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Through interviews with copywriters, this essay examines how AI technologies may influence the creative process their work. We must also look at whether AI can be creative in order to provide an answer to the study topic. Therefor the paper explores the concept of creativity.The conclusion according to the study, shows that AI can be creative when collaborating with humans. For a copywriter, using AI streamlines and simplifies their process. The study also demonstrates that co-creativity, or human and AI collaboration in the creative process, is advantageous to both copywriters and AI.Furthermore, the study demonstrates that copywriters are not necessarily threatened by AI. Certain simple aspects of the process, such swiftly collecting and compiling data, can be replaced by AI systems. A collaboration primarily shows beneficial consequences for a copywriter. They have more time for creativity in their job process. Although most of the study's interviewees are supportive of a wider use of AI technologies in the media sector, there are concerns regarding AI's limited capacity for critical engagement with its own creations. It is also argued that AI lacks other crucial characteristics like warmth and soul, which are essentials aspects of creativity.

This paper describes a modification to the mixed-initiative co-creative tool, the Evolutionary Dungeon Designer, and a study performed to evaluate and analyze the co-creative relationship between human designer and AI. The relationship between AI and human designer in creative processes is delicate, as adjusting the autonomy of the AI can negatively affect the user experience. To perfect this type of Human-AI collaboration, further research is needed. In this thesis, different degrees of initiative of the AI are explored, to gain further understanding of mixed-initiative co-creative tools. A user study was performed on the Evolutionary Dungeon Designer, with three varying degrees of AI-initiative. The study highlighted elements of frustration that the human designer experiences when using the tool, and the behaviour in the AI that led to possible strains on the relationship. The paper concludes with the identified issues and possible solutions, as well as suggested further research.

The current case study served to investigate roles, uses, attitudes, and future implications of a collaborative artificial intelligence system [CAIS] at a user experience and service design firm. Due to the shortage in the body of literature for human machine co-creative collaboration, this study obliged in expanding on it from a qualitative and conceptual level. Findings from a thematic analysis on design practitioners, indicated three main themes: Attitudes, Attributes, and Awareness. Main findings indicate that negative attitudes affect how much autonomy is ascribed to CAIS; There is a lack of actuating design with this type of technology, partly due to lack of knowledge but also a central authority in the community; CAIS is perceived to foster creativity, but not truly collaboratively; Finally, ethical considerations towards designing with such intelligent systems are discussed both regarding the designer and the design process, but also towards the end-user.

This thesis sets out to explore why people engage in, and how to design for, play in a public setting. It does this by separating design for play from design of games, describing play as a socially and mentally understood activity, and a playful approach to engaging in that activity. It emphasises that while play is voluntary, design can help shape the players’ mode of engagement. The thesis uses a qualitative and inductive approach to research, with an understanding of knowledge as being constructed in the individual. The research is grounded in human computer interaction and interaction design, and closely related to game studies and design science. The research question concerns how design can influence the player activity in order to create a desired player experience in public, by harnessing playful engagement. It’s foundation is a theory of play which describes play as a framed, or hedged-off, activity with a fragile border; where knowledge and feelings can leak both in and out of the activity, and affect the play as well as what is around it. The theory of enjoyment of play is discussed, and the problem of treating this as ‘fun’ is addressed, concluding in a presentation of how playful engagement can be harnessed through design. The theory is applied in five design cases: I’m Your Body, a locative storytelling app; Codename Heroes, a pervasive game of personal empowerment; Passing On, a slow-paced game about communication; Busking Studies, which involves observing street performers and their shows; and DigiFys, an architectural design exploration of playgrounds and play paths. Finally, three concepts, or design tools, are presented, which address: 1) a structure for understanding a design through three layers, constructs designed by the designer, inspiring play activity with the player, leading to experience; 2) an approach to designing invitations to play; and finally 3), a four faceted structure for understanding play engagement when players engage in non intended ways.

La conception de produits évoluant, il est aujourd’hui nécessaire pour les entreprises de proposer une réelle expérience pour l’utilisateur en accord avec ses besoins, ses caractéristiques et ses souhaits qui repose notamment sur l’intégration de l’ergonome, du designer produit et de l’utilisateur aux équipes de conception. Cet enjeu est démultiplié, dès lors que nous parlons de conception pour tous. Cependant, si l’utilisateur est souvent acteur des étapes d’analyse du besoin et d’évaluation de la solution finale dans les modèles de conception centrée sur l’utilisateur actuels, il est rarement sollicité au cours des phases de recherche de solutions et de créativité. C’est dans cette perspective que se situent nos travaux de recherche, en s’inspirant de la philosophie du « Faire » et des pratiques issues des Fablabs où les utilisateurs sont d’ores et déjà acteurs à part entière du projet de conception de produits. Ainsi, nous cherchons à mettre en place une conception de produits pour tous et par tous dans le but de répondre à notre problématique de recherche : « Comment favoriser en conception centrée utilisateur, l’intégration de l’utilisateur spécifique comme expert du quotidien aux côtés des experts de la conception, à travers des phases de co-créativité orientées sur la situation de vie ? ». Ainsi au cours de notre recherche, nous répondons à trois objectifs principaux. Tout d’abord, nous cherchons à identifier les méthodes et outils de co-créativité existants autour de la notion de situation de vie. Dans ce but, nous nous intéressons aux pratiques de co-créativité dans le cadre de projets industriels ainsi que dans l’univers spécifique du « Faire ». Nous réalisons ces différentes études à travers notamment la mise en place d’observation participantes, d’entretiens semis dirigés et de l’analyse qualitative des traces recueillies sur plus de 130 projets industriels. A la suite de cela, nous proposons un outil sur la situation de vie permettant d’intégrer l’utilisateur aux phases de co-créativité aux côtés des experts de la conception. Cet outil est proposé à l’issue d’expérimentations réalisées dans l’univers du « Faire ». Enfin nous validons expérimentalement par une analyse qualitative et quantitative cet outil de co-créativité sur la situation de vie auprès d’une équipe de conception interdisciplinaire intégrant l’utilisateur spécifique dans le cadre d’un projet industriel relevant de la conception pour tous. / Product design is evolving. It is now necessary for companies to offer a real experience to the user regarding its needs, characteristics and desires. For this purpose, design teams gather the ergonomist, the product designer and the user. Thus, the many issues of what we called “design for all” are multiplied. Whereas the user is often involved all along the analysis of the needs and during the evaluation of the solution in the current user-centred design models, he is rarely integrated to the creativity phases. Inspired by the philosophy of “Make” and by the practices of the “Fablabs”, our researches are driven by the hypothesis that users should already be considered as full participants in the product design process. From this point, we want to set up a product design for all and by all, following our main research question: "How to promote, in user-centred design, the integration of the specific user as an everyday expert alongside classical design experts through the phases of co-creativity and framed by life situation? ". To achieve this goal, we answer three main objectives. First, we seek to identify existing co-creativity methods and tools around the notion of life situation. More precisely, we are interested in co-creativity practices in the context of both industrial projects and Fablabs ecosystem. We carry out these various studies through the implementation of participant observations, interviews and qualitative analysis of traces collected among more than 130 industrial projects. Following this, we propose a tool applied to life situation that allows us to integrate the user in the phases of co-creativity alongside design experts. This tool is built on top of experiments conducted in the universe of the "Make". Finally, we validate qualitatively and quantitatively our tool with an interdisciplinary design team that integrates the specific user into an industrial project of design for all.

Artificiell intelligens (AI) tar alltmer plats i människors vardag. Ett område där det nyligen börjat användas i är bildgenerering och konstskapande. Då AI-tekniken inom bildgenerering är ny, har lite forskning gjorts kring hur det kan påverka konstnärer. Tidigare digitala framsteg som lett till verktyg som Photoshop har visats expandera hur konstnärer kan skapa konst och effektiviserat deras kreativa process. Bildgenererande AI, till skillnad från tidigare verktyg som Photoshop, kan generera egna bilder baserat på användarens indata. Detta väcker intresse kring förståelse om hur bildgenererande AI kommer potentiellt kunna påverka konstnärers kreativa process. Studiens mål är att utforska hur bildgenererande AI kan stötta konstnärer i den kreativa processen.  I studien användes en kvalitativ ansats för att fördjupa sig i ämnesområdet och besvara forskningsfrågan. En litteraturstudie som undersökte relevanta ämnen inom ämnesområdet utfördes vilket resulterade i tre aspekter, kontroll, samskapande och idégenerering. Kontroll var viktigt för stöttandet av användares nyttjande av AI. Samskapande och idégenerering var viktiga pelare som stöttar den kreativa processen. Dessa aspekter låg till grund för den empiriska studien. Den empiriska studien bestod av en sju dagars dagboksstudie där konstnärer fick prova tre olika typer av bildgenererande AI. Dagboksstudien kompletterades med intervjuer för att djupare förstå hur bildgenererande AI kunde stötta deras kreativa process. Studiens resultat visar på att bildgenererande AI kan användas för att stötta konstnärers kreativa process då det används som inspiration. Som tillägg identifierades tre förutsättningar som bör bemötas för att konstnärer ska kunna nyttja bildgenererande AI i deras kreativa process. / Artificial intelligence (AI) is increasingly becoming a part of people's daily lives. One area where it has recently been used is in image generation and art creation. As AI technology for image generation is new, little research has been done on how it may affect artists. Previous digital advancements, that led to tools such as Photoshop, have expanded how artists can create art and streamlined their creative process. Image-generating AI, unlike previous tools like Photoshop, can generate its own images based on user input. This raises interest in understanding how image-generating AI may potentially impact artists' creative process. The study aims to explore how image-generating AI can support artists in the creative process. The study used a qualitative approach to delve into the subject area and answer the research question. A literature review investigating relevant topics within the subject area was conducted, resulting in three aspects, control, co-creation, and idea generation. Control was important in supporting users' utilization of AI for their purposes. Co-creation and idea generation were important pillars that support the creative process. These aspects formed the basis for the empirical study. The empirical study consisted of a seven-day diary study where artists were given the opportunity to try three different types of image-generating AI. The diary study was complemented with interviews with the study participants to gain a deeper understanding of how image-generating AI could support their creative process. The study's results show that image-generating AI can be used to support artists' creative process when used as inspiration. In addition, three prerequisites were identified that need to be met for artists to be able to use image-generating AI in their creative process.