deletions | additions       diff --git a/cc-intro.tex b/cc-intro.tex  index cab0260..ab2f937 100644  --- a/cc-intro.tex  +++ b/cc-intro.tex 
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\subsection{Case Studies: Prior art}  \label{sec:priorart}  \paragraph{Evolutionary music improvisation systems.}  diff --git a/conclusion.tex b/conclusion.tex  index ebcca93..b26407a 100644  --- a/conclusion.tex  +++ b/conclusion.tex 
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\emph{invention}.  %  Adapting the ``Standardised Procedure for Evaluating Creative  Systems'' (SPECS) model model,  we developed a set of evaluation standards for serendipity.  %  We used this model to examine several analyse  prior examples of serendipity, serendipity in the context of evolutionary music improvisation and recommender systems,  and developed a thought experiment that exhibits for expressing  ``high serendipity'' in  a novel and computationally feasible design. %  We then extracted several corollaries of our definition, which outline  a programme for serendipitous computing in the pursuit of  \emph{autonomy}, \emph{learning}, \emph{sociality}, and \emph{embedded  evaluation}.  In the current work work, we  have limited ourselves to clarifying conceptual issues and examining design implications.  %   We indicate several possible further directions for implementation  diff --git a/recommendations.tex b/recommendations.tex  index 4b8c02d..355b650 100644  --- a/recommendations.tex  +++ b/recommendations.tex 
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challenges for research in computational serendipity.  \begin{itemize}  \item \textbf{Autonomy}: Our case study on Serendipity in recommender systems in Section \ref{sec:priorart} highlights the need for more autonomy on the system side. The  thought experiment in Section \ref{sec:ww} develops a design illustrating the relationship between  creativity at the level of artefacts (e.g.~new poems) and creativity  at the level of \emph{problem specification} (learning new poetic 
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\begin{itemize}  \item \textbf{Learning}: The Writers Workshop described in Section  \ref{sec:ww} is fundamentallyan example of  a design sketch  for a system that can \emph{learn from experience}. The Workshop model  ``personifies'' the wider world in the form of one or several  critics. It is clearly also possible for a lone creative agent to 
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\citeA{stakeholder-groups-bookchapter} outlined a general programme  for computational creativity, and examined perceptions of creativity  in computational systems found among members of the general public,  Computational Creativity researchers, and creative communities --  understood as human communities. (human )communities.  We should now add a fourth important ``stakeholder'' group in computational creativity  research: computer systems themselves. Creativity may look very  different to this fourth stakeholder group than it looks to us. We 
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value suggested in our discussion of the dimensions of serendipity in  Section \ref{sec:by-example}.  Aquick  survey of word occurrences from a recent special issue of \emph{Cognitive Computation} on ``Computational Creativity, Intelligence and Autonomy'' \cite{bishop-erden-special-issue} shows that related themes are broadly  active in the research community.\footnote{Articles converted to text  via {\tt pdftotext -layout}, individual counts found via {\tt tr 
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n\textquotesingle~< file.txt | grep -c "stem*"}, and total word counts  via {\tt wc -w}. The corresponding counts for the \emph{current}  paper are 7, \emph{28}, \emph{16}, \emph{47} and 12.0K.} Here  \emph{italics} indicates that the word stem accounted for .1\% 0.1\%  of the article or more; added \textbf{\emph{bold}} indicates that it  accounted for 1\% or more.  diff --git a/serendipity.tex b/serendipity.tex  index 9f680c3..82b9e40 100644  --- a/serendipity.tex  +++ b/serendipity.tex 
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%% the AISB 2014 symposium on Computing and Philosophy, and the  %% organisers of the 2013 and 2014 International Conference on  %% Computational Creativity.  This research was supported by the EPSRC through grants EP/L00206X and  EP/J004049, EP/L00206X, EP/J004049 as well as EP/L015846/1  and the Future and Emerging Technologies (FET) programme within the Seventh Framework Programme for Research of the European  Commission, under FET-Open Grant numbers: 611553 (COINVENT) and 611560  (WHIM).  diff --git a/ww-analysis.tex b/ww-analysis.tex  index c359170..605dc9f 100644  --- a/ww-analysis.tex  +++ b/ww-analysis.tex 
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\noindent \textbf{Bridge.}  Feedback on portions of the poem may lead the system to identify new  problems, indeed, problems and possibly  new \emph{types} of problems that it hadn't considered before. The most immediately feasible case is one in which  the critic is a programmer who can directly program new concepts into  the computer \cite{winograd1972understanding}. However, it would 
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able to generate interesting novel conjectures that surprised its author.  However, \citeA{pease2013discussion} note that this system was not  convincingly serendipitous: ``we had to willingly make the system less  effective to encourage incidentswhich  onto which we might project the word serendipity.''  One cognitively inspired hypothesis that could describe the 
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sensory experiences \cite{milan2013kiki}. If the workshop  participants have the capacity to identify the distinctive features of  a given poem, then training via a machine learning or genetic  algorithm approach could be used to  assemble a battery of existing low-level tools that can approximate the effect. Relatedly, a  compression process could seek to produce a given complex poetic  effect with a maximally-succinct 
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feedback modules, after reflecting on questions like: ``How might the  critic have detected that feature in my poem?''  {Thought \paragraph{Thought  Experiment: Likelihood scores and potential value.} Given most statements in natural language are new, we can assume that  most poems consumed by the system would never have been seen before,  and the chance of observing a given serendipity trigger would be very 
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lasting value. Our likelihood score would be  $\mathit{low}\times\mathit{low}\times\mathit{high}$, or low overall,  and value would be varied, with at least some high-valued cases  deserving the description ``highly serendipitous.'' serendipitous.''\\  \paragraph{Thought Experiment: Environmental \textbf{Environmental  factors.} The system would set up its own internal dynamics, but it could also  provide an interface for human poets to share their poetry and their  critical remarks. There is one primary context, the Workshop, shared