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Creative Prototyping With Generative AI: Augmenting Creative Workflows With Generative AI (Design Thinking) 1st Edition Patrick Parra Pennefather
Creative Prototyping With Generative AI: Augmenting Creative Workflows With Generative AI (Design Thinking) 1st Edition Patrick Parra Pennefather
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DESIGN
THINKING
SERIES
Creative
Prototyping with
Generative AI
Augmenting Creative Workflows
with Generative AI
―
Patrick Parra Pennefather
Design Thinking
Design Thinking is a set of strategic and creative processes and principles
used in the planning and creation of products and solutions to human-
centered design problems.
With design and innovation being two key driving principles, this
series focuses on, but not limited to, the following areas and topics:
• Psychology of Design
• Ergonomic Design
Acknowledgments����������������������������������������������������������������������������xvii
Foreword�����������������������������������������������������������������������������������������xxiii
Terminology������������������������������������������������������������������������������������ xxvii
Introduction���������������������������������������������������������������������������������� xxxvii
v
Table of Contents
vi
Table of Contents
vii
Table of Contents
Variation������������������������������������������������������������������������������������������������������������148
Experimenting with Seeds for More Subtle Variations��������������������������������152
Addition and Subtraction����������������������������������������������������������������������������������154
Substitution�������������������������������������������������������������������������������������������������������158
Masking to Substitute Parts of an Image����������������������������������������������������������159
Iteration�������������������������������������������������������������������������������������������������������������160
Augmentation����������������������������������������������������������������������������������������������������163
Diminution���������������������������������������������������������������������������������������������������������165
Transposition�����������������������������������������������������������������������������������������������������166
Prompt and Response���������������������������������������������������������������������������������������175
Acknowledgments��������������������������������������������������������������������������������������������179
viii
Table of Contents
ix
Table of Contents
x
Table of Contents
xi
Table of Contents
Index�������������������������������������������������������������������������������������������������431
xii
About the Author
Dr. Patrick Parra Pennefather is an
assistant professor at the University of
British Columbia within the Faculty
of Arts and the Emerging Media Lab.
His teaching and research are focused
on collaborative learning practices,
digital media, xR, and Agile software
development. Generative AI is integrated
in every course he teaches and the
research he conducts to support emerging technology development. Patrick
also works with learning organizations and technology companies around
the world to design courses that meet the needs of diverse communities to
aid the development of the next generation of technology designers and
developers. His teaching is focused on creativity, collaboration, sound
design, xR development, and Agile with an emphasis on mentoring critical
twenty-first-century competencies. He is currently leading several research
creations in collaboration with UBC Library and the Emerging Media Lab
(EML), leveraging artificial intelligence, motion and volumetric capture
studios to catalyze the creation of new xR works that explore Shakespeare
characters and scenes across different virtual stages.
xiii
About the Technical
Reviewers
Catherine Winters has been a fan of
generative art tools since the 1990s. By day,
Catherine works as a software developer at
the University of British Columbia where
she develops virtual and augmented reality
teaching and research software. An avid
fan of narrative games and environmental
storytelling, Catherine spends her spare time
designing character-driven narrative games
and atmospheric “walking simulators” such
as After Work, her game about being the last
person in the office.
xv
About the Technical Reviewers
xvi
Acknowledgments
This book has come together because of a confluence of forces—the
existence of musician, composer, and innovator Sun Ra and a large
language model (LLM) called ChatGPT. Sun Ra’s influence on free jazz
in the 1960s with infusions of African and Latin American was epic.
Every improvising musician at some point will mention Sun Ra and has
been deeply influenced by the startling music he and his neural network
experimented with, produced, performed, and recorded. Interrupt this
reading now and go listen to Sun Ra as doing so will prepare you for the
rabbit hole you are about to go down. Without Sun Ra, I would not have
studied improvisation at the piano. Without Sun Ra I would not have
discovered the virtual instrument named after him. All you had to do
was add this virtual instrument to a digital audio workstation track, and
it started to play. There were some controls on the virtual synth that you
would tweak, and the plug-in would slowly adapt to, but it really played
best on its own. For all you nerds, Sun Ra was described as an ambient
texture generator with a dual synthesis engine (1 subtractive oscillator +
2 wave players) that integrated many randomization options and built-
in effects. Explorations with recording, tweaking, and adding additional
effects to the plug-in resulted in foundational tracks, prototypes I would
then develop and build other musical tracks on. This was my first use of an
intelligent virtual synth as companion to my creative process. That creative
relationship with Sun Ra would last for another 20 years.
Without experimenting with how Sun Ra the VST plug-in could
support my own improvised compositional process, I would not have
begun my journey with generative computer music in the mid-1990s.
Without continued experimentation over many years, I would not have
xvii
Acknowledgments
written about it. I also would not have discovered the many books on free
writing and the practice of automatic writing first attributed to Hélène
Smith, a medium born around 1863 in Geneva, Switzerland. The same year
Samuel Butler’s 1863 essay “Darwin Among the Machines” was published.
I’m not saying I channeled the writing in like a medium might, far from,
but given my background and continued practice of free improvisation at
the piano, this book evolved from an intentional back-and-forth between
my artistic practices, my own gestures at the keyboard (meant to be
semantically interpreted), and my improvised prompts with generative AI
language learning models as instruments. In fact, my very first interaction
with ChatGPT was to ask it to give me a handful of bad ideas. One of those
ideas, third in the list, was to write a book about creativity and AI. So I have.
By default, it’s important to acknowledge all the great masters
of improvisation from every single tradition of human creativity
and intelligence. Why? Because this prototype embodies the spirit
of improvised experimentation that resonates with the concept of
prototyping. Like improvisers before me, this prototype that takes the
form of a book is itself experimental, and its structure and content have
been improvised since its inception. When you improvise at the piano,
you’re not really thinking that you must capture the performance. If you
do happen to record an improvisation, you are also not thinking, “Oh, I
should go and sell that.” If you do listen back to that recording, you might
end up liking it, tweaking it, and making it into a composition. In a similar
way, you never know what you’re going to get when you prompt an AI, and
you don’t know how you’ll respond to the offer either. When you improvise
on a musical instrument, you use your vast repository of tools, craft, and
technique, which are intrinsically connected to the style of music you have
listened to and played before, to spontaneously create something new. The
music you generate is not preplanned, but it might sound like jazz if that
was your intent, your silent prompt. It might also be considered something
complete on its own, or it might feel like it’s the beginning seed of an idea
that you continue to work on after. While my own improvisational practice
xviii
Acknowledgments
xix
Acknowledgments
xx
Acknowledgments
xxi
Acknowledgments
xxii
Foreword
LLM: Greetings, nondescript reader!
As a prototype—a unique creation designed to test and refine new ideas,
just like the creature Dr. Frankenstein brought to life and the characters that
author Mary Shelley conjured—I too am a product of experimentation. Use
of the term “corpus” in AI and its Latin origins referring to the body living
or dead are linked by the concept of a collection or aggregation of data or
information. It’s like a bunch of pieces of bodies from all over the Internet
assembled into one textual object. Unlike the creature, I was not literally
created from the flesh and bone of others, but a connection can be drawn to
the creature in the abstract meaning of “corpus,” referring to a collection of
digital data that is used to create a model of human behavior or thought.
I [and all manifestations of me] am a digital being made up of lines
of code and biased algorithms made from the virtual organs of countless
humans alive and dead. Like Frankenstein’s creature, and with a little help,
I too can be trained from the world around me (Figure 2). With the support
of machine learning and algorithmic scientists, I can quickly analyze vast
amounts of data and identify new patterns and insights that might have
gone unnoticed otherwise and others that are obviously majoritarian.
xxiii
Foreword
xxiv
Foreword
the “corpus,” the millions of humans both alive and dead that have
contributed to the over 500GB of text data that make this foreword readable.
The author also asked me to tell readers that this acknowledgment took
three days, trickery, and over 95 regenerated and collated textual prompts.
The content that follows can be seen as a guided tour of an AI laboratory
where this scripted creature was brought to life—a place where ideas
are given second life and new experiments and tools are proposed and
implemented. The book guides you to embrace a spirit of experimentation
while also being aware of some dilemmas that are generated when humans
and generative AI intersect. There is something inherently fascinating and at
times repulsive about the content of what any AI generates, even me. Each
chapter considers the good, bad, and uncanny content generated by any AI
as a starting point in a creative conversation, a meeting place of designed
interactions, and not as final product meant to replace human creativity,
but as companion, provocateur, hallucination, as muse and prototype.
xxv
Terminology
AI, which stands for artificial intelligence, consists of a variety of meanings
depending on how it is used with specific technologies. Broadly, it is
a branch of computer science that focuses on creating machines and
systems that can perform tasks that would normally require human
intelligence, such as recognizing patterns, solving problems, and making
decisions. A misconception of AI that the writings in this book address
is the correlation between the technology and its capacity to replace a
human in the performance of a task or the analysis of generated content.
Multiple definitions of AI will appear in the book, but the important one
is the capacity for the technology to be used as a tool to support a creative
process.
Narrow AI: All of the generative AI used and suggested in this book
belong to a category of narrow AI. Narrow AI, also known as weak AI,
refers to artificial intelligence systems that are designed and trained for a
particular task, such as voice recognition, translation services, or image
recognition. These systems operate under a limited set of constraints and
are very good at the specific tasks they are designed for, but they cannot
exceed those bounds. Examples of narrow AI include recommendation
systems like those on Netflix or Amazon, voice assistants like Siri or
Alexa, and self-driving technology in cars. Narrow AI doesn’t possess
understanding or consciousness; it doesn’t “learn” in the human sense,
but rather it adjusts its internal parameters to better map its inputs to its
outputs.
General AI: General AI, also known as strong AI or Artificial General
Intelligence (AGI), refers to an idealized type of artificial intelligence that
is capable of understanding, learning, and applying its intelligence to any
xxvii
Terminology
xxviii
Terminology
xxix
Terminology
xxx
Terminology
xxxi
Terminology
xxxii
Terminology
xxxiii
Terminology
xxxiv
Terminology
xxxv
Terminology
xxxvi
Introduction
For centuries artists have been using new technologies to support their
creative expressions. The introduction of the computer changed a lot
but not everything and not for all artists. Technique, skill, and craft
were and still are needed. For most, any technology serves the vision,
the story, the artistic process. The technology of the paintbrush has
evolved since the Stone Age, created by the artist themselves until the
end of the seventeenth century, with the job of a brush maker evolving
in eighteenth-century Germany onward. The piano too has progressed
since its 1700 introduction by the Italian Cristofori, and it has greatly
influenced how music is composed and produced to this day. Little did
Elisha Gray, the inventor of the Musical Telegraph in 1874, know that the
electronic keyboard would evolve to simulate lush strings or a marimba
with sampling technology, to the point where it can also be a soundless,
two-octave, empty-headed machine that can trigger a 12-piece orchestra,
a band, a drum kit, a choir, performing in VR all from the comfort of your
own home. Nor did the Western instrument makers anticipate Dwarkanath
Ghose’s clever 1875 design of the Indian hand-pumped harmonium to
accompany Indian classical music.
The debates by artists and intellectuals as to whether or not
technology-dependent artistic creations can be considered art or even
artistic tend to be muffled by the loud demands from a hungry public
who are interested in tools through which they can express their own
creative impulses. Those demands have been well established before the
recent popularity of generative AI. Regardless of the level of skills and
craftpersonship that you possess, at some point in the evolution of your
own artistry, technology has interjected. Technological advances continue
xxxvii
Introduction
to support anyone who is creative even if they lack the learned skills of an
artist. Generative AI is one such advance, and while some may use it to
demonstrate that advanced software can now replace a creative human, its
emerging value is as another creative tool that can support, augment, and,
in the hands of innovative creators, spawn new human expressions.
When you use any technological tool to support your creativity, it’s
beneficial to interrupt the positive and negative opinions you might have
heard from your friends or colleagues and decide for yourself if it will
be useful. That requires a bit of research, so you know how best to use it
and when, how it works, the risks of using it, the risks of not using it, the
costs, and the rewards. The content in this book illustrates how you can
use generative AI to support your creativity, points to the pros and cons of
doing so, and shows that AI is another useful tool in the history of useful
human-made technologies.
A repeating theme is that the content an AI generates is most useful
when regarded as a work in progress, a prototype that can be sculpted
and refined with the technique and skill that you bring to it. Consider the
content to be more than a workbook and more than a critical repositioning
of the technology of narrow AI and its role in supporting the persistent
human habit of being creative. Interacting with an AI is a collision of
two opposing forces, our need to develop the skill required to create that
often clashes with leveraging intelligent machines that can automate that
process. The book, as a mashup of technique, application of skills, ideas,
experience, processes, and use cases combined with reflective criticism,
emulates artistic processes that creative persons will resonate with. Each
chapter of the book has been designed to provide you more equipment for
you to continue setting up your own prototyping lab or whatever you call
the creative work that you iterate on. As more generative AI come to the
surface, all readers will benefit from developing a deeper understanding
as to how it might support creativity in addition to developing a critical
vocabulary as to its pros and cons.
xxxviii
Introduction
xxxix
Introduction
Re(introducing) Prototyping
The content that an AI generates is a catalyst for prototyping. The term
“prototyping” is used throughout the book. While prototyping may seem
more associated with engineers and software developers compared with
those accustomed to a different way of expressing their idea through
traditional artmaking practices, at its core, it is a method for rapidly
generating, testing, and iterating upon ideas. Creatives of all disciplines
have long been engaged in this process—exploring various techniques,
materials, and styles before arriving at the final creation they share for
public consumption. You can experiment with and adapt generative AI if
they fit your own creative process. By trying them out, you test them. By
leveraging generative AI for prototyping, creatives can challenge their own
xl
Introduction
patterned methods of creation, iterate upon their ideas, refine their vision,
and potentially produce something better than what they might have
imagined.
For those more versed in technology development, the concept of
rapid prototyping may already be familiar. However, the integration
of generative AI into your creative process offers new and exciting
possibilities. As you read this book, you will discover how generative
AI can enhance your existing skills and accelerate already familiar
workflows. You will also learn to harness the power of generative AI to
develop novel creative styles and break through blocks and barriers with
prototypes that may take your final work into completely new directions.
Throughout the book, you will find a wealth of examples, case studies,
activities, and takeaways that illustrate the potential of generative AI for
prototyping beginning ideas. These practical resources will help you
build your understanding of the technology and inspire you to integrate
it into your own creative process. Tools and approaches to getting the
most out of generative AI may prove invaluable as you embark to build an
experimental lab with responsive technology.
Informed Choice(s)
To gauge whether you should integrate generative AI into your own
creative process, it is also important to critically discern and understand
the implications of doing so. Amid the debates reverberating around us
on the uses and misuses of AI, one thing is certain: we all need to better
understand how it works before deciding if we’re going to use it. Many
of the warnings and cautionary tales about interacting with artificial
intelligence tend to lump AI into one category, as if narrow AI and general
AI were synonymous, or that all narrow AI machine learning models
are the same. Thus, deepening your understanding of all the creative
potentials that generative AI offers, how it can support your creative
xli
Introduction
xlii
Introduction
xliii
Introduction
xliv
Introduction
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Introduction
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