Stakeholder Groups in Computational Creativity Research and Practice - Computational Creativity Research: Towards Creative Machines - page 30

patrolling robots. They can escape to an exit at any stage, with their score being
the amount of gold collected. While not an exact duplicate, the rules of LITH are
very similar to those of To That Sect , i.e., search for as many objects of a certain
type as possible, while avoiding another object, then exit. LITH was entered in the
same track as ANGELINA-5's games, and ranked 95th Overall, 125th for Fun, and
274th for Theme. None of the comments on LITH reference the game's rulesets in
a critical way. Notably, LITH ranks 259 places above To That Sect for Theme. This
is significant, as the LITH designer justifies its theme in a fairly thin way, by saying
simply that the player only has one opportunity to save their score (which they do by
ending the game, as in To That Sect ). The games are by no means identical: LITH 's
level is more closed in to accentuate a feeling of claustrophobia, but the similarities
are many. This analysis suggests a fundamental difference in how people evaluate a
game when they have knowledge and when they have no knowledge of its designer
and design process.
Hypothesis 8 There can be both positive and negative biases at work when people
consume artefacts in the knowledge that computers created them. By managing both
cases in a creative community context, we can increase perception of software as
being creative and enjoyment of the artefacts produced. This increase will be further
fuelled if the software shows clear growth in sophistication in the field, and expresses
this through its processes and products.
1.7 Conclusions and Future Work
Simply stated, one of the main aims of research into Computational Creativity is
to one day see creative software properly embedded into society. To achieve this
aim, larger sectors of society need to join the effort, including creative communities
within the arts and sciences, the creative industries, technology firms, and the next
generation of Artificial Intelligence researchers. Hence, we need to convince certain
sets of stakeholders that creative software is no fantasy, but a potential reality that
will bring benefits to society. As described above, we have studied three sets of stake-
holders, namely the general public, fellowComputational Creativity researchers, and
a specific community of creative people, namely videogame designers. These studies
have enabled us to make concrete hypotheses related to how stakeholder communi-
ties perceive creativity in software, and how best to manage that perception in the
future. Based on our immersion in the stakeholder communities mentioned, we have
argued above in favour of the truth of the hypotheses, with extended discourse and
argumentation given in [ 38 , 47 ] amongst other papers. We believe it is now time to
turn the hypotheses into experiments designed to see whether the ways in which sets
of stakeholders perceive and react to creative software fit our beliefs.
Our first hypothesis is pitched somewhat at a meta-level, in that it proposes that
different stakeholder groups see creative systems differently and their perception
of software behaviour could and should be managed in a bespoke manner. We can