Re: 1st CFP: The 15th Int. Conf. on Computational Creativity (ICCC'24), June 17-21, 2024, Jönköping, Sweden

Hello Maria,

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Regards,
Víctor
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El 06/11/2023 a las 14:27, Maria Hedblom escribió:
> /(apologies for potential cross-posting)/
> Welcome to the 15th International Conference on Computational 
> Creativity, ICCC’24!
> June 17-21, 2024
> Jönköping, Sweden
> https://computationalcreativity.net/iccc24/
>
> -- 1st call for papers --
> *Submission deadline: *Abstracts: Feb 21st, 2024; Full papers: Feb 
> 28th, 2024
>
> The International Conference on Computational Creativity (ICCC) is the 
> premier forum for disseminating research on computational and AI 
> creativity, bringing together researchers interested in exploring the 
> ever-increasing capacities of technology in creative domains such as 
> writing, visual arts and music. State-of-the-art AI algorithms can now 
> create works that to a casual observer are comparable to those of 
> human professionals, but many have questioned whether this is 
> sufficient (or even necessary) for a computer to be considered to be 
> “acting creatively”. This conference and its associated workshops 
> exist to discuss the how and what of computational participation in 
> creativity.
>
> Come join us in the beautiful Swedish town of Jönköping 
> ([ˈjœ̂nːˌɕøːpɪŋ]) at Midsummer and discuss questions like: by which 
> metrics should we judge the creativity of AI output? Can an AI tool 
> augment the creativity of its human users?  What are the ethical 
> implications of algorithms taking on creative roles? And, of course: 
> can an AI be creative at all?  These questions and more are at the 
> heart of the sub-field of AI known as Computational Creativity (CC), 
> defined as “the art, science, philosophy, and engineering of 
> computational systems which, by taking on particular responsibilities, 
> exhibit behaviors that unbiased observers would deem to be creative”.
>
> Computational Creativity
>
> The last few years have seen incredible progress in the generative 
> capacities of AI and machine learning. In many creative domains such 
> as writing, art and music generation, state-of-the-art AI algorithms 
> can now create works that to a casual observer are comparable to those 
> of human professionals. This new paradigm has brought attention to 
> AI-generated content from academia, industry and the general public, 
> resulting in an explosion of system development, application of such 
> systems and societal awareness. Hand-in-hand with the development, the 
> importance of dealing with the ethical considerations and the 
> authenticity of AI-generated content is at an all-time high.
>
> Computational creativity, as a field, has been investigating these 
> questions for decades. The Association for Computational Creativity 
> (ACC) has since 2010 organised the yearly International Conference on 
> Computational Creativity (ICCC), the only scientific conference which 
> entirely focuses on AI creativity specifically. The conference series, 
> and the associated workshops, act as a platform for researchers of any 
> discipline to meet and discuss the how and what of creativity in any 
> computational setting. Whatever domain you’re working in, if your work 
> concerns generative AI or any other computational model that you’re 
> trying to make exhibit creative behaviors, we’d love for you to come 
> and share it with us!
>
> ICCC’24 is an interdisciplinary venue open to all researchers, 
> practitioners and artists to submit work related to AI and Creativity. 
> The ICCC community includes researchers with interests as broad as 
> games, literature, visual communication, software development, the 
> sciences, design, and engineering, alongside of course AI and ML. 
> Hence, whatever your field, whatever your background, join us!
>
> Venue
>
> This year’s conference will take you to the beautiful Swedish town 
> Jönköping ( [ˈjœ̂nːˌɕøːpɪŋ]), perfectly tucked in between mirror-clear 
> lakes, fairytale forest and mountainous hills. Further, taking place 
> between the 17th and 21st of June, 2024, the conference will culminate 
> in one of Sweden’s most celebrated holidays: Midsummer! Thus, we 
> invite you to join us in discussing the creative character of 
> computational and AI systems while engaging in the Swedish national 
> pass time of “Fika” - having too much coffee and cake, greeting Mother 
> Nature in the beauty of the Swedish forest and joining us in 
> celebrating Midsummer: the most magical time of the year!
>
> Full Papers
>
> Computational Creativity (CC) is a discipline with roots in scientific 
> disciplines such as Artificial Intelligence, Cognitive Science, 
> Engineering, Design, Psychology and Philosophy that each explores the 
> potential for computers to be creative – either in partnership with 
> humans or as autonomous creators in their own right.
>
> ICCC is an annual conference that welcomes papers on different aspects 
> of CC, on systems that exhibit varying degrees of creative autonomy, 
> on systems that act as creative partners for human creators, on 
> frameworks that offer greater clarity or computational felicity for 
> thinking about machine (and human) creativity, on methodologies for 
> building or evaluating CC systems, on approaches to teaching CC in 
> schools and universities or to promoting societal uptake of CC as a 
> field and as a technology, and so on.
>
> Important Dates
>
>   * Abstracts due: February 21, 2024
>     /(The abstract can be updated at the full paper submission deadline.)/
>   * Submissions due: February 28, 2024
>   * Acceptance notification: April 21, 2024
>   * Camera-ready copies due: May 12, 2024
>   * Conference: June 17-21, 2024
>
> All deadlines given are 23:59 anywhere on Earth time.
>
> Topics of interest include:
>
> Original research contributions are solicited in all areas related to 
> Computational Creativity research and practice, including, but not 
> limited to:
>
>   * *Domain-Specific Applications of Computational
>     Creativity:* applications of creativity in areas such as music,
>     language, narrative, poetry, games, visual arts, graphic design,
>     product design, architecture, entertainment, education,
>     mathematical invention, scientific discovery, or programming.
>   * *Generative AI Models of Creativity:* extensions or modifications
>     of generative AI algorithms that provide new capabilities, new
>     metrics, or improved utility in creative contexts.
>   * *Human-Machine Co-Creativity:* Systems, studies, frameworks, or
>     methodologies related to co-creativity between humans and AI, with
>     emphasis on systems in which the machine acts as a creative partner.
>   * *Computational Creativity Evaluation:* Metrics, frameworks,
>     formalisms and methodologies for the evaluation of creativity in
>     computational systems, or for the evaluation of how such systems
>     are perceived in society.
>   * *Social Models:* Computational models of social aspects of
>     creativity, including: social creativity, the diffusion of ideas,
>     collaboration, team dynamics, and creativity in social settings.
>   * *Computational Paradigms:* computational approaches for modelling
>     cognitive aspects of creativity, such as heuristic search,
>     analogical and meta-level reasoning, cognitive architectures, and
>     re-representation.
>   * *Interdisciplinary Perspectives:* Perspectives on computational
>     creativity which draw from philosophical and/or sociological
>     studies in the context of creative AI systems.
>   * *Data and Creativity:* Data science approaches to computational
>     creativity: Resource development and data gathering/knowledge
>     curation for creative AI. There is a need for datasets and
>     resources that are scalable, extensible and freely
>     available/open-source.
>   * *Societal Impact:* Ethical considerations in the design,
>     deployment or testing of creative AI systems, as well as studies
>     that explore the societal impact of computational creativity and
>     generative AI.
>   * *Psychological Factors:* Computational models of psychological
>     factors that enhance creativity, including emotion, surprise
>     (unexpectedness), reflection, conflict, diversity, motivation,
>     knowledge, intuition, and reward structures. Additionally, social
>     or experiential factors related to novelty and originality, such
>     as innovation, improvisation, and virtuosity.
>   * *Provocations:* Raising new issues not on this list that bring the
>     foundations of the discipline into question or throw new light on
>     seemingly settled debates.
>
>
> Paper Types
>
> We welcome the submission of five different types of long papers, each 
> with the intent to approach an equal distribution of accepted papers. 
> During your submission, please indicate the category by which your 
> paper best fits into:
>
>   * *Technical papers:* These are papers posing and addressing
>     hypotheses about aspects of creative behaviour in computational
>     systems. The emphasis here is on using solid experimentation,
>     computational models, formal proof, and/or argumentation that
>     clearly demonstrates advancement in the state-of-the-art or
>     current thinking in CC research. Strong evaluation of approaches
>     through comparative, statistical, social, or other means is essential.
>   * *System or Resource description papers:* These are papers
>     describing the building and deployment of a creative system or
>     resource to produce artefacts of potential cultural value in one
>     or more domains. The emphasis here is on presenting engineering
>     achievement, technical difficulties encountered and overcome,
>     techniques employed, reusable resources built, and general
>     findings about how to get computational systems to produce
>     valuable results. Presentation of results from the system or
>     resource is expected. While full evaluation of the approaches
>     employed is not essential if the technical achievement is very
>     high, some evaluation is expected to show the contribution to CC
>     of this work.
>   * *Study papers:* These are papers which draw on allied fields such
>     as psychology, philosophy, cognitive science, mathematics,
>     humanities, the arts, and so on; or which appeal to broader areas
>     of AI and Computer Science in general; or which appeal to studies
>     of the field of CC as a whole. The emphasis here is on presenting
>     enlightening novel perspectives related to the building,
>     assessment, or deployment of systems ranging from autonomously
>     creative systems to creativity support tools. Such perspectives
>     can be presented through a variety of approaches including
>     ethnographic studies, thought experiments, comparisons with
>     studies of human creativity, and surveys. The contribution of the
>     paper to CC should be made clear in every case.
>   * *Cultural application papers:* These are papers presenting the use
>     of creative software in a cultural setting, for example via art
>     exhibitions/books, concerts/recordings/scores, poetry or story
>     readings/anthologies, cookery nights/books, results for scientific
>     journals or scientific practice, released games/game jam entries,
>     and so on. The emphasis here is on a clear description of the role
>     of the system in the given context, the results of the system in
>     the setting, technical details of inclusion of the system, and
>     evaluative feedback from the experience garnered from public
>     audiences, critics, experts, stakeholders, and other interested
>     parties.
>   * *Position papers: *These are papers presenting an opinion on some
>     aspect of the culture of CC research, including discussions of
>     future directions, speculative explorations of the impact of
>     state-of-the-art approaches, past triumphs or mistakes, and
>     current issues. The emphasis here is on carefully arguing a
>     position; highlighting or exposing previously hidden or
>     misunderstood issues or ideas; and providing thought leadership
>     for the field, either in a general fashion or in a specific
>     setting. While opinions need not be substantiated through
>     formalization or experimentation, any justification of a point of
>     view will need to draw on a thorough knowledge of the field of CC
>     and of overlapping areas, and provide relevant motivations and
>     arguments.
>
> ICCC is a conference that emphasises the empirical and theoretical 
> evaluation of technical systems, results and outcomes, in an ethical 
> and scientific fashion. Evaluation is expected in Technical papers 
> (strong evaluation) and in System or Resource description papers. 
> Although evaluation is not required in other types of papers, the 
> contribution of the paper to CC should be made clear.
>
> All submissions will be reviewed in terms of quality, impact, and 
> relevance to the area of Computational Creativity.
>
> Presentation
>
> In order to ensure the highest level of quality, all submissions will 
> be evaluated in terms of their scientific, technical, artistic, and/or 
> cultural contribution, and therefore there will be only one format for 
> submission. The program committee will decide the best format for 
> presenting accepted manuscripts at the conference.
>
> To be included in the proceedings, each paper must be presented at the 
> conference by one of the authors. This implies that at least one 
> author will have to register and will have to participate on-site.
>
> *** All authors of accepted papers can opt to also show a demo of 
> their system or prototype during the conference. You will be asked if 
> you are interested in this option during the submission process ***
>
> Submission instructions
>
> This year the submission process has two stages: initial submission of 
> a title and abstract, and subsequent submission of the full paper a 
> week later.
>
> The recommended length for the abstract is 100-200 words.
> The long paper page limit is 8 pages + up to 2 pages of references.
>
> Papers will be reviewed in a double-blind fashion, which necessitates 
> that authors take appropriate steps to remain anonymous. You are 
> responsible for making your papers anonymous to allow for double-blind 
> review. Remove all references to your home institution(s), refer to 
> your past work in the third person, etc.
>
> To be considered, papers must be submitted as a PDF document formatted 
> according to ICCC style (which is similar to AAAI and IJCAI formats). 
> The conference website will be updated to include the correct templates.
>
> All contributions must be submitted through the EasyChair platform:
> https://easychair.org/conferences/?conf=iccc24
>
> Double submissions policy: The work submitted to ICCC should not be 
> under review in another scientific conference or journal at the time 
> of submission.
>
> Organizing committee
>
>   * Kazjon Grace, University of Sydney, Australia,
>     kazjon.grace@sydney.edu.au
>     <mailto:Australiakazjon.grace@sydney.edu.au>
>   * Maria M. Hedblom, Jönköping School of Engineering, Sweden,
>     maria.hedblom@ju.se
>   * Teresa Llano, Monash University, Australia, teresa.llano@monash.edu
>   * Pedro Martins, University of Coimbra, Portugal, pjmm@dei.uc.pt
>   * Guendalina Righetti, Free University of Bozen-Bolzano, Italy,
>     guendalina.righetti@unibz.it
>   * Garrit Schaap, Jönköping School of Engineering, Sweden,
>     garrit.schaap@ju.se
>   * Jéssica Parente, University of Coimbra, Portugal, jparente@dei.uc.pt
>   * Joana Rovira Martins, University of Coimbra, Portugal,
>     jmmartins@dei.uc.pt
>   * José Pedro Lopes, University of Coimbra, Portugal, joselopes@dei.uc.pt
>
>
>

-- 
Víctor Rodríguez-Doncel
D3205 - Ontology Engineering Group (OEG)
Departamento de Inteligencia Artificial
ETS de Ingenieros Informáticos
Universidad Politécnica de Madrid
https://cosasbuenas.es