With the advent of artificial intelligence (AI), the field of creativity faces new opportunities and challenges. This manifesto explores several scenarios of human–machine collaboration on creative tasks and proposes “fundamental laws of generative AI” to reinforce the responsible and ethical use of AI in the creativity field. Four scenarios are proposed and discussed: “Co‐Cre‐AI‐tion,” “Organic,” “Plagiarism 3.0,” and “Shut down,” each illustrating different possible futures based on the collaboration between humans and machines. In addition, we have incorporated an AI‐generated manifesto that also highlights important themes, ranging from accessibility and ethics to cultural sensitivity. The fundamental laws proposed aim to prevent AIs from generating harmful content and competing directly with humans. Creating labels and laws are also highlighted to ensure responsible use of AIs. The positive future of creativity and AI lies in a harmonious collaboration that can benefit everyone, potentially leading to a new level of creative productivity respecting ethical considerations and human values during the creative process.

Within the literature on creativity in the arts, some authors have focused on the description of the artistic process (Patrick, 1937; Getzels and Csikszentmihalyi, 1976; Mace and Ward, 2002; Yokochi and Okada, 2005) whereas others have focused on the creative process (Wallas, 1926; Osborn, 1953/1963; Runco and Dow, 1999; Howard et al., 2008). These two types of processes may be, however, somewhat distinct from each other because the creative process is not always dedicated to artistic creation, and productive work in the arts may not always involve creativity, in terms of specifically original thinking. Our goal is to identify the specific nature of the artistic creative process, to determine what are the basic stages of this kind of process. This description can then be integrated in a Creative process Report Diary (CRD; Botella et al., 2017) which allows self-observations in situ when participants are creating.

Overexcitability corresponds to an overall response to stimulations in 5 domains: psychomotor, sensual, intellectual, imaginational, and emotional. The aim of this study was to develop a French version of the Overexcitability Questionnaire 2 (OEQ2) and to expand its psychometric properties. Two studies were conducted: one with a sample of 474 adolescents and another with a sample of 436 adults. Internal consistency, factorial structure, and validity (correlations with intelligence, personality, and alexithymia) were examined. The French OEQ2 showed satisfactory psychometric properties, thus advocating for its use in further research on overexcitability and in clinical practice.

Previous studies have examined the personality traits of artists. Research indicates significant differences between artists, scientists, and individuals from the general population (Feist, 1998; Chamorro-Premuzic, Furnham, & Reimers, 2007). However, studies examining emotion-related traits of artists are relatively rare. Affective styles and traits may distinguish artists from other groups. The present study focuses on two objectives. The first is to examine the degree to which art students present a specific emotional profile including alexithymia and affect intensity, compared with nonart students. The second objective is to examine the degree to which these characteristics predict level of creativity. Creative performance was evaluated based on productions during an art school workshop. Results indicate that art students present a higher level of alexithymia compared with available norms. However, they show also a higher fantasy life, which appears to be an important trait of art students. Finally, results indicate that art students present a higher level of negative intensity than the general population. (PsycINFO Database Record (c) 2017 APA, all rights reserved)