Forthcoming

Moruzzi, C.; Gardner, G.; Herman, L.; Koterwas, T.; Saraiya, K.; Smith, O.; Tacchini, F. Authenticity Unmasked: Unveiling AI-Driven Realities Through Art. Leonardo, MIT Press.

Moruzzi, C., Bird, C., & Herman, L. (2026, March). Exploring the impact of AI-powered Creativity Support Tools on professional creative workflows. In ACM CSCW Conference Series (pp. 1-53). ACM.

Bagchi, P., Moruzzi, C., Bird, C., Chan, K. C., Dixon, B., Herman, L., ... & Wang, J. (2026, March). Mapping Imaginaries: A futures workshop for creative practices with generative AI. In ACM Designing Interactive Systems 2026 (pp. 1-15). ACM.​

2026

Bird, C., Moruzzi C., Luger, E. From Blank Box to Creative Partner: Designing Ecological On-Ramps for First Time Artists. CHI 2026. [Abstract] ​

​Liddell, F., Dixon, B., Tallyn, E., Moruzzi, C., Morgan, E., Elsden, C. ORAgen Fables: Advancing the Design and Management of Content Attribution. CHI 2026. [Abstract] ​

​Tigre Moura, Francisco, Moruzzi, Caterina (eds.). Artificial Intelligence in Creative Industries: Psychological and Social Implications for Creators and the Public. Routledge, Taylor & Francis Group. [Abstract] ​​

Liddell, F., Elsden, C., Tallyn, E., Moruzzi, C.,  Morgan, E., Balan, K., Collomosse, J., Disley, M., Koterwas, T., Dixon, B. Interrogating the ORA Framework: Implications of Tokenized Licensing in the Cultural Economy. Journal of Cultural Economy. [Abstract] 

Black, S. R., C. Moruzzi, N. Osborne, M. Terras and F. Zeller. Supporting the Creative Industries Through the AI Turn: a comparative analysis of Scottish policy and the needs of Scotland’s creative practitioners. PLOS One. [Abstract] 
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Moruzzi, Caterina. Imagination, Creativity, and Agency. In The Oxford Handbook of Philosophy of Imagination and Creativity, ed. by Amy Kind and Julia Langkau. Oxford: Oxford University Press. [Abstract]

​Moruzzi, C. Big Tech is wrong: AI cannot be an author. IAI News. https://iai.tv/articles/ai-does-not-have-copyright-auid-3476
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Cangiano, S., Moruzzi, C., Tremblay, P. A., & Facchini, A. 2026. SOUND DIALOGUES. The Responsible Use of AI in Artistic Creation. Zenodo. [Abstract] ​

Moruzzi, C. From “Can AI Be Creative?” to “What Is the Value of Integrating AI into Creative Processes?”, Contemporary Debates in the Ethics of Artificial Intelligence​, ed. by. Sven Nyholm, Atoosa Kasirzadeh and John Zerilli. Wiley-Blackwell.​ [Abstract] 

2025

Elsden, C., Liddell,  F., Moruzzi, C., Schafer, B., Tallyn, E., Morgan, E., Dixon, B., Balan, K., Collomosse, J. Building Trust and Developing Value between Creative Rightsholders and GenAI through Tokenised Licensing and Content Authenticity Tools. The Paris Journal on AI & Digital Ethics. [Abstract] 

Westenberger, P., Collett, C., Moruzzi, C., Parker, M., & Taylor, A. BRAID Researchers Response to the Call for input for EMRTD study "Artificial Intelligence, Cultural Rights, and the Right to Development". Zenodo. https://doi.org/10.5281/zenodo.17975180
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​Holter, S., Moruzzi, C. and El-Assady, M. "Towards Agency in Human-AI Collaboration." IEEE Computer Graphics & Applications. [Abstract]
​
Moruzzi, C. 'AI and Interdisciplinarity: A Necessity and an Opportunity'. In Why technology needs artists: 40 international perspectives, British Council. [Abstract]

Miltner, K. M., Moruzzi, C., Parker, M., Potapov, K., Sichani, A.M., & Westenberger, P. BRAID researchers' response to the call for contributions on artificial intelligence and creativity issued by the UN Special Rapporteur in the field of cultural rights, Alexandra Xanthaki. [Abstract]

Moruzzi, C, Tallyn, E., Liddell, F., Dixon, B., Collomosse, J., Elsden, C. Content Authenticities: Expanding the Scope of User Engagement with Media Provenance Data. In Creativity and Cognition (C&C ’25). Winner of best paper award. [Abstract]

Moruzzi, C. `Imagining The Future of Creative Skills and Education'. The Junkyard of the Mind blog. 

Moruzzi, C. 'Imagination and creativity: A necessary connection?', Analysis. [Abstract]

Moruzzi, C. 'Artificial Intelligence and Creativity'. Philosophy Compass. [Abstract]

Sichani, A.M., Westenberger, P., Bryan-Kinns, N., Bunz, M., Collett, C., Heravi, B., Miltner, K. M., Moruzzi, C., & Townsend, B. A. (2025). BRAID researchers' response to UK Government copyright and AI consultation. Zenodo. ​ [Abstract]

2024

Plath, M., Ovaa, M., Klimek, M., Moruzzi, C., Alonso, D. and Cramer. T. 'Being Human in a Digital World.' Report for the UniEuropa Future Unilab.

Serban von Davier, T., Herman, L. and Moruzzi, C. 'A Machine Walks Into an Exhibit: A Technical Analysis of Art Curation'. Arts MDPI. [Abstract]
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Black, S. R., Bilbao, S., Moruzzi, C., Osborne, N., Terras, M., and Zeller, F. 'The Future of Creativity and AI: Views from the Scottish Creative Industries. A Report from Creative Informatics.' [Abstract]

Liddell, F., Tallyn, E., Morgan, E., Balan, K., Disley, M., Koterwas, T., Dixon, B., Moruzzi, C., Collomosse, J. and Elsden, C. 'ORAgen: Exploring the Design of Attribution through Media Tokenisation'. In Designing Interactive Systems Conference (DIS Companion ’24), July 1–5, 2024, IT University of Copenhagen, Denmark. ACM, New York, NY, USA. [Abstract]

Moruzzi, C. and Margarido, S. `Customizing the Balance between User and System Agency in Human-AI Co-Creative Processes", Proceedings of the 15th International Conference on Computational Creativity, ICCC’24, Jonköping, Sweden. [Abstract]

Moruzzi, C. and Margarido, S. 'A User-centered Framework for Human-AI Co-creativity'. Extended Abstracts of the CHI Conference on Human Factors in Computing Systems (CHI EA ’24). [Abstract]

Moruzzi, C. and Herman, L. `Perceived Embodiment & Creativity in Cases of Human-Technology Co-Creation', Proceedings of the 15th International Conference on Computational Creativity, ICCC’24, Jonköping, Sweden. [Abstract]

Herman, L. and Moruzzi, C. 'The Algorithmic Pedestal: A Practice-Based Study of Algorithmic and Artistic Curation.' Leonardo. [Abstract]

Moruzzi, C. and Campagner, O. 'AI and Art: Non-Human, Still Human, or All Too Human'. In Artificial Intelligence, Co-Creation & Creativity, ed. by Francisco Tigre Moura. London: Routledge. [Abstract]

Eccles, K., Herman, L., Moruzzi, C. and Mustaklem, M. 'Introducing the Method of Exhibit-Based Research'. Communication Design Quarterly. [Abstract]

2023

​Moruzzi, C. Research Summary of 'Creative Agents: Rethinking Agency and Creativity in Human and Artificial Systems', Montreal AI Ethics Institute. [Abstract]

​Moruzzi, C. ‘Creative Agents: Rethinking Agency and Creativity in Human and Artificial Systems’, Journal of Aesthetics and Phenomenology, 9(2): 245-268. [Abstract]

2022

Moruzzi, C. ‘Toward Out-of-Distribution Generalization Through Inductive Biases’, Philosophy and Theory of Artificial Intelligence 2021, Vincent C. Müller (ed.), SAPERE; Berlin: Springer. [Abstract]
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Herman, L. and Moruzzi, C. 'Exploring Embodiment’s Role in Creativity with Live Artistic Performances', in Herman, Laura and Caterina Moruzzi (eds.) Proceedings of the workshop 'The Role of Embodiment in the Perception of Human & Artificial Creativity' at ICCC'22, urn:nbn:de:0074-3255-7. [Abstract]

​Herman, L. and Moruzzi, C. (eds.). CEUR Proceedings of the ICCC’22 workshop ‘The Role of Embodiment in Perceptions of Natural and Artificial Creativity’ at ICCC'22, urn:nbn:de:0074-3255-7. [Abstract]

El-Assady, M. and Moruzzi, C. ‘Which Biases and Reasoning Pitfalls do Explanations Trigger? Decomposing Communication Processes in Human-AI Interaction’, IEEE Computer Graphics and Applications. [Abstract]

Bouhadjar, Y., Moruzzi, C. and Payvand, M. ‘Prediction: An Algorithmic Principle Meeting Neuroscience and Machine Learning Halfway’, Proceedings of the 3rd International Workshop on Human-Like Computing at the 2nd International Joint Conference on Learning & Reasoning 2022. [Abstract]

Moruzzi, C. ‘The (Artificial) Physicality of Creativity: How Embodiment Influences Perceptions of Creativity',  Proceedings of the 13th International Conference on Computational Creativity (ICCC 2022).  [Abstract]

Moruzzi, C. ‘Perceptions of Creativity in Artistic and Scientific Processes’, Proceedings of the Tenth Conference on Computation, Communication, Aesthetics & X 2022. [Abstract]

Moruzzi, C. ‘Everyone Can Change a Musical Work’, The British Journal of Aesthetics 62(1): 1–13. [Abstract]
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Moruzzi, C. ‘Climbing the Ladder: How Agents Reach Counterfactual Thinking’, Proceedings of the 14th International Conference on Agents and Artificial Intelligence, 3: 555-560. [Abstract]

Fossa, F., Moruzzi, C. and Verdicchio, M. (eds.). Creativity in the Light of AI. Odradek, Vol. 8 N. 1. [Abstract]


2021

Moruzzi, C. ‘Improvisation as Creative Performance’, in Handbook of Philosophy and Improvisation in the Arts, Alessandro Bertinetto and Marcello Ruta (eds.), London: Routledge. [Abstract]

Moruzzi, C. ‘Measuring Creativity: An Account of Natural and Artificial Creativity’, European Journal for Philosophy of Science 11(1). [Abstract]

Moruzzi, C. 'On the Relevance of Understanding for Creativity’, Proceedings of AISB2021. [Abstract]


2020

Moruzzi, C. ‘Looking for Creativity: GANs as a Paradigm of Autonomy in Software for Music Composition’, in Be My GAN: Arte e Intelligenza Artificiale, Alice Barale (ed.), Milano: Jaca Book. [Abstract]

Moruzzi, C. ‘Artificial Creativity and General Intelligence’, Journal of Science and Technology in the Arts 12(3): 84-99. [Abstract]

Moruzzi, C. ‘Learning Through Creativity: How Creativity Can Help Machine Learning Achieving Deeper Understanding’, Rivista Italiana di Filosofia del Linguaggio 14(2). [Abstract]

Moruzzi, C. ‘The Assumptions Behind Musical Stage Theory: A Reply to Letts’, Journal of Aesthetics and Art Criticism 78(3): 362-366. [Abstract]

Moruzzi, C. ‘Should Human Artists Fear AI? A Report on the Perception of Creative AI’, Proceedings of xCoAx2020, pp. 170-185. [Abstract]
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Moruzzi, C.  ‘Can a Computer Create a Musical Work? Creativity and Autonomy of AI Software for Music Composition’, in Gouveia, Steven S. (ed.), The Age of Artificial Intelligence: An Exploration, Vernon Press. [Abstract]


2019

​Moruzzi, C. ‘An Ontological Justification for Contextual Authenticity’, British Journal of Aesthetics, 59(4): 413-427. [Abstract]


2018

Moruzzi, C. ‘Every Performance is a Stage: Musical Stage Theory as a Novel Account for the Ontology of Musical Works’, Journal of Aesthetics and Art Criticism, 76(3): 341-351. [Abstract]

Moruzzi, C. ‘Creative AI: Music Composition Programs as an Extension of the Composer’s Mind’, in Philosophy and Theory of Artificial Intelligence 2017, Vincent C. Müller (ed.), SAPERE; Berlin: Springer.​ [Abstract]
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Isle of Skye

Abstracts

Artificial Intelligence in Creative Industries: Psychological and Social Implications for Creators and the Public

While technological innovation has long reshaped artistic and cultural practices, the rise of generative AI (Gen AI) represents an unprecedented disruption due to its scale, speed, and capacity to produce outputs that can rival and surpass human creativity. This edited book examines how AI is transforming creativity, redefining industries, and raising new questions of authenticity, originality, and human agency. Specifically, it focuses on psychological and social implications of the GenAI revolution in creative fields. The collection brings together seventeen chapters by international scholars from psychology, sociology, marketing, cultural studies, education, and related fields. These contributions provide theoretical, conceptual, and empirical insights into how creativity is being redefined across multiple sectors, contributing to the development of a new paradigm for understanding creative industries in the age of AI. Each chapter concludes with research questions to stimulate classroom debate, inspire research proposals, and guide further inquiry. It thus serves both as a teaching resource for seminars and workshops and as a reference for postgraduate research projects and scholarly collaboration. The book is designed primarily for academics, higher education students, and instructors working on the intersection of AI, creativity, arts, and management.

Cite as: Moura, Francisco Tigre, and Caterina Moruzzi, eds. Artificial Intelligence in Creative Industries: Psychological and Social Implications. Routledge, 2026.
From Blank Box to Creative Partner: Designing Ecological On-Ramps for First Time Artists

While generative AI promises to democratize creativity, we lack empirical understanding of how creative professionals begin using these systems. Through a 10-week longitudinal study following one artist’s self-directed exploration, we address three research questions: How do interaction patterns emerge? What temporal-spatial dynamics characterize sustainable co-creation? How should we evaluate successful integration? Our findings from this single case study reveal: (1) situated prompt craft: for this artist, physical environments and material practices drove digital interaction; (2) elastic rhythms: specific temporal patterns emerged (short prompt bursts, consolidation periods, multi-day resurfacing cycles) that appeared essential for this participant’s creative process; and (3) attuned ambivalence: productive discomfort and sustained tension marked successful sessions. While we cannot generalize from one case, these patterns suggest alternative design spaces worth exploring. We contribute: (1) four empirically-grounded design patterns (park-and-resurface, warm-up modes, affect-to-action bridges, comfort controls) that could be prototyped and tested; and (2) speculative provocations that challenge efficiency-first paradigms. This case study demonstrates that some users may benefit from approaches orthogonal to current design paradigms.

​Cite as: Charlotte Bird, Caterina Moruzzi, and Ewa Luger. 2026. From Blank Box to Creative Partner: Designing Ecological On-Ramps for First-Time AI Artists. In Proceedings of the 2026 CHI Conference on Human Factors in Computing Systems (CHI '26). Association for Computing Machinery, New York, NY, USA, Article 594, 1–15. https://doi.org/10.1145/3772318.3790424
​​ORAgen Fables: Advancing the Design and Management of Content Attribution

As the internet thrives on the circulation of easily copied content, ensuring attribution is properly given has been a perennial challenge.
Following the rise of synthetic media and generative AI tools, and corresponding technologies which enable detailed media provenance, the picture has become considerably more complicated. We present a design research project to consider the implications of these developments from the perspective of the public, everyday (non-professional) user and ‘mundane content’ creation. Through the design, exhibition, and study of a collaborative storytelling tool, ORAgen Fables, we introduce technologies which enable detailed attribution and media provenance and explore contemporary attitudes and concerns about attribution. Our findings suggest that attribution should be understood as relational and dynamic with users having the right to ongoing management of their attribution. This opens a design space for understanding how technical systems could be deployed to define and ascribe attribution for past and future interactions.

​​Cite as: Liddell, F., Dixon, B., Tallyn, E., Moruzzi, C., Morgan, E., & Elsden, C. (2026, April). ORAgen Fables: Advancing the Design and Management of Content Attribution. In Proceedings of the 2026 CHI Conference on Human Factors in Computing Systems (pp. 1-15). https://doi.org/10.1145/3772318.3791227 
Supporting the Creative Industries Through the AI Turn: a comparative analysis of Scottish policy and the needs of Scotland’s creative practitioners

In the creative industries (one of the largest UK sectors, which operates at the juncture of business, technology and the arts) creative practitioners are not only consumers of Artificial Intelligence (AI), but also its developers, originators and innovators. This has material consequences for how creative work is performed, valued and understood, as well as global consequences for business structures, the environment, equality and power discrepancies. We take Scotland as a case study for how governmental policy addresses the challenges of AI for the creative industries by comparing Scotland’s Artificial Intelligence Strategy with data gathered from grass roots creative industries practitioners in Scotland through workshops and a survey. We identify differences between the priorities of Scotland’s Artificial Intelligence Strategy and the creative industries, as well as a lack of advice specific to the needs of the creative industries, and offer recommendations on how to put creatives at the heart of AI developments. 
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​​Cite as: Black SR, Moruzzi C, Osborne N, Terras M, Zeller F (2026) Supporting the creative industries through the AI turn: A comparative analysis of Scottish policy and the needs of Scotland’s creative practitioners. PLOS ONE 21(2): e0340255. https://doi.org/10.1371/journal.pone.0340255​
Interrogating the ORA Framework: Implications of Tokenized Licensing in the Cultural Economy

Platformization and the development of generative AI (genAI) present profound challenges for professionals across the cultural and creative industries. Through the development of a technical prototype and an exploratory study of a novel licensing framework known as ORA (Ownership, Rights, and Attribution) this paper critically explores tokenized licensing as a socio-technical approach to empower cultural and creative professionals as they navigate these new trends and shifts in the cultural economy. Through a series of semi-structured interviews following a practical demonstration of the ORA framework, we examine the aspirations and pressing concerns across a diverse set of professionals working within the cultural and creative industries regarding the production, sharing, and consumption of digital media content. Additionally, we reveal the tensions that arise from those concerns and attempts to address them through either technical and/or socio-cultural means, and the implications this has for the future of work in securing and distributing value across a creative media supply chain.
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Cite as: Liddell, F., Elsden, C., Tallyn, E., Moruzzi, C., Morgan, E., Balan, K., … Dixon, B. (2026). Interrogating the ORA framework: implications of tokenized licensing in the cultural economy. Journal of Cultural Economy, 1–24. https://doi.org/10.1080/17530350.2025.2589818
Building Trust and Developing Value between Creative Rightsholders and GenAI through Tokenised Licensing and Content Authenticity Tools

There is currently a deficit of trust between the developers of AI systems, and creative rightsholders upon whose content many AI systems ultimately depend, and currently exploit. The rapid development of GenAI tools especially, leaves a regulatory gap, where traditional copyright and licensing models are ill-equipped to both protect rightsholders, and support sustainable and ethical AI development. In this paper, we examine the extent to which decentralised, tokenised licensing systems, specifically the ORA framework, in combination with provenance and content authenticity initiatives (e.g. C2PA), can address these needs. As a UK based interdisciplinary research team across design, computer science and law we have engaged creative professionals and publics in workshops, demonstrations and exhibitions related to the ORA framework and content provenance. Reporting on these together in this paper, we critically assess the role these systems could play in building creatives’ trust in AI systems which use their work, and the further questions they raise. Finally, we present an interdisciplinary research agenda to stimulate further critical research on these technologies and their applications in the context of GenAI.
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Cite as: Elsden, C., Liddell,  F., Moruzzi, C., Schafer, B., Tallyn, E., Morgan, E., Dixon, B., Balan, K., Collomosse, J. Building Trust and Developing Value between Creative Rightsholders and GenAI through Tokenised Licensing and Content Authenticity Tools. The Paris Journal on AI & Digital Ethics. DOI : 10.65701/j7d2m0q9t5 https://paris-conference.com/journal/article/elsden-authenticity/​
SOUND DIALOGUES. The Responsible Use of AI in Artistic Creation

Electronic and digital artists and composers have always explored the potential of computation to generate synthetic sounds and images. Today they are faced with a so-called
"new frontier": the use of artificial intelligence as an alter ego, opponent or collaborator in creative production. While on the one hand, AI automates processes and reduces costs,
renewing the business model of artistic production, on the other hand, it flattens expressive diversity, offering sound experiences generated by algorithms that are often limited
in terms of creativity. To explore these themes, the event brought together composer Pierre Alexandre Tremblay and researchers Caterina Moruzzi and Serena Cangiano, who created a
sound conversation on the implications of AI in creativity. Through a journey made of sounds and demonstrations, the speakers highlight critical issues and opportunities related to
the responsible use of artificial intelligence: from the untransparent exploitation of data and works, to the adoption of tools for the empowerment of creative communities.

Cite as: Cangiano, S., Moruzzi, C., Tremblay, P. A., & Facchini, A. 2026. SOUND DIALOGUES. The Responsible Use of AI in Artistic Creation. Zenodo. https://doi.org/10.5281/zenodo.18338772
From “Can AI Be Creative?” to “What Is the Value of Integrating AI into Creative Processes?”

This chapter explores the question "Can AI be creative?", a question that has gained renewed attention following recent advancements in generative AI. I propose shifting the inquiry to more nuanced questions: "Can AI possess agency?", "Is AI making humans more or less creative?", and importantly, "What is the value of integrating AI into creative processes?". Answering this last question involves evaluating aspects such as novelty (differentiating genuine innovation from mere recombination of existing data), efficiency (weighing productivity gains against environmental costs), authenticity (addressing challenges to provenance and individual style), and effort (balancing ease of use with the often-invisible labour behind AI systems). The chapter concludes that an informed and intentional approach, guided by a critical assessment of value, is necessary for humans to effectively leverage their agency to maximise AI's potential while mitigating negative disruptions in creative workflows.

​Cite as: Moruzzi, Caterina. 2025. From “Can AI Be Creative?” to “What Is the Value of Integrating AI into Creative Processes?”, in Contemporary Debates in the Ethics of Artificial Intelligence​, ed. by. Sven Nyholm, Atoosa Kasirzadeh and John Zerilli. Wiley-Blackwell, pp. 199-212. https://doi.org/10.1002/9781394258840.ch14
Towards Agency in Human-AI Collaboration

Artificial Intelligence (AI) is increasingly evolving from a tool for automating repetitive tasks to an intelligent agent actively engaging in dynamic interactions with humans. As AI becomes more integrated into collaborative contexts, it is essential to examine the factors that shape human–AI interaction. Central to this collaboration is AI agency—the capacity for action and effect—a concept that has remained largely peripheral in existing research. This paper addresses this gap by proposing a comprehensive design space for reasoning about agency in human–AI collaboration. We introduce the high-level perspectives of distribution, modeling, and attribution to outline key dimensions that inform the design of agency in such systems. Our methodology combines a literature review with expert interviews to consolidate existing concepts and surface new insights. To exemplify the capacity of our framework, we reason about three mixed-initiative systems through the lens of our conceptual model. Finally, we identify future directions and critical research gaps in this emerging area. 

Cite as: Holter, Steffen, Moruzzi, Caterina and Mennatallah El-Assady, "Towards Agency in Human-AI Collaboration" in IEEE Computer Graphics and Applications, vol. , no. 01, pp. 1-13, PrePrints 5555, doi: 10.1109/MCG.2025.3623892.
AI and Interdisciplinarity: A Necessity and an Opportunity

AI is reshaping society in ways that no single discipline can fully anticipate or address alone. Interdisciplinarity is fundamental, but as challenges become increasingly complex we will require meta-disciplinarity: a redefinition of disciplinary boundaries, reconstructing how knowledge is produced, integrated and applied beyond existing structures.

Cite as: Moruzzi, Caterina. 2025. 'AI and Interdisciplinarity: A Necessity and an Opportunity'. In Andrews, H., & Hawcroft, A. (eds.), Why technology needs artists: 40 international perspectives. British Council. https://doi.org/10.57884/Z34F-0732.
BRAID researchers' response to the call for contributions on artificial intelligence and creativity issued by the UN Special Rapporteur in the field of cultural rights, Alexandra Xanthaki. 

This response to the call for contributions on artificial intelligence and creativity issued by the UN Special Rapporteur in the field of cultural rights, Alexandra Xanthaki, was prepared by researchers in the Bridging Responsible AI Divides (BRAID) Programme. BRAID is a UK-wide programme dedicated to integrating Arts and Humanities research more fully into the Responsible AI ecosystem, as well as bridging the divides between academic, industry, policy and regulatory work on responsible AI (https://braiduk.org/). BRAID is funded by the Arts and Humanities Research Council (AHRC) from 2022 to 2028 (grant number AH/X007146/1).
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Cite as: Miltner, K. M., Moruzzi, C., Parker, M., Potapov, K., Sichani, A.-M., & Westenberger, P. (2025). BRAID researchers' response to the call for contributions on artificial intelligence and creativity issued by the UN Special Rapporteur in the field of cultural rights, Alexandra Xanthaki. Zenodo. https://doi.org/10.5281/zenodo.15442454.
Content Authenticities: Expanding the Scope of User Engagement with Media Provenance Data. 

The proliferation of AI-generated digital content has intensified the user demand for accurate provenance information to ensure content authenticity. Technical advancements now provide tools to make the digital media content supply chain more transparent through the use of provenance data. This paper foregrounds the im- portance of understanding how the situated nature of user-content engagement influences perceptions and uses of this data. Insights from a workshop with experts in the creative media sector suggest that, as the adoption of provenance data becomes more common, users need richer and more nuanced information. We suggest that analyzing the increasing demand for content authenticity through the lens of multiple “authenticities”, each reflecting different user needs and contexts, can help identify and address the needs for, and uses of, provenance data by creators and audiences alike.​

Cite as: Moruzzi, Caterina, Tallyn, Ella, Liddell, Frances, Dixon, Billy, Collomosse, John, Elsden, Chris. Content Authenticities: Expanding the Scope of User Engagement with Media Provenance Data. In Creativity and Cognition (C&C ’25), June 23–25, 2025, Virtual, United Kingdom. ACM, New York, NY, USA, 22 pages. https://doi.org/10.1145/3698061.3726918.
Imagination and creativity: A necessary connection?

In Imagination and creative thinking, Amy Kind leads readers on a journey through two of the most fascinating, and at the same time intricate, subjects in the philosophy of mind: imagination and creativity. This paper retraces this journey, providing some points for reflection around key arguments proposed by Kind on the nature of the two concepts and on their connection. I will expand on some of the many questions that Kind addresses in the book, showing how her answers can help thinkers and practitioners to navigate the future of creativity and imagination.
​
Cite as: Moruzzi, Caterina. 2025. 'Imagination and creativity: A necessary connection?', Analysis, https://doi.org/10.1093/analys/anaf021
BRAID researchers' response to UK Government copyright and AI consultation

​This response to the UK Government consultation on AI and Copyright was prepared by researchers in the Bridging Responsible AI Divides (BRAID) Programme. BRAID is a UK-wide programme dedicated to integrating Arts and Humanities research more fully into the Responsible AI ecosystem, as well as bridging the divides between academic, industry, policy and regulatory work on responsible AI (https://braiduk.org/).
Views are our own - as researchers/academics - and do not reflect those of our institutions, the organisations partnered with us in our projects, the BRAID programme as a whole, or other BRAID researchers. Throughout this response there may be varying views from the responding researchers, and we have flagged these where relevant, as well as points where there has been explicit agreement. Researchers who have not contributed to a particular answer do not take a view on that specific point.

Cite as: Sichani, A.-M., Westenberger, P., Bryan-Kinns, N., Bunz, M., Collett, C., Heravi, B., Miltner, K. M., Moruzzi, C., & Townsend, B. A. (2025). BRAID researchers' response to UK Government copyright and AI consultation. Zenodo. https://doi.org/10.5281/zenodo.14945987
Artificial Intelligence and Creativity

​The question of whether machines can be creative has been at the centre of debates among scholars and practitioners well before the inception of Artificial Intelligence (AI) as a recognised field of research. This paper reviews how some of the key thinkers in the fields of creativity and AI have approached this question, contextualising their views within the ebbs and flows of AI technological developments, from the 1950s until now. The thread of this overview is Margaret Boden’s identification of novelty, surprisingness, and value, as the three cardinal features of creativity. This review will retrace the steps of the quest of Artificial Intelligence researchers as they strive to replicate each of these three properties within human-made machines. The paper closes with a reflection on how the third of these properties, value, prompts us to consider societal challenges raised by the widespread adoption of AI for creativity that transcend the question: “Can AI be creative?”.

​Cite as: Moruzzi, C. 2025, Artificial Intelligence and Creativity. Philosophy Compass, 20: e70030. https://doi.org/10.1111/phc3.70030
A Machine Walks into an Exhibit: A Technical Analysis of Art Curation

Contemporary art consumption is predominantly online, driven by algorithmic recommendation systems that dictate artwork visibility. Despite not being designed for curation, these algorithms’ machinic ways of seeing play a pivotal role in shaping visual culture, influencing artistic creation, visibility, and associated social and financial benefits. The Algorithmic Pedestal was a gallery, practice-based research project that reported gallerygoers’ perceptions of a human’s curation and curation achieved by Instagram’s algorithm. This paper presents a technical analysis of the same exhibit using computer vision code, offering insights into machines’ perception of visual art. The computer vision code assigned values on various metrics to each image, allowing statistical comparisons to identify differences between the collections of images selected by the human and the algorithmic system. The analysis reveals statistically significant differences between the exhibited images and the broader Metropolitan Museum of Art digital collection. However, the analysis found minimal distinctions between human-curated and Instagram-curated images. This study contributes insights into the perceived value of the curation process, shedding light on how audiences perceive artworks differently from machines using computer vision.

Cite as: ​von Davier, Thomas Şerban, Laura M. Herman, and Caterina Moruzzi. 2024. "A Machine Walks into an Exhibit: A Technical Analysis of Art Curation" Arts 13, no. 5: 138. https://doi.org/10.3390/arts13050138 
The Future of Creativity and AI: Views from the Scottish Creative Industries. A Report from Creative Informatics

Artificial Intelligence represents a suite of capabilities that every industry is currently having to reckon with: the creative industries are not exempt and may be one of the areas most affected by this sudden technological shift. As recently as 2020 the Creative Industries Policy and Evidence Centre judged “[d]irect applications of AI in creative industries” to be “relatively small scale” (Davies et al., 2020). However, since late 2022 the arrival of widely available generative AI tools such as ChatGPT and DALL-E has prompted all sectors to consider incorporating these technologies, and the ramifications of doing so. The increased prevalence of AI technologies has specific consequences for the creative industries, which are defined as those industries “based on individual creativity, skill and talent, or which have the potential to create wealth and jobs through the development or production of intellectual property” (Culture and Major Events Directorate, n.d.). AI as a disruptive technology has challenged understandings of creativity, skill and talent, particularly having a troubled relationship with legal structures of ownership and intellectual property. In this paper we introduce the landscape of creative AI in Scotland in 2023, and report on the Arts and Humanities Research Council (AHRC) and Department for Culture, Media and Sport (DCMS)-funded Creative AI Demonstrator Project (Feb 2023-March 2024), part of Creative Informatics at the University of Edinburgh, which consulted Scotland’s creative sector from May to November 2023 on their concerns about AI and how to address them. We provide concrete recommendations on how to support our creative industries through this increasingly urgent AI turn.

Cite as: ​Black, Suzanne R., Bilbao, Stefan, Moruzzi, Caterina, Osborne, Nicola, Terras, Melissa, and Zeller, Frauke. 2024. 'The Future of Creativity and AI: Views from the Scottish Creative Industries. A Report from Creative Informatics.' https://doi.org/10.5281/zenodo.10805253
ORAgen: Exploring the Design of Attribution through Media Tokenisation

In this work-in-progress, we present ORAgen, as ‘unfinished software’, materialised through a demonstrative web application that enables participants to engage with a novel approach to media tokenisation – the ORA framework. By presenting ORAgen in ‘think-aloud’  interviews with 17 professionals working in the creative and cultural industries, we explore potential values of media tokenisation in relation to existing challenges they face related to ownership, rights, and attribution. From our initial findings, we reflect specifically on the challenges of attribution and ongoing control of creative media, and examine how media tokenisation, and underpinning distributed ledger technologies can enable new approaches to designing attribution.

Cite as: Liddell, Frances, Ella Tallyn, Evan Morgan, Kar Balan, Martin Disley, Theodore Koterwas, Billy Dixon, Caterina Moruzzi, John Collomosse, and Chris Elsden. 2024. 'ORAgen: Exploring the Design of Attribution through Media Tokenisation'. In Designing Interactive Systems Conference (DIS Companion ’24), IT University of Copenhagen, Denmark. ACM, New York, NY, USA.  https://doi.org/10.1145/3656156.3663693​.
Customizing the Balance between User and System Agency in Human-AI Co-Creative Processes

The pervasive adoption and use of Generative AI tools prompted a discourse on determining the optimal balance between automation and human agency in processes executed by users with the assistance of this technology. This paper presents a user-centered co-creativity framework that identifies key dimensions responsible for the modulation of agency and control between users and AI in co-creative processes. It also suggests an actionable way of implementing the framework in a customization tool, in the form of a mobile application, which can be used to tailor the interaction between users and the AI system following the dimensions proposed in the framework. The paper contributes new insights within the literature on Computational Creativity and Human-Computer Interaction interested in the investigation of modalities of co-creation between humans and AI. 

Cite as: Moruzzi, Caterina and Solange Margarido. 2024. 'Customizing the Balance between User and System Agency in Human-AI Co-Creative Processes,' Proceedings of the 15th International Conference on Computational Creativity, ICCC’24, Jonköping, Sweden.
Perceived Embodiment & Creativity in Cases of Human-Technology Co-Creation

In this paper, we present the results of a quantitative survey that reveals the relationship between perceived creativity and embodiment in the context of digitally-native artwork. This research contributes to the Human-Computer Interaction literature on the role of embodiment in the relation between humans and computational applications and is especially relevant given the increased speculation about the artistic role and creativity of digital systems since the rise of generative AI tools. This study compares how participants respond to a video of a human illustrator drawing by hand on a touchscreen tablet with how the same participants respond to a video of a human technologist coding an algorithmic system that is subsequently used to produce artwork. In both cases, perceived embodiment was significantly correlated with perceived creativity. This suggests that the level of embodiment of a creative process should not be discounted, but is instead an essential element in creativity perceptions.

Cite as: Moruzzi, Caterina and Laura Herman. 2024. 'Perceptions of Embodiment and Creativity in Human-Technology Co-Creation', Proceedings of the 15th International Conference on Computational Creativity, ICCC’24, Jonköping, Sweden.
The Algorithmic Pedestal: A Practice-Based Study of Algorithmic and Artistic Curation

This paper delineates the authors’ practice-based findings from The Algorithmic Pedestal exhibit, a practice-based research project examining the impact of algorithmic curation on visual ecology. Instagram, a platform that deploys algorithmic recommendations to select and display artworks, was instructed to choose a set of images from the Metropolitan Museum of Art’s collection to display. Fabienne Hess, a London-based artist also chose images to display from the same collection. This article reflects on the process of producing an exhibit with curatorial inputs from both a machine and a human. It also shares and describes the selected images for the first time.

​Cite as: Herman, Laura and Caterina Moruzzi, 2024. 'The Algorithmic Pedestal: a Practice-Based Study of Algorithmic & Artistic Curation'. Leonardo. https://doi.org/10.1162/leon_a_02561. 
A User-centered Framework for Human-AI Co-creativity

The pervasive adoption and use of Generative AI tools prompted a discourse on determining the optimal balance between automation and human agency in processes executed by users with the assistance of this technology. This paper presents a user-centered co-creativity framework that identifies key dimensions responsible for the modulation of agency and control between users and AI in co-creative processes. It also suggests an actionable way of imple- menting the framework in a customization tool, in the form of a mobile application, which can be used to tailor the interaction be- tween users and the AI system following the dimensions proposed in the framework. The paper contributes new insights within the literature on Computational Creativity and Human-Computer Interaction interested in the investigation of modalities of co-creation between humans and AI.

Cite as: Moruzzi, Caterina and Solange Margarido. 2024. 'A User-centered Framework for Human-AI Co-creativity'. In Extended Abstracts of the CHI Conference on Human Factors in Computing Systems (CHI EA ’24), May 11–16, 2024, Honolulu, HI, USA. ACM, New York, NY, USA, 10 pages. https://doi.org/10.1145/3613905.3650929.
Imagination, Creativity, and Agency

The primary objective of the chapter is to delve into the relatively unexplored relationship between imagination, creativity, and agency, with a specific emphasis on the role of agency in connecting imagination and creativity. The chapter will introduce a novel framework, aimed at modeling the various stages of creative processes: the Imagination-in-Action framework. This framework will elucidate the essential role of imagination in creative endeavors, at the same time emphasizing the need for ideas to be manifested in a tangible form to complete the process of creativity. By exploring how agency and constraints enable agents to simulate and refine ideas generated during the imagination process, the chapter will also provide support to claims in favor of the epistemic value of imagination.

Cite as: Moruzzi, Caterina. 2025. 'Imagination, Creativity, and Agency'. In The Oxford Handbook of Imagination, Creativity, and the Subject, ed. by Amy Kind and Julia Langkau. Oxford: Oxford University Press. https://doi.org/10.1093/9780197694855.003.0012 
AI and Art: Non-Human, Still Human, or All Too Human

The increasingly widespread adoption and use of Artificial Intelligence (AI) models for content generation are disrupting traditional approaches to artistic production and challenging the traditionally anthropocentric nature of art: humans and machines now share the control of the creative process at an unprecedented level. Nonetheless, the data which AI models are trained on consist of a collection of human experiences, ideas, and products. This chapter reflects on these two apparently diverging statements, mapping out the effects that the increasingly widespread adoption and use of this technology can have on the nature and function of art and on the resulting position of the artist. Without underestimating the influence of AI in transforming artistic practices, the conclusion of the chapter comes full circle: art is still human, maybe more human than ever.

​Cite as:  Moruzzi, Caterina and Oreste Campagner. 2024. 'AI and Art: Non-Human, Still Human, or All Too Human?' In Artificial Intelligence, Co-Creation & Creativity, ed. by Francisco Tigre Moura. London: Routledge.​ ​https://doi.org/10.4324/9781003453901-10
Introducing the Method of Exhibit-Based Research

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This paper introduces a method, Exhibit Based Research (EBR), in which we deploy standalone gallery exhibits as a central component of our research program. We adopt this method to distill complex visual research problems and problematize technological affordances. In the two case studies outlined in this paper, we deploy this method to articulate the role played by algorithms in processes of inspiration, design, and curation. EBR includes a practice-based component, the co-design of an exhibit, a participant engagement component, and interactive, multimodal data collection. The EBR approach creates a dynamic engagement between the public, academia, and creatives, increasing the relevancy of findings across audiences and advancing public understandings. This methodological paper aims to encourage other researchers in the community to consider EBR as an inclusive, immediate, and effective means of revealing opaque concepts and mechanisms via exhibition design.

Cite as: Eccles, Kathryn, Laura Herman, Caterina Moruzzi and Maggie Mustaklem. 2024. 'Introducing the Method of Exhibit-Based Research'. Communication Design Quarterly. DOI: 10.1145/3627691.3627696. 
Creative Agents: Rethinking Agency and Creativity in Human and Artificial Systems

While the notions of creativity and agency have each received considerable attention in the literature on computational systems, the connections between these two concepts have rarely been addressed. In this paper, I contribute to this debate by discussing the results of an online questionnaire aimed at testing the interactions between the attribution of agency and creativity to human and artificial subjects. Findings of the study indicate that the ascription of agentive capabilities to a subject is positively correlated to the level of creativity attributed to the process they perform. This result supports the claim that a better understanding of the steps needed in order to achieve agency can help also to shed light on the development of creativity in computational systems. I conclude the paper by suggesting that the technological revolution of the last decades is compelling us to re-think concepts such as authorship, ownership, agency, and creativity that, so far, have been typically attributed to humans only, and to consider how these notions are being transformed in dynamics of interaction between humans and machines.

Cite as: Moruzzi, Caterina. 2022. ‘Creative Agents: Rethinking Agency and Creativity in Human and Artificial Systems’, Journal of Aesthetics and Phenomenology, 9(2): 245-268, DOI: 10.1080/20539320.2022.2150470. 
The Role of Embodiment in the Perception of Human & Artificial Creativity

The role of embodiment in creativity has not been addressed in depth in the literature, and has been considered even less so in connection with Artificial Intelligence (AI), with a few exceptions. Still, the perception of the embodiment of the creator is generally deemed a key aspect of the observer's response to an artwork. If true, this poses interesting challenges for AI systems attempting to generate creative art, as they are inherently disembodied. This volume includes contributions from participants to the workshop `The Role of Embodiment in the Perception of Human & Artificial Creativity', organized by the authors in the context of the 13th International Conference on Computational Creativity, ICCC’22.

Cite as: Herman, Laura and Caterina Moruzzi (eds.). 2022. Proceedings of the ICCC’22 workshop 'The Role of Embodiment in the Perception of Human & Artificial Creativity', urn:nbn:de:0074-3255-7.
Exploring Embodiment’s Role in Creativity with Live Artistic Performances

The paper engages with the role of embodiment in perceptions of creativity, by discussing the aims and motivations behind the workshop `The Role of Embodiment in the Perception of Human & Artificial Creativity', organized by the authors in the context of the 13th International Conference on Computational Creativity, ICCC’22. This workshop pioneered a novel format for the Computational Creativity community in which artists are on hand to physically share and discuss their process with the research audience. We describe the structure of the workshop and the methodology followed in designing the audience survey conducted during the first day. Lastly, we argue for the relevance of more in-field studies aimed at testing the role played by the interaction with live artistic processes on evaluations of creativity.

Cite as: Herman, Laura and Caterina Moruzzi. 2022. 'Exploring Embodiment’s Role in Creativity with Live Artistic Performances', in Herman, Laura and Caterina Moruzzi (eds.) Proceedings of the workshop 'The Role of Embodiment in the Perception of Human & Artificial Creativity' at ICCC'22, urn:nbn:de:0074-3255-7.
Prediction: An Algorithmic Principle Meeting Neuroscience and Machine Learning Halfway

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In this paper, we support the relevance of the collaboration and mutual inspiration between research in Artificial Intelligence and neuroscience to create truly intelligent and efficient systems. In contrast to the traditional top-down and bottom-up strategies designed to study and emulate the brain, we propose an alternative approach where these two strategies are met halfway, defining a set of algorithmic principles. We present prediction as a core algorithmic principle and advocate for applying the same approach to identify other neural principles which can constitute core mechanisms of new Machine Learning frameworks.

Cite as: Bouhadjar, Younes, Moruzzi, Caterina and Melika Payvand. 2022. `Prediction: An Algorithmic Principle Meeting Neuroscience and Machine Learning Halfway', Proceedings of the 3rd International Workshop on Human-Like Computing at the 2nd International Joint Conference on Learning & Reasoning (IJCLR) 2022.
Which Biases and Reasoning Pitfalls Do Explanations Trigger? Decomposing Communication Processes in Human-AI Interaction

Collaborative human-AI problem-solving and decision-making rely on effective communications between both agents. Such communication processes comprise explanations and interactions between a sender and a receiver. Investigating these dynamics is crucial to avoid miscommunication problems. Hence, in this paper, we propose a communication dynamics model, examining the impact of the sender's explanation intention and strategy on the receiver's perception of explanation effects. We further present potential biases and reasoning pitfalls with the aim of contributing to the design of hybrid intelligence systems. Lastly, we propose six desiderata for human-centered explainable AI and discuss future research opportunities.

Cite as: El-Assady, Mennatallah and Caterina Moruzzi. 2022. 'Which Biases and Reasoning Pitfalls Do Explanations Trigger? Decomposing Communication Processes in Human-AI Interaction', IEEE Computer Graphics and Applications, vol. 42, no. 6, pp. 11-23. https://doi.org/10.1109/MCG.2022.3200328
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Toward Out-of-Distribution Generalization Through Inductive Biases

State-of-the-art Machine Learning systems are able to process and analyze a large amount of data but they still struggle to generalize to out-of-distribution scenarios. To use Judea Pearl’s words, “Data are profoundly dumb" (Pearl & Macken- zie, 2018); possessing a model of the world, a representation through which to frame reality is a necessary requirement in order to discriminate between relevant and irrelevant information and to deal with unknown scenarios. The aim of this paper is to address the crucial challenge of out-of-distribution generalization in automated systems by developing an understanding of how human agents build models to act in a dynamic environment. The steps needed to reach this goal are described by Pearl through the metaphor of the Ladder of Causation. In this paper, I support the relevance of inductive biases in order for an agent to reach the second rung on the Ladder: that of actively interacting with the environment.
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Cite as: Moruzzi, Caterina. 2022. Toward Out-of-Distribution Generalization Through Inductive Biases. In: Müller, V.C. (eds) Philosophy and Theory of Artificial Intelligence 2021. PTAI 2021. Studies in Applied Philosophy, Epistemology and Rational Ethics, vol 63. Springer, Cham. https://doi.org/10.1007/978-3-031-09153-7_5
Creativity in the Light of AI. Special issue in Odradek

This issue of Odradek, titled Creativity in the Light of AI, stemmed from our wish to investigate the intersection between the notion of creativity and Artificial Intelligence (AI). The scholars who contributed to this issue of Odradek shed light on extremely interesting directions along which this discussion might develop. We are very grateful for these enrichments to debates on human and artificial creativity provided by the contributors to this issue, and we are happy to share them with our readers.

Cite as: ​Fossa, Fabio, Moruzzi, Caterina and Mario Verdicchio (eds.). 2022.  Creativity in the Light of AI. Odradek, Vol. 8 N. 1.
The (Artificial) Physicality of Creativity: How Embodiment Influences Perceptions of Creativity

The generation of artifacts through computational creativity (CC) systems is hitting the headlines with increasing frequency. Although impressive, this paper will not focus on the outcomes achieved by these systems, but rather on a specific dimension of artistic processes: embodiment. I discuss the results of a recent factorial survey study aimed at testing the influence that embodiment has on the evaluation of creativity. These findings show that the physical dimension of artificial systems interacting with human artists contributes to the perception of the interplay between artificial and human agents as a creative collaboration. I propose that a closer study of the dynamics of interaction between embodied machines, human artists, and the public can facilitate progress in both the artistic and the technology sector.​

Cite as: Moruzzi, Caterina. 2022. 'The (Artificial) Physicality of Creativity: How Embodiment Influences Perceptions of Creativity',  Proceedings of the 13th International Conference on Computational Creativity.
Perceptions of Creativity in Artistic and Scientific Processes


This paper presents the results of a factorial survey research on perceptions of artistic and scientific creativity in humans and AI. A general reluctance at attributing creativity to artificial systems is well-documented in the literature on the theme. Aim of this survey is to test whether this reluctance is equally strong when participants evaluate scenarios where human and artificial agents are involved in processes of scientific discovery and scenarios where they are engaged in artistic creation processes. The starting hypothesis of the study is that participants should be less hesitant at attributing creativity to artificial agents when the latter engage in scientific discovery processes. Findings, however, disconfirm this assumption, showing that participants attribute significantly less creativity to artificial actors than to human ones, and even more so when they are involved in scientific processes.

Cite as: Moruzzi, Caterina. 2022. 'Perceptions of Creativity in Artistic and Scientific Processes', Proceedings of 10th Conference on Computation, Communication, Aesthetics & X 2022, 11-25. https://doi.org/10.24840/xCoAx_2022_5
Climbing the Ladder: How Agents Reach Counterfactual Thinking

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We increasingly rely on automated decision-making systems to search for information and make everyday choices. While concerns regarding bias and fairness in machine learning algorithms have high resonance, less addressed is the equally important question of to what extent we are handing our own role of agents over to artificial information-retrieval systems. This paper aims at drawing attention to this issue by considering what agency in decision-making processes amounts to. The main argument that will be proposed is that a system needs to be capable of reasoning in counterfactual terms in order for it to be attributed agency. To reach this step, automated system necessarily need to develop a stable and modular model of their environment.

Cite as: Moruzzi, Caterina. 2022. 'Climbing the Ladder: How Agents Reach Counterfactual Thinking',  Proceedings of the 14th International Conference on Agents and Artificial Intelligence 3: 555-560. ISBN 978-989-758-547-0, ISSN 2184-433X. 
Everyone Can Change a Musical Work



This paper explores how a new theory on the ontology of musical works, Musical Stage Theory, can address the problem of change in musical works. A natural consequence of the ontological framework of this theory is that musical works change intrinsically through a change in the sonic-structural properties of performances. From this a surprising consequence follows: everyone can change a musical work. Still, it seems that some changes matter more than others. The article offers a revisionary reply to this concern by arguing that normative change is not a change in the ontological nature of the work but rather in its authenticity conditions.
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Cite as: Moruzzi, Caterina. 2022. 'Everyone Can Change a Musical Work', The British Journal of Aesthetics. 62(1): 1–13, https://doi.org/10.1093/aesthj/ayab003.
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Val Chisone, Italy
Measuring Creativity: An Account of Natural and Artificial Creativity
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Despite the recent upsurge of interest for the investigation on the topic of creativity, the question of how to measure creativity is arguably underdiscussed. The aim of this paper is to address this gap, proposing a multidimensional account of creativity which identifies problem-solving, evaluation, and naivety as measurable features that are common to every creative process. The benefits that result from the adoption of this model are twofold: integrating discussions on creativity in various domains and offering the tools to assess creativity across systems of different kinds. By situating creativity within this framework, I aim to contribute to a non-anthropocentric, more comprehensive understanding of the notion and to debates on natural and artificial creativity.

Cite as: Moruzzi, Caterina. 2021. ‘Measuring Creativity: An Account of Natural and Artificial Creativity’, European Journal for Philosophy of Science 11(1). https://doi.org/10.1007/s13194-020-00313-w.
Improvisation as Creative Performance

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The main aim of this chapter is to counter the traditional ontological paradigm that sees work and performance as distinct entities, adopting instead improvisation as a model for the interrelationship between composition and performance. I will address how an independently motivated ontological theory, Musical Stage Theory (MST), can account for improvisation within its ontological framework, by shifting the focus from the product to the process and describing improvisation as a creative process that pervades many artistic activities. In the second part of the chapter, I present contemporary examples of the centrality of the performative dimension of artworks, describing improvisatory practices in art forms that emerge from the collaboration between humans and technology. As a byproduct of this discussion, I will argue how an analysis of improvisation in human-machine collaboration in the arts can help us also answer questions regarding creativity.

Cite as: Moruzzi, Caterina. 2021. ‘Improvisation as Creative Performance’, in Bertinetto, A. and Ruta, M. (eds.) Handbook of Philosophy and Improvisation in the Arts, London: Routledge.​
​On the Relevance of Understanding for Creativity
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Artificial Intelligence (AI) applications help humans accomplish many everyday tasks and we are increasingly in contact with its always improving technologies. However, research in AI has been hindered by biases and misconceptions that concern its possibilities and by the uncertainty and lack of clarity in respect to what does it mean for a machine to ‘learn’ or to ‘understand’. The aim of this paper is to discuss human and artificial understanding and to assess how state-of-the-art research fares in respect to the development of artificial systems capable of understanding. To do that, I first consider four notions that can help us in having a richer vision of what understanding amounts to: knowledge, grasp, problem-solving, and context sensitivity. In the central section of the paper, I identify two kinds of understanding that are necessary for creativity, a competence that current research in AI strives to reproduce in artificial systems. I then, discuss the impressive, but not completely satisfactory, achievements of Natural Language Processing, a branch of AI that is moving towards gaining a higher level of understanding. I close the paper by arguing how the current program of neurosymbolic AI is showing promising results in the progress toward achieving the desired level of understanding and creativity in machines. This program takes inspiration from the dual-model of the human mind proposed by Daniel Kahneman in his bestselling work Thinking Fast and Slow and it parallels the mechanisms that are necessary to develop not only a context-sensitive understanding, but also creative capabilities.
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Cite as: Moruzzi, Caterina. 2021. 'On the Relevance of Understanding for Creativity’, Proceedings of AISB2021.
Artificial Creativity and General Intelligence

It is hard to deny that the notions of creativity and intelligence are inherently connected. But what does this correlation amount to? Is creativity a necessary desideratum of intelligence? On the other hand, does the fact of being intelligent necessarily imply being creative as well? The aim of this paper is to explore these questions and to contribute to the discussion regarding the connections between the notions of creativity and intelligence. In order to do so, I draw on the results obtained from a study on the public perceptions and attitudes in relation to the use of AI in the creative sector conducted at the University of Nottingham.
Through this discussion I aim to test the hypothesis that the key features of creativity correspond to aspects that are essential for the realization of Artificial General Intelligence, e.g. flexibility, domain knowledge, and common-sense. After having illustrated the parallels between the two concepts, I contend that while creativity is a crucial component of general intelligence, the constituents needed to build an AGI may not be sufficient to design creative artificial systems. I close the paper by tentatively suggesting how the motivations behind the discontent expressed by the participants against creative AI can be explained through the uncanny valley phenomenon.

Cite as: Moruzzi, Caterina. 2020. ‘Artificial Creativity and General Intelligence’, Journal of Science and Technology in the Arts 12(3): 84-99. https://doi.org/10.34632/jsta.2020.9481​.
Learning Through Creativity: How Creativity Can Help Machine Learning Achieving Deeper Understanding
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In this paper, I address the difficult task of analysing the nature of creativity by suggesting a more objective way of defining it. In particular, I propose a minimal account of creativity as autonomous problem-solving process. This definition is aimed at providing a baseline that researchers working in different fields can agree on and that can then be refined on a case by case basis. Developing our insight on the nature of creativity is increasingly necessary in the light of recent developments in the field of Artificial Intelligence. In the second part of the paper, I discuss how an investigation on the main features of human creativity can support the advancement of machine learning models in their current areas of weakness, such as intuition, originality, innovation, and flexibility. I suggest how methods such as modelling the human brain or simulation can be useful to extract the main mechanisms underlying creative processes and to translate them to machine learning applications. This can eventually aid both the development of machine learning systems that achieve a deeper and more intuitive understanding and our exploration of human creativity.

Cite as: Moruzzi, Caterina. 2020. ‘Learning Through Creativity: How Creativity Can Help Machine Learning Achieving Deeper Understanding’, Rivista Italiana di Filosofia del Linguaggio 14(2), doi: 10.4396/AISB201904.
Looking for Creativity: GANs as a Paradigm of Autonomy in Software for Music Composition
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In this paper I discuss the impact of AI on one of the key topics in the philosophy of art: the nature of musical works. The question I will address is the following: ‘Can a computer create a musical work?’. Due to its complexity and subject-dependency, the concept of creativity eludes an objective definition and quantification. With the aim of finding a non-arbitrary way of measuring creativity, I individuate autonomy as a necessary feature exhibited by creative processes. I then investigate the case study of the generation of music by a new model of generative algorithms: Generative Adversarial Networks (GANs). I claim that the use of GANs in software for music composition may grant the system a sufficient level of autonomy for deeming it able to create musical works. In addressing the inherent difference of GANs from other kinds of software used in algorithmic composition, I will compare their process of creation and the quality of their results with other, widely used, algorithms for music composition. I will conclude the paper by arguing that the aesthetically worse results obtained at present by GANs in the generation of music cannot be used as an argument against their creativity.

Cite as: Moruzzi, Caterina. 2020. ‘Looking for Creativity: GANs as a Paradigm of Autonomy in Software for Music Composition’, in Be My GAN: Arte e Intelligenza Artificiale, ed. by Alice Barale (Milano: Jaca Book).
The Assumptions Behind Musical Stage Theory: A Reply to Letts
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In this reply, I am not going to take up the cudgels for MST against Letts’s doubts. Rather, I will propose a partial retreat: the advantages advertised by MST are not absolute, their validity is instead dependent on the acceptance of MST’s
pre-theoretic desiderata. This retreat gives me the opportunity to advocate for the legitimacy of these desiderata and to clarify the revisionary standpoint taken by MST in relation to the primacy of the performative aspect of music. This will hopefully help me also to respond to Letts’s doubts by motivating the relevance of a direct epistemological access to musical works and a contextual assessment of works-as-performances on the basis of these assumptions.

Cite as: Moruzzi, Caterina. 2020. ‘The Assumptions Behind Musical Stage Theory: A Reply to Letts’, Journal of Aesthetics and Art Criticism78(3): 362-366. https://doi.org/10.1111/jaac.12742​.
Should Human Artists Fear AI? A Report on the Perception of Creative AI
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The question of whether a machine can be creative has been at the center of many scholarly debates. But what does the public think about the possibility for AI to gain a place alongside human artists? This paper presents the results of a survey conducted at the University of Nottingham which investigated the public reception of the application of Artificial Intelligence to the creative sector. The study examined the attitudes and beliefs of participants to the prospect of a future scenario where machines create art alongside and in collaboration with humans. The responses, collected both through an online questionnaire and a focus group, reveal that participants do not exclude the possibility that in the medium-term AI may earn the attribute ‘creative’. Still, this does not mean that this scenario is welcomed. 

Cite as: Moruzzi, Caterina. 2020. ‘Should Human Artists Fear AI? A Report on the Perception of Creative AI’, Proceedings of xCoAx2020, pp. 170-185.
Can a Computer Create a Musical Work? Creativity and Autonomy of AI Software for Music Composition
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In this paper I discuss the question “Can a computer create a musical work?” in the light of recent developments in AI music software generators. In attempting to provide an answer, further questions about the creativity and intentionality exhibited by AI will emerge. In the first part of the paper I argue that the question of whether a computer can be creative should be replaced by different questions. The notion of creativity is indeed too embedded with our subjective judgement of an idea or product ‘as’ creative. In the last section, I thus suggest to shift the focus of the inquiry from creativity to autonomy. I finally argue that the application of generative adversarial networks to music generators confers them a level of autonomy which is sufficient to deem them able to create musical works.

​Cite as: Moruzzi, Caterina. 2020.  ‘Can a Computer Create a Musical Work? Creativity and Autonomy of AI Software for Music Composition’, in Gouveia, Steven S. (ed.), The Age of Artificial Intelligence: An Exploration, Vernon Press.
An Ontological Justification for Contextual Authenticity


In this paper I defend a contextualist interpretation of authenticity in musical performance: we judge a performance as authentic not in respect of a stable set of requirements but according to contextually determined factors. This solution is the natural outcome of an independently supported ontological account of musical works: Musical Stage Theory. The aim of the paper is to give new momentum to the debate concerning the notion of authenticity and to challenge a monistic interpretation of authenticity: there is not one authenticity but many.
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Cite as: Moruzzi, Caterina. 2019. ‘An Ontological Justification for Contextual Authenticity’, The British Journal of Aesthetics 59(4): 413–427.
Creative AI: Music Composition Programs as an Extension of the Composer’s Mind
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In this paper I discuss the question “Can a computer create a musical work?” in the light of recent developments in AI music software generators. In attempting to provide an answer, further questions about the creativity and intentionality exhibited by AI will emerge. In the first part of the paper I argue that the question of whether a computer can be creative should be replaced by different questions. The notion of creativity is indeed too embedded with our subjective judgement of an idea or product ‘as’ creative. In the last section, I thus suggest to shift the focus of the inquiry from creativity to autonomy. I finally argue that the application of generative adversarial networks to music generators confers them a level of autonomy which is sufficient to deem them able to create musical works.

Cite as: Moruzzi, Caterina. 2018. ‘Creative AI: Music Composition Programs as an Extension of the Composer’s Mind’, in Müller, Vincent C. (ed.), Philosophy and Theory of Artificial Intelligence 2017, Berlin: Springer.
Every Performance is a Stage: Musical Stage Theory as a Novel Account for the Ontology of Musical Works
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This article defends Musical Stage Theory as a novel account of the ontology of musical works. Its main claim is that a musical work is a performance. The significance of this argument is twofold. First, it demonstrates the availability of an alternative, and ontologically tenable, view to well-established positions in the current debate on musical metaphysics. Second, it shows how the revisionary approach of Musical Stage Theory actually provides a better account of the ontological status of musical works.
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Cite as: Moruzzi, Caterina. 2018. ‘Every Performance is a Stage: Musical Stage Theory as a Novel Account for the Ontology of Musical Works’, Journal of Aesthetics and Art Criticism 76(3): 341-351. https://doi.org/10.1111/jaac.12579.
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Konstanz, Germany