Towards the problem of automated creativity in arts and design: instrumental and generative approach

The authors focusing on the problems of the automated creativity in the context of digitalization processes that have affected all spheres of life of a modern human. Two approaches to the problem are proposed - instrumental and generative. The instrumental approach demonstrates logic of expanding human creativity and resources through new digital tools. The generative approach demonstrates a different logic: technologies are not simply delegated creative tasks, but a high level of autonomy for their solution is assumed without the participation of a person/artist. Focusing on practices of art and design, the authors demonstrate consistency of both approaches and the need for further consideration of the problem from the point of view of their equal heuristic power. The instrumental approach and its anthropological significance are deeply and vividly represented in the studies of Mashall McLuhan with his famous thesis about technology as an extension of man. Every technology is made to increase human potential - it must expand our capabilities, strengthen and complement them so that more people can perform more creative tasks for a longer time. In the logic of the instrumental approach, computers and digital technologies expand our thinking processes, enhance and complement intelligence and our creativity. In the automation of the design process, the so-called “generative design” is used to solve creative problems. At the same time, the generative design itself is not something fundamentally new and technological, it has existed for a long time. The generative design method involves the use of an autonomous system to create a product, and it can be both digital and mechanical. There are two methods by which generative design works - algorithmic and evolutionary. Algorithmic is based on the method of random numbers, works with a large number of parameters and data, generates various combinations from the initial characteristics. The evolutionary method, with each subsequent launch, design creation, takes into account the assessments of the real audience or the designer supervising the program regarding the aesthetics of the previous work. Focusing on practices of art and design, we conclude with mentioning consistency of both approaches and the need for further consideration of the problem from the point of view of their equal heuristic power.

Keywords

Authors

References