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Computational Creativity 2007 Foreword The International Joint Workshop on Computational Creativity began life as two independent workshop series: the Creative Systems Workshops and the AISB Symposia on AI and Creativity in the Arts and Sciences. The two series merged in 2004, when the 1st IJWCC was held in Madrid, as a satellite workshop of the European Conference on Case Based Reasoning. Since then, two further satellite worshops have been held, at the International Joint Conference on Artificial Intelligence in Edinburgh, in 2005, and at the European Conference on Artificial Intelligence in Riva del Garda, in 2006. This workshop constitutes the workshop’s first attempts at independent existence, and the quality of the papers submitted suggests that the time is now ripe. This workshop received 27 submissions, all of which were subjected to rigorous peer review (at least 3 reviewers to each paper), and 17 full papers and 3 posters were accepted (one poster was subsequently withdrawn). We believe this volume represents a coming of age of the field of computational creativity. It contains evidence of not only improvements in the state of the art in creative systems, but also of deep thinking about methodology and philosophy. An exciting new development is the inclusion, for the first time, of a session on applied creative systems, demonstrating that the field is now ready and able to impinge on broader artificial intelligence and cognitive science research. As co-chairs, we would like to thank the programme committee and reviewers, our able local assistants, Ollie Bown and Marcus Pearce, and all those who submitted papers to make this a really exciting event. Am´ıilcar Cardoso & Geraint A. Wiggins Workshop co-chairs Programme Committee and Reviewers Barnden, John A – University of Birmingham Bown, Oliver – Goldsmiths, University of London Brown, David – Worcester Polytechnic Institute Cardoso, Amilcar – University Of Coimbra Collomosse, John – University of Bath Colton, Simon – Imperial College London Gervas,´ Pablo – Universidad Complutense de Madrid Gomes, Paulo – University of Coimbra Keller, Robert – Harvey Mudd College Leite, Joao˜ – New University of Lisbon Lopez,´ Jesus´ – University of Southern Queensland Lopez´ de Mantaras,` Ramon – IIIA-CSIC Machado, Penousal – University of Coimbra Magnani, Lorenzo – University of Pavia Moffat, David C. – Glasgow Caledonian University O’Donoghue, Diarmuid P. – NUI Maynooth University Pearce, Marcus T. – Goldsmiths, University of London Pease, Alison – University of Edinburgh Pereira, Francisco Camaraˆ – University of Coimbra Perez´ y Perez,´ Rafael – Autonomous Metropolitan University of Mexico Rauchas, Sarah – Goldsmiths, University of London Ritchie, Graeme – University of Aberdeen Saunders, Rob – University of Sydney Seco, Nuno – University of Coimbra Stock, Oliviero – ITC-irst Veale, Tony – University College, Dublin Widmer, Gerhard – University of Linz Wiggins, Geraint A. – Goldsmiths, University of London i Computational Creativity 2007 ii Computational Creativity 2007 Contents Keynote Text representation of music: from word processing to rule-based composition/improvisation . 1 Bernard Bel, University of Aix-Marseille Creativity in Narrative A Computer Model that Generates Biography-like Narratives. 5 Samer Hassan, Pablo Gervas,´ Carlos Leon,´ Raquel Hervas,´ Complutense University, Madrid, Spain On the Fly Collaborative Story-Telling: Revising Contributions to Match a Shared Partial Story Line . 13 Pablo Gervas,´ Universidad Complutense de Madrid, Spain; Rafael Perez´ y Perez,´ Ricardo Sosa, National Autonomous University of Mexico Narrative Inspiration: Using Case Based Problem Solving to Support Emergent Story Generation . 21 Ivo Swartjes, Joost Vromen, University of Twente, The Netherlands Analogy & Language Evaluating Computer-Generated Analogies . 31 Diarmuid P. O’Donoghue, NUI Maynooth University, Ireland A Generative Grammar for Pre-Hispanic Production: The Case of El Taj´ın Style . 39 Manuel alvarez´ Cos, Rafael Perez´ y Perez,´ Atocha Aliseda, National Autonomous University of Mexico Tra-la-Lyrics: An approach to generate text based on rhythm . 47 Hugo Oliveira, Am´ılcar Cardoso, Francisco Camaraˆ Pereira, University of Coimbra, Portugal Musical Creativity A Hybrid System for Automatic Generation of Style-Specific Accompaniment . 57 Ching-Hua Chuan, Elaine Chew, University of Southern California, USA On the Meaning of Life (in Artificial Life Approaches to Music). 65 Oliver Bown, Geraint A. Wiggins, Goldsmiths, University of London, UK Evaluating Cognitive Models of Musical Composition . 73 Marcus T. Pearce, Geraint A. Wiggins, Goldsmiths, University of London, UK Systematic Evaluation and Improvement of Statistical Models of Harmony . 81 Raymond Whorley, Geraint A. Wiggins, Marcus T. Pearce, Goldsmiths, University of London, UK Applied Creative Systems A practical application of computational humour . 91 Graeme Ritchie, University of Aberdeen, UK; Ruli Manurung, Helen Pain, University of Edinburgh, UK; Annalu Waller, Rolf Black, Dave OMara, University of Dundee, UK Automatizing Two Creative Functions for Advertising . 99 Carlo Strapparava, Alesandro Valitutti, Oliviero Stock, ITC-irst, Italy iii Computational Creativity 2007 Frameworks for Creativity Algorithmic Information Theory and Novelty Generation . 109 Simon McGregor, University of Sussex, UK How Thinking Inside the Box can become Thinking Outside the Box . 113 Chris Thornton, University of Sussex, UK Minimal creativity, evaluation and fractal pattern discrimination . 121 Jon Bird, Dustin Stokes, University of Sussex, UK Creative Ecosystems . 129 Jon McCormack, Monash University, Australia Towards a General Framework for Program Generation in Creative Domains . 137 Marc Hull, Simon Colton, Imperial College London, UK Posters From DNA to 3D Organic Art Forms - FormGrow Revisited . 147 William Latham, Miki Shaw, Stephen Todd, Fred´ edric´ Fol Leymarie, Goldsmiths, University of London, UK Towards Creative Visual Expression in Virtual Humans . 148 Celso de Melo, Ana Paiva, Technical University of Lisbon, Portugal iv Computational Creativity 2007 Keynote Text representation of music: from word processing to rule-based composition/improvisation Bernard Bel, University of Aix-Marseille The Bol Processor project originated in 1980 as a word processor facilitating the transcription of quasi- onomatopoeic syllables used as an oral notation system for Indian drumming. It grew up as an expert system (BP1) mimicking the ability to compose variations on a musical theme or assess their acceptability. Pattern grammars (a subset of type-2 formal grammars) proved appropriate for modelling the musical system under study. A stochastic learning device was implemented to infer weights from sets of examples accepted by the grammar, with the effect of enhancing the aesthetic quality of productions. None the less, field work revealed limitations inherent to the expert system approach when it comes to modelling sophisticated human improvisation skills. In 1989 a numeric-symbolic learning device (QAVAID) was implemented in Prolog II for inferring grammars from examples. However, it has never been used in fieldwork because of its slow operation on portable computers of that time. The next implementation of Bol Processor (BP2) addressed the issue of music composition and impro- visation in the MIDI and Csound environments of electronic music. A new challenge was to deal with su- perimposed sequences of events (polyphony) within the framework of text-oriented rewriting systems. This was achieved by means of polymetric representation. Minimal descriptions of polyphonic/polyrhythmic structures may be “expanded” by the system to produce arbitrarily complex musical scores. This represen- tation makes it possible to produce sophisticated time-patterns from information comprehensively imbed- ded in compositional rules, thereby maintaining the consistency of interpretation. This is a major discovery for computer music, as “human-like” phrasing is no longer achieved by randomness nor “interpretation rules”. Producing the actual performance requires additional information which the Bol Processor encapsulates in metrical/topological properties of “sound-object prototypes”. A time-setting algorithm modifies sound- objects taking into account physical timing and their adjacent sound-objects, much in a similar way human speakers modify the articulatory properties of speech sounds with respect to the speaking rate and influence of adjacent segments (coarticulation). Many composers and music teachers support the Bol Processor approach because of its underlying paradigm of text representation, i.e. “composing with pen and paper”. It found its way long before the invention of markup languages, at a time only graphic interfaces were expected to capture the sophistication of compositional processes. BP2 is currently implemented for MacOS 9 and MacOS X. The project has been open-sourced by Sourceforge at http://sourceforge.net/projects/bolprocessor/ with the help of An- thony Kozar. Bernard Bel is a computer scientist with background in electronics. In 1979 he started collaborating with anthropologists, musicologists and musicians on a scientific study of North Indian melodic and rhythmic systems. In 1981 he built the first accurate real-time melodic movement analyser (MMA) for the analysis of raga music. In 1986 he joined the French National Centre for Scientific Research (CNRS) in Marseille to continue a research on the rule-based modelling of training methods

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