The DSAI conference dates have been changed to 13-15 November 2024 (dsai.ws/2024).

The Paper submission deadline is 15th May, 2024

To submit your original work to this special track, use the following link:
https://cmt3.research.microsoft.com/DSAI2024/Track/19/Submission/Create

All accepted papers of the DSAI 2024 conference will be submitted for publishing to ACM and indexed by the Conference Proceedings Citation Index (CPCI, Web of Science™).

UPDATED IMPORTANT DATES:
• May 15, 2024 – Paper Submission
• July 15, 2024 – Notification of Paper Acceptance
• July 30, 2024 – Registration and Camera-Ready Papers

More information on submissions can be found at: https://dsai.ws/2024/submissions

Special Track 1 – Accessible and Inclusive Smart Environments

Description:

Technology is strongly present all around us, not only in the devices we carry but also increasingly embedded in the environments where we work and live. These smart environments have the great potential of improving people’s lives, by enabling a more comfortable, secure, healthy, independent, and active living. However, challenges remain in ensuring that smart environments are truly usable, acceptable, accessible, and inclusive.

These challenges include providing accessible and adaptable interaction that considers the potentially diverse set of users (with different capabilities, needs, preferences, and emotions) and contexts of smart environments. There are also still challenges related to unobtrusive monitoring and support that allow certain groups of users (e.g., younger, older, people with a given impairment) to live in a more active, independent, or safe way.

In this context, the aim of this special track is to provide new perspectives in this field, by exchanging and discussing ideas and research in different topics relevant to DSAI that can bring valuable insights to address the accessibility and inclusiveness of smart environments.
These topics include, but are not limited to:
• Active, healthy, assisted living
• Human-centred computing
• Multimodal and adaptive interaction
• User and context awareness
• Intelligent user interfaces
• Extended reality
• Affective computing
• Assistive technologies

Intended Audience:
This special track is directed at researchers and practitioners who are interested in participating in the exchange and discussion of ideas, as well as contributing to the design, implementation, and assessment of novel innovative solutions for the next generations of smart environments.

ICCC’24: The 15th International Conference on Computational Creativity
June 17-21, 2024
Jönköping, Sweden
https://computationalcreativity.net/iccc24/

Call for Workshop and Tutorial Proposals
Submission deadline: January 7

Overview

The 15th International Conference on Computational Creativity is soliciting proposals for workshops and tutorials to be held in association with the main ICCC conference. We welcome proposals for half-day, full-day and one-and-a-half-day workshops and tutorials on any aspect of computational creativity research whose focus area complements the topics discussed in the main conference.

Workshops offer a great opportunity to exchange ideas, and a chance to drive broader adoption of your systems and methods. We welcome a diversity of formats, from academic workshops (with a process of peer review for submitted papers, managed by the workshop organisers) to traditional tutorials, as well as hands-on and practical workshops. Please feel free to contact the organisers to discuss the possibilities further.

Topics can range from anything between theoretical or computational aspects of computational creativity, social and ethical implications, and/or focused artistic showcases. In the past, workshops at ICCC have covered a wide variety of focused areas and this is part of the strength of a workshop series. We will prioritise workshops that have a clear focus area, rather than a more general application area. This is to create a workshop program that is complementary to the conference.

Please notice that all workshops will be academically self-contained: they should have their own organising committee and conduct their own peer review managed entirely by the workshop organisers. All peer-reviewed full papers of workshops accepted at ICCC’24 will be jointly published as a separate part of the conference proceedings or as part of CEUR-WS workshop proceedings.

The venue has several rooms appropriate for a range of different types of workshops: including classic lecture rooms and showcase rooms with up to 8 projectors perfect for more artistically directed workshops/tutorials.

Important dates
·  Workshop proposal submissions due: January 7, 2024
·  Notification of workshop acceptance: January 14, 2024
In case of excellent early bird submissions, earlier acceptance may be possible at the chairs’ discretion, to allow workshops a longer lead time.

All workshop organisers should manage their own abstract/paper submission, invite a program committee and handle a peer-reviewing process with appropriate timelines. For the workshops that accept submissions for publications we recommend adhering to the following
·  Workshop call for papers announcement and publicity: January 24, 2024
·  Workshop paper submission deadline: April  10, 2024
·  Workshop author notification: April 30, 2024
·  Camera-ready submission: June 1st, 2024 – STRICT
·  Workshop days: between June 17-18, 2024
(co-located with ICCC 2024)

The organisers must develop their own workshop/tutorial web page that will be located on the ACC server. The web page must follow the visual identity of ICCC. The ICCC 2024 webmasters will provide templates to facilitate this process.

Submission Instructions

Please submit a PDF proposal of no more than 2 pages detailing the following:
Title and abstract of the workshop/ hands-on workshop/tutorial (the abstract should clearly address the topic of the workshop).
·  Organising committee’s names and affiliations
o One organiser must be indicated as a primary contact person (please notice that there must be at least one organiser committed to be physically present during the event).
o Please include a brief description of your experience in workshop/tutorial organisation.
·  Description of the event’s scope, and the type of papers and/or works that will be accepted (feel free to refer to previous instances of the event, including publications)
·  Brief description of the expected audience
o Expected number of participants, including information on onsite/remote participants
o Expected audience’s background and interests
·  The expected format and duration of the workshop/tutorial (between half a day and a full day)
·  Intended format of submission and reviewing platform (e.g. EasyChair) and, if applicable, a preliminary program committee
·  Any technical or space requirements (e.g., projector, PA, whiteboards, open space)
·  Preliminary timeline for the workshop/tutorial (submission dates, notification dates)
All applications should be submitted as a single PDF file with the subject line “ICCC 2024 Workshop/Tutorial Proposal” to the workshop chair: Guendalina Righetti, guendalina.righetti@ifikk.uio.no<mailto:guendalina.righetti@ifikk.uio.no>.

** Call for Chapters**
ARTIFICIAL MEDIA: Emerging Trends in Creativity, Education and Artistic Practice

**Editors**
Nelson Zagalo (DigiMedia, University of Aveiro) & Damián Keller (NAP, Federal University of Acre, Federal University of Paraíba)

** Important Dates**
Submission of Abstracts: 27 February 2024
Submission of Full Papers: 30 June 2024
Publication of the Book: December 2024

To be published in the book series Springer Series on Cultural Computing, indexed by SCOPUS.

** SCOPE**
In this new book we want to expand the discussion on “Creativity in the Digital Age” (2015), targeting artificial media with an emphasis on the new realms enabled by tools such as generative models (e.g. Dall-E, ChatGPT, Gemini). Previously, we’ve discussed maker technologies supporting human creativity and inventiveness. We want to proceed with an analysis of new media ecosystems that apply generative AI across multiple modalities — text, images, music, speech, code, video, photography or animation.
Today, through simple prompts, anyone can deploy AI assistants to create stories, news, drawings, titles, paintings, photographs, graphics, music, speech or animations. We are at a point of no return, not only changing the domain of text and images but impacting multiple modalities of media ecosystems. Large language models tend to change the face of media design, featuring new layers of creation through combinations of artificial resources and processes. AI assistants furnish guidance to develop new software, in some cases without requiring thorough programming knowledge; skewing extensive musical training, generative tools enable lay people to synthesize and mix sounds; and despite limited compositional skills, computationally assisted novice writers may now draft fictional stories and document reports. These generative techniques foster the creation of new entities we call Artificial Media.
Artificial media have the potential to break the boundaries between human and machine-based creativity (Joshi, 2023). Algorithms materialize realities from pre-existing data based on human activities, calling into question established frameworks in digital creativity. Collective creative processes were until recently limited to the knowledge handled by humans. These processes are now supported by intelligent agents that can gather information from thousands of documents spanning resources shared on the internet. This type of knowledge does not guarantee originality but it opens previously unexplored possibilities of inter-cultural and inter-generational dialogue.
Given the recent advances in techniques and approaches to creative media ecologies, we need to consider the impacts of artificial media on at least three fronts:

• Creative processes transformed by means of generative AI impact the current notions of creativity. What place will human stakeholders occupy in a media-creation pipeline populated by AI agents?
• Adopting generative methods both for producing and assessing content, what will happen to originality and relevance within media-art and design landscapes?
• Despite some claims to the contrary, before the advent of general-purpose tools generative strategies were usually restricted to the niches of specialists. Now some of these tools are furnishing opportunities for creative usage by a wider public. What are the consequences on the conceptual landscape of creativity frameworks?

Artificial media, as potentially infinite multimodal streaming of content, is already resignifying the digital world through pre-existing languages and styles, connecting “scrapism” (Lavigne, 2023) with pastiche and defying established concepts of artistic agency and authorship. These techniques may offer surprises in the short term, but eventually, creators and artists will need to find ways to integrate the recreated resources into consistent media landscapes. This urgent reconfiguration is not motivated just by copyright. Human sensibility, fashion, style and emergent aesthetics are shaped by moment-to-moment social frictions. In turn, these forces shape the creative industries, which, for instance, in Europe, currently provide more employment and added value than the automobile industries

Contributions may focus on creativity, education and artistic practice. Possible topics include, but are not limited to:

• New Crafts Created by Artificial Media
• Multimodal Generative AI Frontiers
• Agency and Artificial Media practices
• Storytelling within Artificial Media
• Artificial Imaginations
• IoT in Artificial Media Contexts
• Ubiquitous music explorations of artificial-media territories
• Artistic Frameworks to implement the use of Generative Tools
• Teaching creativity with generative AI
• News Media Landscape and Artificial Media
• Coding within Artificial Media
• Authorship, Ownership and Copyright in Generative AI
• Ethics and Social Implications of Artificial Media
• Limitations and potential of Extended Reality for Artificial Media
• Disruptions introduced by Generative AI

** References **
Nelson Zagalo & Pedro Branco (Eds.), (2015), Creativity in the Digital Age, in Springer Series on Cultural Computing, Springer-Verlag London, UK, p.269, ISBN: 978-1-4471-6681-8, DOI: 10.1007/978-1-4471-6681-8

Joshi, B (2023). Is Ai Going To Replace Creative Professionals?, ACM Interactions, September – October 2023, Page: 24. URL

Lavigne, S. (2023). Scrapism: A Manifesto. Critical AI. October 2023; 1 (1-2): DOI: https://doi.org/10.1215/2834703X-10734046Instructions for Authors:

**Abstract Submission**

You can submit abstracts (maximum of 500 words, with a tentative title) to the editors, through the e-mail: nzagalo@ua.pt