Evaluation is a critical activity associated with any theory. Yet this has proven to be a n exceptionally challenging activity for theories based on cognitive architectures. For an overlapping set of reasons, evaluation can also be challenging for theories based on generative neural architectures. T h is dual challenge is approached here by leveraging a broad perspective on theory evaluation to yield a wide - ranging, albeit qualitative, comparison of whole - mind - orie n ted cognitive and generative architectures an d the full systems th a t are based on these architectures .

Research on generative systems in music has seen considerable attention and growth in recent years. A variety of attempts have been made to systematically evaluate such systems. We present an interdisciplinary review of the common evaluation targets, methodologies, and metrics for the evaluation of both system output and model use, covering subjective and objective approaches, qualitative and quantitative approaches, as well as empirical and computational methods. We examine the benefits and limitations of these approaches from a musicological, an engineering, and an HCI perspective.

We present a semantic feedback framework that enables natural language to guide the evolution of artificial life systems. Integrating a prompt-to-parameter encoder, a CMA-ES optimizer, and CLIP-based evaluation, the system allows user intent to modulate both visual outcomes and underlying behavioral rules. Implemented in an interactive ecosystem simulation, the framework supports prompt refinement, multi-agent interaction, and emergent rule synthesis. User studies show improved semantic alignment over manual tuning and demonstrate the system's potential as a platform for participatory generative design and open-ended evolution.

Text-based prompting remains the predominant interaction paradigm in generative AI, yet it often introduces friction for novice users such as small business owners (SBOs), who struggle to articulate creative goals in domain-specific contexts like advertising. Through a formative study with six SBOs in the United Kingdom, we identify three key challenges: difficulties in expressing brand intuition through prompts, limited opportunities for fine-grained adjustment and refinement during and after content generation, and the frequent production of generic content that lacks brand specificity. In response, we present ACAI (AI Co-Creation for Advertising and Inspiration), a multimodal generative AI tool designed to support novice designers by moving beyond traditional prompt interfaces. ACAI features a structured input system composed of three panels: Branding, Audience and Goals, and the Inspiration Board. These inputs allow users to convey brand-relevant context and visual preferences. This work contributes to HCI research on generative systems by showing how structured interfaces can foreground user-defined context, improve alignment, and enhance co-creative control in novice creative workflows.

This essay proposes an interpretive analogy between large language models (LLMs) and quasicrystals, systems that exhibit global coherence without periodic repetition, generated through local constraints. While LLMs are typically evaluated in terms of predictive accuracy, factuality, or alignment, this structural perspective suggests that one of their most characteristic behaviors is the production of internally resonant linguistic patterns. Drawing on the history of quasicrystals, which forced a redefinition of structural order in physical systems, the analogy highlights an alternative mode of coherence in generative language: constraint-based organization without repetition or symbolic intent. Rather than viewing LLMs as imperfect agents or stochastic approximators, we suggest understanding them as generators of quasi-structured outputs. This framing complements existing evaluation paradigms by foregrounding formal coherence and pattern as interpretable features of model behavior. While the analogy has limits, it offers a conceptual tool for exploring how coherence might arise and be assessed in systems where meaning is emergent, partial, or inaccessible. In support of this perspective, we draw on philosophy of science and language, including model-based accounts of scientific representation, structural realism, and inferentialist views of meaning. We further propose the notion of structural evaluation: a mode of assessment that examines how well outputs propagate constraint, variation, and order across spans of generated text. This essay aims to reframe the current discussion around large language models, not by rejecting existing methods, but by suggesting an additional axis of interpretation grounded in structure rather than semantics.

Real images encode a lot of information about the world, such as how an object can look like, how certain things can be meaningfully arranged, or which items belong together. The image of an average office desk can give us information about how the different parts are usually arranged in relation to each other, e.g. a monitor on the desk with mouse and keyboard in front of it and a chair in front of the desk, or the image of someone preparing a meal can give us information about which ingredients and kitchen tools are to be used. This might seem rather trivial from a human perspective as we are very easily capable of handling such tasks without having to rely on pre-made example images to follow, but for a robot that has to navigate and solve tasks in e.g. a household environment such information can be critical for successfully handling everyday-activities and interacting with the world. We could encode all relevant information explicitly into an extensive knowledge base [1] for the robot, but considering the number of tasks and circumstances that a robot could encounter, correctly handling all situations could become very challenging [2] or even overwhelming when the robot needs to act in widely different environments. Additional knowledge sources, such as simulations of the environment, when available, can help by providing ways to investigate consequences of actions without having to act in the world [3]. We could also try to train the robot on a variety of different tasks, e.g. using reinforcement learning or other methods [4], hoping that the robot is able to generalize and handle situations and circumstances that were never seen during training. However, images of the real world already show examples of how a dining table looks like with plates and cutlery, how images are hung on the wall in bedrooms, dining rooms, or other places. Figure 1 shows an example of two different versions of how sandwich ingredients could be stacked together.

We present and release MIDI-GPT, a generative system based on the Transformer architecture that is designed for computer-assisted music composition workflows. MIDI-GPT supports the infilling of musical material at the track and bar level, and can condition generation on attributes including: instrument type, musical style, note density, polyphony level, and note duration. In order to integrate these features, we employ an alternative representation for musical material, creating a time-ordered sequence of musical events for each track and concatenating several tracks into a single sequence, rather than using a single time-ordered sequence where the musical events corresponding to different tracks are interleaved. We also propose a variation of our representation allowing for expressiveness. We present experimental results that demonstrate that MIDI-GPT is able to consistently avoid duplicating the musical material it was trained on, generate music that is stylistically similar to the training dataset, and that attribute controls allow enforcing various constraints on the generated material. We also outline several real-world applications of MIDI-GPT, including collaborations with industry partners that explore the integration and evaluation of MIDI-GPT into commercial products, as well as several artistic works produced using it.

The applications of generative AI have become extremely impressive, and the interplay between users and AI is even more so. Current human-AI interaction literature has taken a broad look at how humans interact with generative AI, but it lacks specificity regarding the user interface designs and patterns used to create these applications. Therefore, we present a survey that comprehensively presents taxonomies of how a human interacts with AI and the user interaction patterns designed to meet the needs of a variety of relevant use cases. We focus primarily on user-guided interactions, surveying interactions that are initiated by the user and do not include any implicit signals given by the user. With this survey, we aim to create a compendium of different user-interaction patterns that can be used as a reference for designers and developers alike. In doing so, we also strive to lower the entry barrier for those attempting to learn more about the design of generative AI applications.

The use of image analysis in automated photography management is an increasing trend in heritage institutions. Such tools alleviate the human cost associated with the manual and expensive annotation of new data sources while facilitating fast access to the citizenship through online indexes and search engines. However, available tagging and description tools are usually designed around modern photographs in English, neglecting historical corpora in minoritized languages, each of which exhibits intrinsic particularities. The primary objective of this research is to study the quantitative contribution of generative systems in the description of historical sources. This is done by contextualizing the task of captioning historical photographs from the Catalan archives as a case study. Our findings provide practitioners with tools and directions on transfer learning for captioning models based on visual adaptation and linguistic proximity.

University of California San Diego, USA This work presents a generative neural network that's able to generate expressive piano performance in MIDI format. The musical expressivity is reflected by vivid micro-timing, rich polyphonic texture, varied dynamics, and the sustain pedal effects. This model is innovative from many aspects of data processing to neural network design. We claim that this symbolic music generation model overcame the common critics of symbolic music and is able to generate expressive music flows as good as, if not better than generations with raw audio. One drawback is that, due to the limited time for submission, the model is not fine-tuned and sufficiently trained, thus the generation may sound incoherent and random at certain points. Despite that, this model shows its powerful generative ability in generating expressive piano pieces.