up for creative practice through three ethnographic cases, two with jazz musicians and one with a group of poets. At times dissatisfied with the limitations of human creativity, these artists do not turn to computerized algorithms merely to execute their preconceived ideas. Rather, they approach them as creative partners, delegating to them different degrees of agentive control and artistic decision-making in the hopes of finding inspiration in their output and thereby expanding their own creative horizons.
 
The algorithms these artists develop and use, however, remain rooted in and haunted by the specific social predicaments and human shortfalls that they were intended to overcome. Experiments in the digital thus hold an important lesson: although Wilf’s interlocutors returned from their adventures with computational creativity with modified, novel, and enriched capacities and predilections, they also gained a renewed appreciation for, and at times a desire to re-inhabit, non-digital creativity. In examining the potentials and pitfalls of seemingly autonomous digital technologies in the realm of art, Wilf shows that computational solutions to the real or imagined insufficiencies of human practice are best developed in relation to, rather than away from, the social and cultural contexts that gave rise to those insufficiencies, in the first place.

The evolution of eye tracking and brain-computer interfaces has given a new perspective on the control channels that can be used for interacting with computer applications. In this book leading researchers show how these technologies can be used as control channels with signal processing algorithms and interface adaptations to drive a human-computer interface.

Based on scientific understanding and empirical evidence of how humans understand and interact with robotic and autonomous systems, the author reviews the concerns that have been raised around the deployment of AI and robots in human society, and the potential for disruption and harm. He explains why transparency ought to be a fundamental design consideration for Human Computer Interaction (HCI) and artificial intelligent systems. Starting with a survey of global research in the field and what transparency means in the wider context of trust, control and ethics, the author then introduces a transparent robot control architecture, and the impact of transparency using real-time displays. He presents a case study of a muttering robot, and covers current and upcoming standards for transparency, as well as future perspectives for the design, manufacture and operation of autonomous robotic systems.

The needs of future digital data and computer systems are expected to be two to three orders of magnitude larger than for today's systems, to take account of unprecedented amounts of heterogeneous hardware, lines of source code, numbers of users, and volumes of data. Ultrascale computing systems (UCS) are a solution. Envisioned as large-scale complex systems joining parallel and distributed computing systems, which can be located at multiple sites and cooperate to provide the required resources and performance to the users, these technologies will extend individual systems to provide the resources that are very much needed.