While creative artificial intelligence (AI) is becoming integral to our lives, we know little about what makes us call AI “creative”. Informed by prior theoretical and empirical work, we investigate how perceiving evidence of a creative act beyond the final product affects our assessment of robot creativity. We study embodiment morphology as a potential moderator of this relationship, informing a 3 × 2 factorial design. In two lab experiments on visual art, participants (N = 30 + 60) assessed drawings produced by two physical robots with different morphologies, under exposure to product, process and producer as three levels of perceptual evidence. The data supports that the human assessment of robot creativity is significantly higher the more is revealed beyond the product about the creation process, and eventually the producer. We find no significant effects of embodiment morphology, contrasting existing hypotheses and offering a more detailed understanding for future work. The latter is also informed by additional exploratory analyses revealing factors potentially influencing creativity assessments, including perceived robot likeability and participants’ experience with robotics and AI. Our insights empirically ground existing design patterns, foster fairness and validity in system comparisons, and contribute to a deeper understanding of our relationship with creative AI and thus its adoption in society.

Social wearables promise to augment and enhance social interactions. However, despite two decades of HCI research on wearables, we are yet to see widespread adoption of social wearables into everyday life. More in-situ investigations into the social dynamics and cultural practices afforded by wearing interactive technology are needed to understand the drivers and barriers to adoption. To this end, we study social wearables in the context of Nordic student culture and the students’ practice of adorning boiler suits. Through a co-creation process, we designed Digi Merkki, a personalised interactive clothing patch. In a two-week elicitation diary study, we captured how 16 students adopted Digi Merkki into their social practices. We found that Digi Merkki afforded a variety of social interaction strategies, including sharing, spamming, and stealing pictures, which supported meaning-making and community-building. Based on our findings, we articulate “Memetic Expression” as a strong concept for designing social wearables.

In human–computer co-creativity, humans and creative computational algorithms create together. Too often, only the creative algorithms and their outcomes are evaluated when studying these co-creative processes, leaving the human participants to little attention. This paper presents a case study emphasising the human experiences when evaluating the use of a co-creative poetry writing system called the Poetry Machine. The co-creative process was evaluated using seven metrics: Fun, Enjoyment, Expressiveness, Outcome satisfaction, Collaboration, Ease of writing, and Ownership. The metrics were studied in a comparative setting using three co-creation processes: a human–computer, a human–human, and a human–human–computer co-creation process. Twelve pupils of age 10–11 attended the studies in six pairs trying out all the alternative writing processes. The study methods included observation in paired-user testing, questionnaires, and interview. The observations were complemented with analyses of the video recordings of the evaluation sessions. According to statistical analyses, Collaboration was the strongest in human–human–computer co-creation, and weakest in human–computer co-creation. Ownership was just the opposite: weakest in human–human–computer co-creation, and strongest in human–computer co-creation. Other metrics did not produce statistically significant results. In addition to the results, this paper presents the lessons learned in the evaluations with children using the selected methods.