Improvisation--the art of spontaneous creation that unfolds moment-to-moment without a scripted outcome--requires practitioners to continuously sense, adapt, and create anew. It is a fundamental mode of human creativity spanning music, dance, and everyday life. The open-ended nature of improvisation produces a stream of novel, unrepeatable moments--an aspect highly valued in artistic creativity. In parallel, open-endedness (OE)--a system's capacity for unbounded novelty and endless "interestingness"--is exemplified in natural or cultural evolution and has been considered "the last grand challenge" in artificial life (ALife). The rise of generative AI now raises the question in computational creativity (CC) research: What makes a "good" improvisation for AI? Can AI learn to improvise in a genuinely open-ended way? In this work-in-progress paper, we report insights from in-depth interviews with 6 experts in improvisation across dance, music, and contact improvisation. We draw systemic connections between human improvisa-tional arts and the design of future experiential AI agents that could improvise alone or alongside humans--or even with other AI agents--embodying qualities of improvisation drawn from practice: active listening (umwelt and awareness), being in the time (mindfulness and ephemerality), embracing the unknown (source of randomness and serendipity), non-judgmental flow (acceptance and dynamical stability, balancing structure and surprise (unpredictable criticality at edge of chaos), imaginative metaphor (synaesthesia and planning), empathy, trust, boundary, and care (mutual theory of mind), and playfulness and intrinsic motivation (maintaining interestingness).

Social robotics researchers are increasingly interested in multi-party trained conversational agents. With a growing demand for real-world evaluations, our study presents Large Language Models (LLMs) deployed in a month-long live show at the Edinburgh Festival Fringe. This case study investigates human improvisers co-creating with conversational agents in a professional theatre setting. We explore the technical capabilities and constraints of on-the-spot multi-party dialogue, providing comprehensive insights from both audience and performer experiences with AI on stage. Our human-in-the-loop methodology underlines the challenges of these LLMs in generating context-relevant responses, stressing the user interface's crucial role. Audience feedback indicates an evolving interest for AI-driven live entertainment, direct human-AI interaction, and a diverse range of expectations about AI's conversational competence and utility as a creativity support tool. Human performers express immense enthusiasm, varied satisfaction, and the evolving public opinion highlights mixed emotions about AI's role in arts.

I've seen some bad comedy acts over the years – but not, until now, one that is part of an existential threat to humanity. One of artificial intelligence's pre-eminent boffins, Geoffrey Hinton, sent out shock waves recently by arguing that, in relation to AI: "We're toast. This is the actual end of history." That's a hell of a backdrop to my visit to see Artificial Intelligence Improvisation, a show by the Improbotics troupe playing as part of an AI festival in London this week. You'll forgive me, I hope, for some hesitation in wielding the critical brickbat, given that the act under review boasts the capacity to wipe out all of us.

Welcome to Venture Capital Comedy! You may have taken classes at other improv theatres, but we do things differently here at V.C.C. Whereas other improv theatres get you to say "Yes, and," our performers learn to say "Uh-huh, disrupt." Once you complete the class series and become an advanced improviser, you will receive "I.P.O." (improv-performer opportunities). With I.P.O., you're eligible to be headhunted to join an in-house team.

Large language models can be used for collaborative storytelling. In this work we report on using GPT-3 \cite{brown2020language} to co-narrate stories. The AI system must track plot progression and character arcs while the human actors perform scenes. This event report details how a novel conversational agent was employed as creative partner with a team of professional improvisers to explore long-form spontaneous story narration in front of a live public audience. We introduced novel constraints on our language model to produce longer narrative text and tested the model in rehearsals with a team of professional improvisers. We then field tested the model with two live performances for public audiences as part of a live theatre festival in Europe. We surveyed audience members after each performance as well as performers to evaluate how well the AI performed in its role as narrator. Audiences and performers responded positively to AI narration and indicated preference for AI narration over AI characters within a scene. Performers also responded positively to AI narration and expressed enthusiasm for the creative and meaningful novel narrative directions introduced to the scenes. Our findings support improvisational theatre as a useful test-bed to explore how different language models can collaborate with humans in a variety of social contexts.

Action selection from many options with few constraints is crucial for improvisation and co-creativity. Our previous work proposed creative arc negotiation to solve this problem, i.e., selecting actions to follow an author-defined `creative arc' or trajectory over estimates of novelty, unexpectedness, and quality for potential actions. The CARNIVAL agent architecture demonstrated this approach for playing the Props game from improv theatre in the Robot Improv Circus installation. This article evaluates the creative arc negotiation experience with CARNIVAL through two crowdsourced observer studies and one improviser laboratory study. The studies focus on subjects' ability to identify creative arcs in performance and their preference for creative arc negotiation compared to a random selection baseline. Our results show empirically that observers successfully identified creative arcs in performances. Both groups also preferred creative arc negotiation in agent creativity and logical coherence, while observers enjoyed it more too.

As countless mildly disappointed parents will be happy to tell you, nobody was born to do improv comedy. The A.I. chatbot A.L.Ex -- short for Artificial Language Experiment -- has been built and painstakingly trained to be the best possible scene partner when improvising with a human. Its creators are researchers Kory Mathewson of the University of Alberta and the London-based Piotr Mirowski, who studied deep learning at New York University. The pair see improv as the perfect collaborative art form -- one where the point isn't just to entertain the audience but to make one's partner look as good as possible -- to see how humans and A.I. can work together. "We do not think that machines will replace human actors or comedians," Mathewson tells Inverse in a Twitter message.

A common approach to interactive narrative involves imbuing the computer with all of the potential story pre-authored story experiences (e.g. as beats, plot points, planning operators, etc.). This has resulted in an accepted paradigm where stories are not created by or with the user; rather, the user is given piecemeal access to the story from the gatekeeper of story knowledge: the computer (e.g. as an AI drama manager). This article describes a formal process that provides for the equal co-creation of story-rich experiences, where neither the user nor computer is in a privileged position in an interactive narrative. It describes a new formal approach that acts as a first step for the real-time co-creation of narrative in games that rely on the negotiated shared mental model between a human actor and an AI improv agent.

Beyond the goal of refining system design to the needs and tastes of users, user evaluation of interactive music systems offers a method of examining the nature of musical creativity as understood by its human practitioners. In the case of improvising music systems, user study and evaluation of a system’s ability to improvise may be useful in the ethnomusicological study of musical interaction in contemporary improvised music. A survey of preliminary findings based on the interactions of an improvising system, Maxine, with several improvisers is discussed, with results suggesting methodological reconfigurations of the purpose and goals of evaluating of interactive musical metacreations.

This paper describes a gestural approach to interacting with interactive narrative characters that supports co-creativity. It describes our approach using a Microsoft Kinect to created a short scene with an intelligent avatar and an AI-controlled actor. It describes our preliminary user studies and a recommendation for future evaluation.