Question 1A
This is perhaps an obvious example of a generative work exhibiting effective complexity, but Markus Pearsson's Minecraft in my opinion sits in a very pleasing balance between total order and total randomness. The terrain generating algorithm and mob spawning behavior has just enough order to it so as to create a gameplay experience that the player feels is fair and can adapt to, but there are so many examples of simply bizarre and wonderful points of interest that are generated within the order of these terrain chunks that makes every player's experience unique and memorable.
The footage above is from an "amplified" world generated in Minecraft. The noise used to generate this chunk makes much more of an extreme use of LOD and falloff as opposed to its "normal" counterpart.
Question 1B
I chose to address the Problem of Creativity over the other problems that Galanter puts forth because I find myself constantly weighing if I have become too technical in my work. I found this reading productive because it helped me understand what creativity even is, and I think I will be carrying the terms p-creativity and h-creativity with me as I further analyze my practices as an artist.
I am not convinced by the argument that in order for a complex system to be creative it must also be adaptive. I believe the creator of generative art is still strongly affiliated with the audience's experience. Going back to the example I used in 1A, the dev team behind Minecraft listens to its playerbase and regularly releases updates that best serves what the players want to see in the game. While Minecraft the software may not be an evolving system that adapts to each player, the creators adapt to the community as a whole in the way they continue to grow their game. In this way I believe a non-adaptive system may still be creative.