Art & Neuroscience - Science topic

How can we objectively measure the creativity of drawings without relying on human judgment? Could metrics like color variety, stroke complexity, or compositional structure provide an algorithmic approach to evaluating creativity?

In recent years, more and more perfect robots equipped with artificial intelligence have been developed. New generations of artificial intelligence and/or machine learning technologies, when equipped with software that enables the creation of unique works, new creations, creative solutions, etc., can create a kind of artwork in the chosen field of creativity and artistry. If we connect a 3D printer to a robot equipped with an artificial intelligence system that is capable of designing and producing beautiful sculptures, can we thus obtain a kind of work of art?

When a robot equipped with an artificial intelligence system paints beautiful pictures, can the resulting works be considered fully artistic works of art?

If NO, why not?

And if YES, then who is the artist of the works of art created in this way, is it a robot equipped with artificial intelligence that creates them or a human being who created this artificial intelligence and programmed it accordingly?

What is your opinion on this topic?

What do you think about this topic?

Please reply,

I invite you all to discuss,

Thank you very much,

Best regards,

Dariusz Prokopowicz

How do I obtain gridded data points from discrete data points as shown in following figure?

In the context of the development and successive but also relatively fast emerging new applications of artificial intelligence technology, reflections on the essence of creativity, which until recently was considered an exclusively human trait, are emerging. However, rapidly emerging new applications of increasingly refined artificial intelligence, which can be taught to process increasingly creative and much more efficient multi-criteria processing of ever larger data sets, is becoming the basis for consideration of creative task solving by specific artificial intelligence solutions, including generative language models, i.e. ChatGPT 4.0. Among the many different fields in which humans develop their capacity for creativity is the arts. Within the framework of artistic activity, humans have been developing several key artistic fields such as painting, sculpture, architecture, literature, theatre, music and singing since ancient times. On the other hand, modern artistic fields such as photography and film are also developing, thanks to the technological revolutions that have taken place over the past two centuries. In recent years, a large proportion of the artworks collected in art galleries, libraries etc. have been digitised and have their digital counterparts, which are made available on the Internet. During the Coronavirus pandemic of 2020, the processes of digitisation of various types of artistic works and other products of human activity and creativity accelerated significantly. New ICT information technologies and Industry 4.0 have become of great help in the processes of digital processing, analysis and use of increasingly large amounts of data, including artistic works. Artificial intelligence technologies currently under development, after the application of specific learning processes, i.e. the application of machine learning and/or deep learning technologies, are capable of combining different types of data, including on different types of digitised media and digitised artistic works, to create something new, which can be considered a kind of new form of creativity. Sometimes, the effects of this kind of creativity realised by artificial intelligence are such a new field of application of this technology that the relevant legal regulations, including but not limited to copyright, have not yet been established. Well, if with the help of artificial intelligence it is possible to create pictures of an event that did not happen, i.e. as if one were to photograph a media-famous person in a situation and place where he or she has never really been, one can create a film with a cast of people who are no longer alive or who did not really exist at all, etc., then where does the creativity of those using artificial intelligence end? where does the creativity of people using artificial intelligence as a tool to achieve a specific goal end and where does the creativity of this technology begin, which, understanding the commands of humans, more and more precisely creates a kind of innovative solutions, more and more efficiently performs specific tasks and more and more creatively creates a kind of artistic works that are difficult to distinguish from their analytical works created traditionally, i.e. without the use of advanced information technology by humans. One particularly interesting thing that has already happened is the creation, with the help of artificial intelligence, of a new musical work of a song, in which the voice of a certain real existing singer is used, combined with new music and new song lyrics, and in this way a recording of a song sung by a singer who in reality never wrote the music and never sang the song is created. And if a song created in this way finds its way to the top of the charts, how will the question of honouring copyright be resolved, who is and to what extent the creator of such a work, to whom should the key part of the creativity in such a creation of a musical work be attributed? But of course, this is only an example, as similar, as yet unregulated complex processes for the creation of artistic works with the involvement of artificial intelligence in this process can and probably will be applied in other fields of art as well. In addition, the question of the creativity of artificial intelligence in the context of human creativity, in which also thought processes, consciousness, emotions, etc. are involved, also remains to be resolved.

In view of the above, I address the following question to the esteemed community of scientists and researchers:

What do you think about it?

What is your opinion on this subject?

Please respond,

I invite you all to discuss,

Thank you very much,

Best wishes,

Dariusz Prokopowicz

How do you research and bring work together?

You may use the technique of consilience without knowing it.

Read this definition and then let me know how you use consilience in your work.

LINK: https://en.wikipedia.org/wiki/Consilience

Highlights:

In science and history, consilience (also convergence of evidence or concordance of evidence) is the principle that evidence from independent, unrelated sources can "converge" on strong conclusions. That is, when multiple sources of evidence are in agreement, the conclusion can be very strong even when none of the individual sources of evidence is significantly so on its own. Most established scientific knowledge is supported by a convergence of evidence: if not, the evidence is comparatively weak, and there will not likely be a strong scientific consensus.

The principle is based on the unity of knowledge; measuring the same result by several different methods should lead to the same answer. For example, it should not matter whether one measures distances within the Giza pyramid complex by laser rangefinding, by satellite imaging, or with a meter stick – in all three cases, the answer should be approximately the same. For the same reason, different dating methods in geochronology should concur, a result in chemistry should not contradict a result in geology, etc.

The word consilience was originally coined as the phrase "consilience of inductions" by William Whewell (consilience refers to a "jumping together" of knowledge).[1][2] The word comes from Latin com- "together" and -siliens "jumping" (as in resilience).[3]

Yes, the 21st century can be called the age of photography, graphics, image, etc. because this form of transmission begins to dominate the Internet. In addition, photography can be cultivated and developed professionally or as a hobby, as art, i.e. artistically.

In my opinion, photography can be an art if it is practiced with passion etc. Sometimes a photo that qualifies for the artistic picture of the year is created by chance, like a unique impression captured in light photography.

Impression captured in a complete photograph, accidentally and unchangeable.

Another time, such an exceptional artistic picture arises after many weeks or months of preparation, after many rehearsals, in a unique place, which is not easy to reach and is a big undertaking.

It seems to me that it is similar to many other fields of art.

In view of the above, the current question is: Do you think photography can be art?

Please, answer, comments. I invite you to the discussion.

Dear fellow researchers,

I am looking for some advice on eye-tracking enabled VR headsets. Currently contemplating between HTC Vive Pro Eye and Pico Neo 3 Pro Eye... Both have built in eye tracking by tobii. Does anyone has any experience with any of them? Or can recommend any other brands?

We are planning to use it for research in combination with EEG and EDA sensors to assess human response to built environment. Any advice is much appreciated.

1) What are the differences between Order and Anarchy?

2) Any examples of Anarchy in Universe, Nature and known knowledge?

3) Anarchy also follow some rules?

4) Is Anarchy a part of Order?

5) Is anarchy a change maker?

6) Anarchy in real is an Anarchy?

7) Any other parameters and observations about anarchy?

Thanks

It seems the present method of evaluating students does not seem appropriate given access to vast knowledge in any field, via internet and search engines like Google.

Briely the present system relies on 'imparting" instructions, "developing skills as seen by a teacher or a Board of experts. Subsequently the students are evaluated via system of exminations . These examinations consist of questions which are kept confidential. Some of the questions are supposed to test the fundamental understanding as seen by the teacher. Some questions are "difficult" , the intent being to identify the "better" students.

This system in general suffers from , need for maintaining security, promoting rote learning , discouraging team discussions, occluding original doubts of the laws in the subject (which may actually lead to new frontiers).

A different approach could be to publish the question bank well in time and pose only a selected set for a conventional type of examination. This allows discussion among students, possible research via search engines, and possible new perceptions of young minds .In this method of evaluation, a separate section where students do not answer but raise "good" questions could also be incorporated. This would give credit for being creative and involved, sorely lacking in present system. This is an explorative view for a better education model in the era of the Internet. Would welcome views from all.

Cheers

Hi everybody -

I'm interested in getting a current picture of what academic institutions have interest in aesthetics and neuroaesthetics. Where are researchers in this field concentrated? Do you know of a psych or neuro department where student or faculty interest in this research area is increasing? Are there any new programs, courses, or centers out there? Do tell!

Thanks,

Ed

My obvious additions to this list:

What kind of art do you like best?

Which direction, trend, epoch, etc. of art do you like?

For example, what direction, trend in painting do you like?

My favorite trend in painting is impresonism, which has been developing from the beginning of the 20th century to the present day. Also in other genres, types of art, graphics, posters and films, Impressionist trends can be found.

Please, answer, comments. I invite you to the discussion.

Hello everyone, I am interested in the role of the body (or corporal dimention) in the educational context, specifically the interactions between teacher and students during the teaching-learning process.

Thank you

Best regards,

Paola

New ideas in art and science contain something of innovation, artistry, creativity, emotional intelligence, higher human needs, etc.

On the other hand, the answer to this question will probably never be complete, because the cognitive and research capabilities of the human brain, the human consciousness are unlimited and creativity.

In view of the above, the current question is: How to define the sources of new concepts in art and science?

Please, answer, comments. I invite you to the discussion.

Dear all,

are there any research gaps in the field of attachment, mentalization, trauma, art therapy that could be investigated in a phd study?

Best, Natalia

Dear colleagues,

Do you have an idea about the source of light through which we see dreams ? and what is the source of light through which we can see the colors we see in dreams?

I wish you all the best

Huda

Materials are means to creation in architecture and long been an obsession for architects. The interconnection between sound and architecture has also been lauded in design field (though the relation is less enthralling and constrained). Architects' interviews/narratives highlight these topics. But what about the users? Is there any congruence between designers and users on these attributes?

How does drawing what we see relate to writing what we experience? Are we as self-conscious? (See below.) In a question I posed here called "Why can't we draw what we see" I asked why Piaget and other developmental psychologists noted a falling off of attempts to draw at the age of puberty. Also self reporting of how it felt to draw register more dissatisfaction with one's one efforts at this age and on. In college writing classes I would start with this "ice breaker" to get students acquainted: DRAW A FISH. Just a cartoon fish or whatever. Would they draw a big fish or a tiny one and would they include context (background.) No grades. They would look at partner's fish and see what it told about the partner. Several students usually protested that they couldn't draw and showed evident drawing anxiety. They alluded to experiences outside class of not being able to draw. In writing what we experience are similar self-doubts inhibiting writing? Are the two activities connected cognitively in close ways? I wish I could have tracked whether the same people who said they couldn't draw also showed writing anxiety.

References:

Journal of Projective Techniques and Personality Assessment 25.3

Handler, Leonard and Joseph Reyher. “Figure Drawing Anxiety Indexes: A Review of the Literature.” Journal of Projective Techniques and Personality Assessment 25.3 (1963): 305-313.

I am a teacher and playwright, currently studying a Master´s Program in Cognition, Learning and Development at the Pontificia Universidad Católica del Perú. I find that the insights of cognitive science are of the utmost importance for theatre. And I know there are some experiences in the matter, but would like to find out more about it and connect with people who, like me, would be interested in exploring the subject.

I'm starting a qualitative research on actors self-learning. Focusing on the poiesis of the on-stage creating process. 

I'm looking for different methodical approaches on use of phenomenology for the artistic creation process.

The recent release of images created by Google Research's 'Inceptionism' neural network software,

http://googleresearch.blogspot.co.uk/2015/06/inceptionism-going-deeper-into-neural.html,

generates images reminiscent variously of Bosch, Dali, Hundertwasser, Tibetan Buddhist murals and fractal poster art.

While I am generally violently allergic to computational analogies for mind and brain, the capacity of the system to generate what we would call pareidolia if were in humans, is astonishing. The capacity of Inceptionism to hallucinate seems to suggest neural analogies. Inceptionism proposes a direct link between visual learning and image construction. Specifically that image and pattern recognition mechanisms can be/are deployed for visual creativity. What is exciting to me about this is further 'evidence' for the destabilisation of rhetorics of 'higher faculties' in the brain, and support for ideas like those proposed by Lakoff and Gallese in their 'where do concepts come from' in which they argue that concepts arise directly from sensorimotor circuits. This is somewhat akin also to mirror neuron research which indicates a direct, non-conscious link between vision and motor circuits which implement 'learning' without higher reasoning. (This ideas links this thread with the current 'analogy and thinking' thread).

The research also suggests neural mechanisms for some of the ideas of gestalt psychology.

It also has implications for pedagogy in the sense that aspects of  traditional pedagogies of practice seem vindicated.

I'm interested to hear various perspectives.

Hi,

I need to plot a graph showing the anatomical architecture of the cerebellum (from Granular layer to molecular layer with different types of cells at its own specific layer). Is there any software package I can use to help me creating this image? Any suggestions will be appreciated. Thank you very much in advance. 

How can this be indicated or proved? I came to the conclusion that synchronicities and special coincidences had something to do with activities in the region of art by those who use art as a vehicle for research in the domain of neuroscience and psychology.

How do we perceive a picture (painting, drawing, photography, etc) as a meaningful whole and as being "art", a three dimensional reality and not simply as two dimensional images or sub-parts of images?

M Leuven (Belgium) is planning a new pseudo-permanent presentation of its collections. We are thinking of a 5-year research project in order to use our presentations as a lab to measure the interaction between public and visual works of art (old masters! What are the possibilities and pitfalls? What can be interesting (see: with practical museological results) research topics?

I am looking for journals to cite on the POSITIVE EFFECTS of music on any of these broad areas: brain development, coordination, spatial IQ, cognitive IQ, overcoming learning disabilities, overcoming neurological delays, increased chances of going to college. It is fine if the source is a recent or old journal. Please provide links, thanks.

(When I looked in RG, there was one, but it's still at an accepted article stage.)

Neuroscience has had an interest in the creation and reception of fine art (painting, drawing, sculpture, printmaking) for the last two decades. I am interested whether neuroscience also has in interest in art education? If there is an interest, how is this interest shown? What are the questions asked, answers found and what are the major publications in this area?

Arnheim wrote extensively on psychology and art. I would be really interested to hear what people on Researchgate think about his work now as his writing is getting to be rather old? How well do you think this has stood up to the test of time?

Cultural transmission in animals is well accepted, but what about art produced by wildlife? Do animals produce art?