While the term `art' defies any concrete definition, this paper aims to examine how digital images produced by generative AI systems, such as Midjourney, have come to be so regularly referred to as such. The discourse around the classification of AI-generated imagery as art is currently somewhat homogeneous, lacking the more nuanced aspects that would apply to more traditional modes of artistic media production. This paper aims to bring important philosophical considerations to the surface of the discussion around AI-generated imagery in the context of art. We employ existing philosophical frameworks and theories of language to suggest that some AI-generated imagery, by virtue of its visual properties within these frameworks, can be presented as `readymades' for consideration as art.

The Game Developer's Conference, the largest event in the games industry, has hosted over 50 talks in the last decade about procedural generation, from small-scale independent speakers to large AAA companies, covering disciplines from programming to art to writing. Correspondingly, procedural generation has been an increasingly hot topic among game AI researchers in the last two decades. The Procedural Generation Workshop at FDG, now in its twelfth year, is one of the longest-running workshops in the field of game AI, and dedicated paper tracks at conferences are a regular occurrence. Despite the huge importance of content generation, and the wealth of time invested into developing practical techniques, the analysis of procedural generators is a relatively underdeveloped area of study. A few notable techniques have emerged over the last two decades of research [7, 8], as well as studies of efficacy [4, 9], but many of the techniques used by game researchers have changed little in that time. As a result, a lot of procedural generation work is done by'feel', with postmortems shared at events such as the Roguelike Celebration

Procedural content generation has been applied to many domains, especially level design, but the narrative affordances of generated game environments are comparatively understudied. In this paper we present our first attempt to study these effects through the lens of what we call a generative archaeology game that prompts the player to archaeologically interpret the generated content of the game world. We report on a survey that gathered qualitative and quantitative data on the experiences of 187 participants playing the game Nothing Beside Remains. We provide some preliminary analysis of our intentional attempt to prompt player interpretation, and the unintentional effects of a glitch on the player experience of the game.

Text-to-image generative models have recently exploded in popularity and accessibility. Yet so far, use of these models in creative tasks that bridge the 2D digital world and the creation of physical artefacts has been understudied. We conduct a pilot study to investigate if and how text-to-image models can be used to assist in upstream tasks within the creative process, such as ideation and visualization, prior to a sculpture-making activity. Thirty participants selected sculpture-making materials and generated three images using the Stable Diffusion text-to-image generator, each with text prompts of their choice, with the aim of informing and then creating a physical sculpture. The majority of participants (23/30) reported that the generated images informed their sculptures, and 28/30 reported interest in using text-to-image models to help them in a creative task in the future. We identify several prompt engineering strategies and find that a participant's prompting strategy relates to their stage in the creative process. We discuss how our findings can inform support for users at different stages of the design process and for using text-to-image models for physical artefact design.

It overlaps with computational creativity as well as procedural content generation, and has roots stretching back long before digital games research had begun in the form we know it today [9]. In [6] Cook and Smith offer a critique of the field, suggesting that the history of AGD research, at the time of writing in 2015, was primarily focused on the generation of rules for games, and limited to goal-oriented games with clear objective functions for winning. They write: This mechanics-first view on games is unnecessarily limiting, stifling the creative potential for AGD and restricting the kinds of games that can be automatically designed to ones that have well-defined, simple rule systems. More than half a decade on from the publication of this work, and most of its points still hold true of AGD research today. This is not in itself a flaw in the research being done - it is still valuable, and the field is progressing and creating many new and exciting systems [1, 11]. Yet there remains a need to expand beyond this, to create the "new kinds of play experience" that Cook and Smith talk about, to expand the horizons of AGD as a research field, and most importantly to expand the scope of how AI interacts with, improves and changes games as a creative medium.

Tabletop roleplaying games (TTRPGs) and procedural content generators can both be understood as systems of rules for producing content. In this paper, we argue that TTRPG design can usefully be viewed as procedural content generator design. We present several case studies linking key concepts from PCG research -- including possibility spaces, expressive range analysis, and generative pipelines -- to key concepts in TTRPG design. We then discuss the implications of these relationships and suggest directions for future work uniting research in TTRPGs and PCG.

Analysing strategic decision-making in eSports is an increasingly important problem -- for players, for teams, for commentators, for viewers and for broadcasters. Such analysis is extremely difficult, however, because of the comparatively small quantities of data, the ever-shifting state of competitive play, and the huge complexity of the game. In this paper we describe a system for predicting drafting decisions in DOTA 2, and evaluate both how the system performs compared to human experts, as well as the new kinds of analysis made possible by automation.

The AIIDE Playable Experiences track celebrates innovations in how AI can be used in polished interactive experiences. Four 2016 accepted submissions display a diversity of approaches. Rogue Process combines techniques for medium-permanence procedurally generated hacking worlds. Elsinore applies temporal predicate logic to enable a time-traveling narrative with character simulation. A novel level generator uses conceptual blending to translate Mario Bros. design styles across levels. And Bad News uses deep simulation of a town and it's residents to ground a mixed-reality performance. Together these playable experiences showcase the opportunities for AI in interactive experiences.

The workshop program at the Eleventh Annual AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment was held November 14–15, 2015 at the University of California, Santa Cruz, USA. The program included 4 workshops (one of which was a joint workshop): Artificial Intelligence in Adversarial Real-Time Games, Experimental AI in Games, Intelligent Narrative Technologies and Social Believability in Games, and Player Modeling. This article contains the reports of three of the four workshops.

This paper describes entries to the third Playable Experiences track to be held at the AIIDE conference. We discuss the five entries accepted to the track for 2015, as well as the ongoing development of the track as part of AIIDE.