雅思artificial artists答案
Artificial artists
你呢用英语怎么说Can computers really create works of art?
The Painting Fool is one of a growing number of computer programs which, so their makers claim, posss creative talents. Classical music by an artificial compor has had audiences enraptured, and even tricked them into believing a human was behind the score. Artworks painted by a robot have sold for thousands of dollars and been hung in prestigious galleries. And software has been built which creates art that could not have been imagined by the programmer.
2020教资下半年报名时间钢筋混凝土英语Human beings are the only species to perform sophisticated creative acts regularly. If we can break this process down into computer code, where does that leave human creativity? 'This is a question at the very core of humanity, ' says Geraint Wiggins, a computational creativity rearcher at Goldsmiths, University of London. 'It scares a lot of people. They are worried that it is taking something special away from what it means to be human.'
建设工程安全生产管理条例dayspringTo some extent, we are all familiar with computerid art. The question is: where does the work of the artist stop and the creativity of the computer begin? Consider one of the oldest machine artists, Aaron, a robot that has had paintings exhibited in London's Tate Modern and the San Francisco Muum of Modern Art. Aaron can pick up a paintbrush and paint on canvas on its own. Impressive perhaps, but it is still little more than a tool to reali the programmer's own creative ideas.
Simon Colton, the designer of the Painting Fool, is keen to make sure his creation doesn't attract the same criticism. Unlike earlier 'artists' such as Aaron, the Painting Fool only needs minimal direction and can come up with its own concepts by going online for material. The software runs its own web arches and trawls through social media sites. It is now beginning to display a kind of imagination too, creating pictures from scratch. One of its original works is a ries of fuzzy landscapes, depicting trees and sky. While some might say they have a mechanical look, Colton argues that such reactions ari from people's double standards towards software-produced and human-produced art. After all, he says, consider that the Painting Fool painted the landscapes without referring
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经典英文文章to a photo. 'If a child painted a new scene from its head, you'd say it has a certain level of imagination, ' he points out. 'The same should be true of a machine.' Software bugs can also lead to unexpected results. Some of the Painting Fool's paintings of a chair came out in black and white, thanks to a technical glitch. This gives the work an eerie, ghostlike quality. Human artists like the renowned Ellsworth Kelly are lauded for limiting their colour palette - so why should computers be any different?2006年时代周刊风云人物
甄嬛传日文版Rearchers like Colton don't believe it is right to measure machine creativity directly to that of humans who 'have had millennia to develop our skills'. Others, though, are fascinated by the prospect that a computer might create something as original and subtle as our best artists. So far, only one has come clo. Compor David Cope invented a program called Experiments in Musical Intelligence, or EMI. Not only did EMI create compositions in Cope's style, but also that of the most revered classical compors, including Bach, Chopin and Mozart. Audiences were moved to tears, and EMI even fooled classical music experts into thinking they were hearing genuine Bach. Not everyone was impresd however. Some, such as Wiggins, have blasted Cope's work as
pudoscience, and condemned him for his deliberately vague explanation of how the software worked. Meanwhile, Douglas Hofstadter of Indiana University said EMI created replicas which still rely completely on the original artist's creative impuls. When audiences found out the truth they were often outraged with Cope, and one music lover even tried to punch him. Amid such controversy, Cope destroyed EMI's vital databas.
But why did so many people love the music, yet recoil when they discovered how it was compod? A study by computer scientist David Moffat of Glasgow Caledonian University provides a clue. He asked both expert musicians and non-experts to asss six compositions. The participants weren't told beforehand whether the tunes were compod by humans or computers, but were asked to guess, and then rate how much they liked each one. People who thought the compor was a computer tended to dislike the piece more than tho who believed it was human. This was true even among the experts, who might have been expected to be more objective in their analys.
hurry什么意思Where does this prejudice come from? Paul Bloom of Yale University has a suggestion: h
e reckons part of the pleasure we get from art stems from the creative process behind the work. This can give it an 'irresistible esnce', says Bloom. Meanwhile, experiments by Justin Kruger of New York University have shown that people's enjoyment of an artwork increas if they think more time and effort was needed to create it. Similarly, Colton thinks that when people experience art, they wonder what the artist might have been thinking or what the artist is trying to tell them. It ems obvious, therefore, that with computers producing art, this speculation is cut short - there's nothing to explore. But as technology becomes increasingly complex, finding tho greater depths in computer art could become possible. This is precily why Colton asks the Painting Fool to tap into online social networks for its inspiration: hopefully this way it will choo themes that will already be meaningful to us.
