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The recent emergence of generative AI, particularly prompt-based models, and its embedding in many social domains and practices has revived the notion of co-creation and distributed agency already familiar in art practice and theory. Drawing on Actor-Network Theory (ANT) and its central notion of agency, this article explores the extent to which the collaboration between the artist and AI represents a new form of co-creation and distributed agency. It compares AI art with artistic movements such as Dada, Surrealism, Minimalism and Conceptual Art, which also challenged the notion of the autonomous artist and her agency by incorporating randomness on the one hand and rule-based systems on the other. In contrast, artistic practice with AI can be described as an iterative process of creative feedback loops, oscillating between order and disorder, (calculated) randomness and calculation, enabling a very specific kind of self-reflection and entanglement with the alienation of one's own perspective. Furthermore, this article argues that most artistic projects that explore and work with AI are, in their own specific way, a demonstration of hybridity and entanglement, as well as the distribution of agency between the human and the non-human, and can thus be described as a network phenomenon. [ABSTRACT FROM AUTHOR]

This paper presents a study analyzing the perception of artistic products created by or with the support of artificial intelligence (AI). The research builds on previous studies revealing that the output of artificial creativity processes can indeed rival human‐made products, satisfy consumer expectations, and derive enjoyment. However, in contrast to earlier works, the study focuses on the awareness of how AI is used during production processes (full automation, human‐AI co‐creation, and solely human) and product types (levels of involvement and product tangibility). A laboratory experiment was conducted to compare the value and creativity perceptions of 199 participants. Results revealed that, overall, the use of AI enhanced perceptions of process novelty. Additionally, the use of AI led to more positive evaluations of intangible and high involvement products such as songs compared to tangible and high involvement products such as paintings. This shows a decrease in perceived quality as more AI is involved in the production process. Furthermore, the level of product involvement level indicated no causal relationship to the degree of AI used in the production process. [ABSTRACT FROM AUTHOR]

The present study contributes to the current localization literature by revealing the effects of localizing cultural values on tourism destination websites on users’ destination image and willingness to travel. Reporting on two tests, the first is an analysis of the depiction of cultural values on 48 New Zealand, 36 Indian, and 46 Chinese destination sites. Results indicate significant differences in the cultural values exposed among the three countries. The second study reports on an experiment requiring 400 New Zealand participants to visit four versions of a fictitious experimental destination website. Commensurate with motivations for holiday tourism, results indicate that the depiction of incongruent cultural values to a target audience on destination websites generates a more positive destination image and greater willingness to travel, contradicting the current localization literature. Finally, managerial implications are also discussed. [ABSTRACT FROM PUBLISHER]

This paper discusses the effects the localisation of cultural values on tourism destination websites on user's willingness to travel. First, a preliminary research was conducted in order to test and propose adaptations to Singh's et al. (2005) framework of cultural values localisation on websites. Secondly, the authors conducted an experiment to test the localisation of cultural values on a website of a fictitious destination, developed for the purpose of this research and customised for the New Zealand audience. 400 respondents participated, performing tasks on the site and answering a survey. Results indicate that the exposure of opposite cultural values (i.e. reverse-localisation) to the target audience leads to a higher willingness to travel, contradicting previous works that supports the effectiveness of website localisation. [ABSTRACT FROM AUTHOR]

This paper represents a pioneer work on the discussion of the effects of the localisation of cultural markers on tourism destination websites on user's destination image. First, a preliminary research was conducted on 130 sites in order to identify the cultural markers of New Zealand, Chinese and Indian tourism destination sites. Afterwards, an experiment was conducted to investigate the influence of the localisation of cultural markers on destination image. A fictitious tourism destination website was created for the purpose of this research and tailored for the New Zealand audience. In total, 400 students participated, performing tasks on the site and answering a survey. Results indicate that there are clear differences in the cultural markers of New Zealand, Chinese and Indian destination sites and that incongruent cultural markers lead to a more positive affective and overall image of the place. [ABSTRACT FROM AUTHOR]