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Modeling Creativity - Case Studies in Python 无水印原版pdf
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TOM DE SMEDT — MODELING CREATIVITY
Faculteit Letteren en Wijsbegeerte
Departement Taalkunde
Modeling Creativity
CASE STUDIES IN PYTHON
Computermodellen van Creativiteit:
Gevalstudies in de Python-programmeertaal
Proefschrift voorgelegd tot het behalen van
de graad van doctor in de Kunsten
aan de Universiteit Antwerpen
te verdedigen door
Tom De Smedt
PROMOTOR
Prof. dr. Walter Daelemans
CLiPS Computational Linguistics Group
Universiteit Antwerpen
CO-PROMOTOR
Lucas Nijs
EMRG Experimental Media Research Group
St. Lucas University College of Art & Design, Antwerpen
Antwerpen, 2013
1
TOM DE SMEDT — MODELING CREATIVITY
Cover artwork: SELF-REPLICATION (Tom De Smedt & Ludivine Lechat)
The fonts in the book are Computer Modern, Helvetica Neue, Arial
and Courier New. The text was written in Google Docs. The layout
was processed in LibreOffice. The illustrations were done in NodeBox.
Computer Modern, LibreOffice and NodeBox are free and open source.
Print: Silhouet, Maldegem
© 2013 Tom De Smedt
2013 Uitgeverij UPA University Press Antwerp
UPA is an imprint of ASP nv (Academic and Scientific Publishers nv)
Ravensteengalerij 28
B-1000 Brussels
Tel. +32 (0)2 289 26 50
Fax +32 (0)2 289 26 59
E-mail: info@aspeditions.be
www.upa-editions.be
ISBN 978 90 5718 260 0
NUR 984 / 616 / 656
Legal deposit D/2013/11.161/016
All rights reserved. No part of this book may be reproduced or
transmitted in any form or by any means, electronic, mechanical,
photocopying, recording, or otherwise, without the prior written
permission of the author.
2
TOM DE SMEDT — MODELING CREATIVITY
Modeling Creativity
CASE STUDIES IN PYTHON
Tom De Smedt
“Enough!” he said, hoarse with indignation. “How dare you
waste a great talent on such drivel? Either give it decent poems
to write or I call the whole thing off!”
“What, those aren't decent poems?” protested Klapaucius.
“Certainly not! I didn't build a machine to solve ridiculous
crossword puzzles! That's hack work, not Great Art! Just give it
a topic, any topic, as difficult as you like . . .”
Klapaucius thought, and thought some more. Finally he
nodded and said:
“Very well. Let's have a poem, lyrical, pastoral, and expressed
in the language of pure mathematics. Tensor algebra mainly,
with a little topology and higher calculus, if need be. But with
feeling, you understand, and in the cybernetic spirit.”
“Love and tensor algebra? Have you taken leave of your
senses?” Trurl began, but stopped, for his electronic bard was
already declaiming:
Come, let us hasten to a higher plane,
Where dyads tread the fairy field of Venn,
Their indices bedecked from one to n,
Commingled in an endless Markov chain!
Come, every frustum longs to be a cone,
And every vector dreams of matrices.
Hark to the gentle gradient of the breeze:
It whispers of a more ergodic zone.
[...]
– Stanislaw Lem, The Cyberiad, Trurl’s Electronic Bard (1974)
© Barbara and Tomasz Lem. Used with permission.
3
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