Background:  Artificial Intelligence (AI) has reshaped marketing, particularly with the advent of Generative AI (GAI), streamlining content creation processes. Highlighted by the European Commission, AI in the Cultural and Creative Sectors (CCS) promises economic and social benefits, potentially enhancing global visibility and marketing strategies. Amid digital transformation, there is a need to develop ways to engage digital audiences with content. Meanwhile, the digital content consumption has made platforms like podcasts popular, blending information and entertainment to attract diverse audiences.   Purpose: This research aims to explore what motivates content creators to engage with GAI in the creative process and how they perceive its influence on their creativity during the interaction.   Method:  The research philosophy of this study is rooted in interpretivism ontology. Given the lack of theories about human creativity and AI, this research employs inductive methods to expand the Componential Model of Creativity (Amabile, 1983). Recognising that creativity is entrenched in social psychology, where interpretations are subjective, this research utilised Interpretative Phenomenological Analysis (IPA) with semi-structured interviews.   Conclusion:              There are several motivations for using GAI in the creative process, including curiosity, its role as a co-creator for in brainstorming, and its ability to enhance efficiency and provide information. However, content creators have concerns that an over-reliance on GAI could replace elements of the creative process and therefore reduce human creativity. Content creators regard human input as a crucial element of the creative process to ensure authentic and genuine innovation.

When the human mind searches concept space for solutions to a given condition we have a choice between conventional and creative thinking. But what are the probabilities of improving a given situation using creative thinking compared with conventional thinking? To answer this question we are extending the meaning of creativity beyond human creativity. We view creativity as an optimised search strategy applicable to the larger set of all teleonomic systems and term this creativity teleonomic creativity. We argue that an analog process is common to all manifestations of creativity within teleonomic systems and describe this process and its cause. In order to show this process and to make quantitative comparisons, we utilise the metaphor of an adaptive fitness landscape and simple statistical techniques. The term fitness in our case describes the condition of a well-defined property being suitable for a purpose, rather than an overall evaluation of many complex interactions measuring reproductive success. We define creativity as the successful attempt of either individuals or populations to gain higher fitness via exploration of global fitness peaks as opposed to the exploitation of a currently occupied local peak. We then show mathematically how the inclusion of creativity in a search can dramatically increase the chances of finding appropriate solutions. We also recognise that creative behaviour is most successful when the environmentis unstable. We note the existence of a strategic meta-parameter that allows self-adaptation when tuned via a feedback loop from the environment. We show that creativity can be understood as a random process with an optimal setting for the standard deviation that maximises the probability of hitting a target of higher fitness. We support our claims with computer simulations and observe several occurrences of teleonomic creativity in nature. In addition we measure the entropy of a teleonomic system via the phase-space of internal variables and observe a sudden entropy increase during the onset of creative behaviour in a teleonomic system. Our investigations also enable us to rationalise the processes, conditions and phenomena surrounding human creativity such as mistakes, madness, serendipity, humor, analogy making and interpret the function of creativity promoters and inhibitors. Our findings may also allow us to incorporate creativity into artificial computer models. We speculate that creativity is an emerging property of any teleonomic system and as such ubiquitous in nature.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-18T10:51:13Z No. of bitstreams: 2 Tese - Luciana Hidemi Santana Nomura - 2017.pdf: 47094098 bytes, checksum: fda7905c0d3d256429cac23f4c6f4784 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-18T10:53:05Z (GMT) No. of bitstreams: 2 Tese - Luciana Hidemi Santana Nomura - 2017.pdf: 47094098 bytes, checksum: fda7905c0d3d256429cac23f4c6f4784 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-18T10:53:05Z (GMT). No. of bitstreams: 2 Tese - Luciana Hidemi Santana Nomura - 2017.pdf: 47094098 bytes, checksum: fda7905c0d3d256429cac23f4c6f4784 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-17 / This research approaches theoretical and practical features of cyberarts, particularly Robotic Art and its contexts. Knowing that this field is constantly changing, because it is an artistic production anchored in a permanently evolving technology, the aim here is to question the possibility of artistic creation by robots, as well as to enunciate the aesthetic, reflexive and processual possibilities of robotic art. Therefore, the premise of the thesis is based on the contemporary production of art and on technological improvement, since part of the work in art and technology results from the collaboration between human artists and an intelligent software. In accordance with the theoretical study, the processes of creation, the experiments and the production techniques of Nefelibata 2.0 were reported. The poetic production induced the creation of one robotic cloud, which interact with the public in a kind of robotic performance. The framework of this study is supported by the proposition that robotic art can be created by humans, robots or symbiotically, not being limited by the technical use of robotics, once electronic creatures can be given artificial creativity, a behavior of their own and may interact with the public. Thus, the objectives of this study are to conceptualize robotic art, discussing its aesthetic, interactive and poetic aspects, to reflect upon the perspectives set up on the field of robotic art, as well as to ponder over artificial creation. / A presente pesquisa, de caráter teórico e prático, aborda o tema das ciberartes, em particular a Arte Robótica e seus contextos. Sabendo que este campo está em constante alteração, por se tratar de uma produção artística ancorada em uma tecnologia em permanente evolução, coube aqui questionar a possibilidade de criação artística por parte dos robôs, bem como enunciar as possibilidades estéticas, reflexivas e processuais da arte robótica. Sendo assim, a premissa da tese se fundamenta na produção contemporânea da arte e no aperfeiçoamento tecnológico, uma vez que em arte e tecnologia, parte das obras é resultado da colaboração entre artistas humanos e softwares inteligentes. Em consonância ao estudo teórico, os processos de criação, as experimentações e as técnicas de produção de Nefelibata 2.0 foram relatadas. A produção poética fomentou a criação de uma nuvem robótica que interage com o público em uma espécie de performance robótica. Assim sendo, os pressupostos do estudo apoiam-se na proposição de que a arte robótica pode ser criada por humanos, por robôs ou de forma simbiótica, não limitando-se ao uso técnico da robótica, uma vez que as criaturas eletrônicas podem ser dotadas de criatividade artificial, comportamento próprio e ainda dialógicas junto ao público. Logo, o estudo tem como objetivo conceituar a arte robótica, discutindo sobre os aspectos estéticos, interativos e poéticos; refletir sobre as perspectivas instauradas no campo da arte robótica, bem como ponderar acerca da criação artificial.

在機器學習與深度學習技術帶動第三次人工智慧熱潮，特別是與機器人、大數據、3D列印等結合，「人工智慧」成為各大科技企業重點發展技術，無論是透過成立研究小組或是併購的方式，在2016年即有40多家人工智慧技術公司被併購，同時這些技術也被應用在各式產品與服務中。此外不同產業中也陸續引進人工智慧，從事需要耗時費力的基礎工作，節省成本，也引發人類被取代的恐慌。世界各國除著力投資發展人工智慧之外，也重視人工智慧為社會及經濟產生的影響與現行法制的衝擊。 人工智慧技術也應用於創作與發明過程中，且在機器學習技術下，人類僅需輸入指示與限制，人工智慧完成內容創作所產出作品，與人類創作成果並無二致。或是像是神燈精靈一般，人類只要以人工智慧可理解的方式定義問題、要件分析、功能設計，人工智慧即能完成最重要的物理設計，解決人類之問題，其產出物可能是符合產業利用性、新穎性與進步性等專利要件。這些人工智慧創作與發明物是否符合我國現行著作權法與專利法之規定而受到保護，將是本文探討重點，本文將以文獻研究以及比較法的方式深入研究。 智慧財產權制度設立的主旨是為保護人類精神活動成果，以人類為創作主體為前提，人工智慧參與創作之成果對於現行制度而言自然有所扞格。然而人工智慧創作力對於未來創作與發明而言，都是有所助益，可豐富文化的多樣性並加快技術的發展。而日本知識產權戰略本部也於2016年四月時也將針對人工智慧創作物之法律保護，擬修訂智慧財產權法。如我國未來亦研擬將人工智慧創作物納入法律保護，本文參考日本立法相關討論以及美國學者之見解，提出立法時應考量的權利歸屬以及衍生的相關問題。 / Machine Learning and Deep Learning are leading the new artificial intelligence era, especially when integrated with technologies of robot, big data, and 3D printing. As A.I. gradually became the one of the most popular technologies, corporate giants, such as Google, IBM, Facebook, and Apple, have been setting up research labs and acquiring A.I. startups to improve the quality of their services and products. Meanwhile, through using their service and products, our daily life is filled with A.I. Moreover, in many different industries, companies are using A.I. to reduce their cost by replacing labors from time-consuming jobs. Governments not only invest in the development of A.I. technology, but also response to the impact A.I. brings to the society, economic and Law. Artificial creativity is a new way for creation and invention. With machine learning, human only need to input the indication and limitation for A.I. to generate the outcome which is almost the same as what human can do. A.I. is also being described as a “genie in the machine”. Human input the description of their problems, functional analysis, and functional design, then A.I. will do the physical design to solve the problems and generate inventions which are useful, novelty and un-obviousness. Whether these creations and inventions are copyrightable and patentable is the core of this essay. Intellectual property system is aimed to protect the result from human’s mind activity, so the author or inventor must be human beings. When A.I. is not just a creation tool, but a creative subject, that’s where a conflict occurs. However, A.I. creativity is beneficial to human creative and inventing activity, because it can quicken the progress of technologies and improve culture diversity. Legislators in Japan are planning to protect A.I. creation through modification of intellectual property law. If we also expect to protect A.I. creation and invention in Taiwan in the future, with Japan legislative discussion and America scholars’ theories, this essay might offer some useful indications on the right attribution and other derivation problems.