Call for papers for the 7th EVOMUSART conference

The 7th International Conference on Computational Intelligence in Music, Sound, Art and Design (evoMUSART) will be held in Parma in 4-6 April 2018, as part of the evo* event. The main goal of EvoMusArt is to bring together researchers who are using Computational Intelligence techniques for artistic tasks such as visual art, music, architecture, video, digital games, poetry, or design. The conference gives researchers in the field the opportunity to promote, present and discuss ongoing work in the area.

Important dates:

  • Submission: 1 November 2017
  • Notification to authors: 3 January 2018
  • Camera-ready deadline: 15 January 2018
  • Evo*: 4-6 April 2018

We welcome submissions which use Computational Intelligence techniques (e.g. Evolutionary Computation, Artificial Life, Machine Learning, Swarm Intelligence) in the generation, analysis and interpretation of art, music, design, architecture and other artistic fields. Submissions must be at most 16 pages long, in Springer LNCS format (instructions downloadable from http://www.springer.com/computer/lncs?SGWID=0-164-6-793341-0). Each submission must be anonymised for a double-blind review process and submitted to http://myreview.csregistry.org/evomusart18/ (which should be online soon). The deadline for submission is 1 November 2017, and acceptance notification on 3 January 2018. Accepted papers will be presented orally or as posters at the event and included in the evoMUSART proceedings published by Springer Verlag in a dedicated volume of the Lecture Notes in Computer Science series.

Topics of interest include, but are not limited to:

Generation:

  • Systems that create drawings, images, animations, sculptures, poetry, text, designs, webpages, buildings, etc.;
  • Systems that create musical pieces, sounds, instruments, voices, sound effects, sound analysis, etc.;
  • Systems that create artifacts such as game content, architecture, furniture, based on aesthetic and functional criteria.
  • Robotic-Based Evolutionary Art and Music;
  • Other related artificial intelligence or generative techniques in the fields of Computer Music, Computer Art, etc.;

Theory:

  • Computational Aesthetics, Experimental Aesthetics; Emotional Response, Surprise, Novelty;
  • Representation techniques;
  • Surveys of the current state-of-the-art in the area; identification of weaknesses and strengths; comparative analysis and classification;
  • Validation methodologies;
  • Studies on the applicability of these techniques to related areas;
  • New models designed to promote the creative potential of biologically inspired computation;

Computer Aided Creativity and computational creativity:

  • Systems in which computational intelligence is used to promote the creativity of a human user;
  •  New ways of integrating the user in the evolutionary cycle;
  • Analysis and evaluation of: the artistic potential of biologically inspired art and music; the artistic processes inherent to these approaches; the resulting artefacts;
  • Collaborative distributed artificial art environments; Automation:
  • Techniques for automatic fitness assignment
  • Systems in which an analysis or interpretation of the artworks is used in conjunction with computational intelligence techniques to produce novel objects;
  • Systems that resort to computational intelligence approaches to perform the analysis of image, music, sound, sculpture, or some other types of artistic object or resource.

More information on the submission process of evoMUSART 2018 can be found at http://www.evostar.org/2018/cfp_evomusart.php Past Evomusart papers can be found http://evomusart-index.dei.uc.pt/

We look forward to seeing you in Parma in 2018!

The evoMUSART 2018 organisers

Call for proposals: Performing Psychologies

ESSAY COLLECTION CALL FOR PROPOSALS:

 Performing Psychologies: Minding The Remembered Present

(working title)

 

Edited by Pil Hansen, School of Creative and Performing Arts, University of Calgary, CA (Dramaturgy and Cognitive Performance Studies) with Bettina Blaesing, Faculty of Psychology and Sport Sciences, Bielefeld University, GE (Neurocognition and Action – Biomechanics).

This book is the second of two Performing Psychologies volumes, the first of which is edited by Nicola Shaughnessy, University of Kent, UK (Theatre), with Philip Barnard, University of Cambridge, UK (Neuroscience) on the topic of imagination and other minds.

We invite proposals from scholars, researcher-practitioners, and scientists working between the performing arts and cognitive sciences on the subject of processes of memory in dance, theatre, or music performance.

The aim of this essay collection is twofold: (1) discuss how performing arts practices strategically target cognitive processes of human memory and (2) present insights into memory that derive from the study of such practices.

In recent years, a growing number of cognitive scientists study memory through experiments with performance subjects; at the same time, the number of artists that make use of cognitive memory studies and theory to develop creation approaches and lines of artistic inquiry is also increasing. A shift from a general understanding of memory as archived and retrievable information to a cognitive conception of long-term memory as a reconstructive process, involving our active engagement with our surroundings in the present, changes the possible avenues of working through memory in performance. In turn, cognitive scientists working with performing arts cases discover that performers’ advanced learning, memorization, and retrieval abilities depend on a complex combination of multisensory perceptions, articulations, and clues that question more classical concepts of memory. Scientists are motivated to advance the ability to study complex dynamics of artistic practice and artists are looking beyond broad concepts of intuition, presence, and cultural memory towards more detailed and precise cognitive understandings.

This volume will map, articulate, and support the continued realization of the possibilities identified by this rich field of reciprocal exchange between the performing arts and cognitive sciences. Contributors are encouraged to consider, but not be restricted by, the following topics when forming proposals:

  • Entrainment in performance as a source of joint/collective memory construction and retrieval
  • The role of trained, implicit memory in entrainment and improvisation
  • Performing arts training as a form of cross-modal perceptual specialization embedded in procedural and implicit memory
  • Performers’ stage presence as a mode of perceptual attention that prioritizes working memory processes
  • Expansion of working memory capacity through performing arts practices
  • Creative strategies and “impossible tasks” that aim to hinder reliance on implicit memory (skills and habits) in an attempt to create something new
  • The cognitive advantages of using marking and other forms of physicalized or sounded memory recall when reflecting upon compositional options
  • Creative approaches that make strategic use of declarative and explicit memory for memorization, to access source materials, or to activate performance tasks, rules, and structures.
  • Neuroplasticity and creative strategies for the adaptation of autobiographical memory
  • Performance as a mediator between cognitive processes of memory and external archives, records, and notations
  • Strategies for expanding, synchronizing, or hindering spectators’ processes of memory in ways that relate to the strategies used by performers

We welcome abstracts (400 – 500 words) on a broad range of approaches to these and related topics. Proposals are to be submitted by June 1st, 2015. First drafts will be due no later than October 1, 2015, and final versions of the chapters will be due on March 1st, 2016.

Note that priority will be given to proposals that either 1) are based on methodologically defined empirical cases, experiments, or practice-based research or 2) present hypothetical proposals that build on reviews of such studies. While selected authors will be invited to write in the language of their respective disciplines, some additional introduction of central concepts and presentation of research methods used will be requested in order to achieve interdisciplinary accessibility.

Please send submissions and questions to both Pil Hansen and Bettina Blaesing at:

pil.hansen@ucalgary.ca

bettina.blaesing@uni-bielefeld.de

Communicated by  Pil Hansen, PhD

Assistant Professor, School of Creative and Performing Arts, University of Calgary

Honorary Adjunct Professor, Graduate Program in Dance, York University

Dramaturg, Acts of Memory / Vertical City / Kaeja d’Dance

How variable, stable, or universal are aesthetic preferences?

There is a new call for abstracts/papers for a Research Topic in the journal Frontiers in Human NeuroscienceHow variable, stable, or universal are aesthetic preferences? Editors are Daniel J Graham, Christoph Redies, and Edward A Vessel, and the deadlines are July 1st 2015 for the abstracts, and November 1st 2015 for the papers.

From the Research Topic description:

“this Research Topic poses a variety of questions: How much of aesthetics and/or art appreciation is common or stable in humans, and how much is variable, both between persons and across an individual’s lifetime? What is the effect of short-term influences (e.g. mere exposure effects vs. habituation effects, adaptation)? How do factors of individual taste, common patterns of preference, and stability interact? How universal are brain responses to aesthetic objects between individuals and for different categories of aesthetic stimuli? What is the role of non-aesthetic factors (development, personality, emotion, creativity, intelligence, etc.), as well as the role of properties inherent in aesthetic objects?

We welcome experimental and theoretical contributions from all fields that address these and related questions. Possible methodologies could include, but are not limited to, brain imaging, behavioral tests, psychophysics, and computational approaches.”

Get all the information here …