The author describes three interactive installations presented by the *.* Group from the turn of the 1980s to the 1990s. The first installation, Fractal Art , explored the fractal theme through various mediums, including images, music, sculpture, video, and photoelectric sensors. The second installation, Foreseen Variations , featured a robot performing a choreography with a dancer in an environment equipped with a camera and TV sets, allowing the audience to be immersed in a virtual performance. The third installation, Aurora Beings , was a continuation of the previous one, where young people could program a choreography for the robot and act as both artists and engineers within the environment.

In this article, the authors analyze the process of humanmachine interaction in the context of artistic domains, as a framework for exploring creativity and producing results that could not be obtained without such interaction. “Ar T bitration” denotes a process aimed at improving users' aesthetic judgment involving evolutionary computation and other computational intelligence methodologies. The authors interpret it as an interactive, iterative optimization process. They also suggest Ar T bitration as an effective way to produce art through the efficient manipulation of information and the proper use of computational creativity to increase the complexity of the results, without neglecting the aesthetic aspects. The article emphasizes the spoken, visual and musical domains, since these are generally characterized by the lack of a systematic way to determine the quality of the result.