Topics

Original research contributions are solicited in all areas related to Computational Creativity research and practice, including, but not limited to:

* Computational paradigms for understanding creativity, including heuristic search, analogical and meta-level reasoning, and representation.
* Metrics, frameworks, formalisms and methodologies for the evaluation of creativity in computational systems, and for the evaluation of how systems are perceived in society.
* Development and assessment of computational creativity-support tools, where the software ultimately takes on some creative responsibility in projects.
* Cognitive and psychological computational models of creativity, and their relation with existing cognitive architectures and psychological accounts for creativity.
* Creativity-oriented computing in learning, teaching, and other aspects of education.
* Innovation, improvisation, virtuosity and related pursuits investigating the production of novel experiences and artefacts within a computational framework.
* Computational accounts of factors that enhance creativity, including emotion, surprise(unexpectedness), reflection, conflict, diversity, motivation, knowledge, intuition, reward structures,.
* Computational models of social aspects of creativity, including the relationship between individual and social creativity, diffusion of ideas, collaboration and creativity, formation of creative teams, and creativity in social settings.
* Perspectives on computational creativity which draw from philosophical and/or sociological studies put into a context of creative intelligent systems.
* Computational creativity in the cloud, including how web services can be used to foster unexpected creative behaviour in computational systems.
* Computational creativity in the wild, including cultural applications and studies of or reflections on deployed systems with real users.
* Applications that address creativity in specific domains such as music, language, narrative, poetry, games, visual arts, graphic design, product design, architecture, entertainment, education, mathematical invention, scientific discovery, programming. Submission Types

ICCC19 welcomes two categories of submission to be included in the Proceedings: academic papers (“Academic Submissions”) and creative artefact/systems (“Creative Submissions”). Both submission types are considered to be of equal merit, but reflect the different focuses in our community of both creative practitioners and researchers. Academic papers will be peer reviewed by academics in the field. Creative submissions will be peer reviewed by computational creativity practitioners and artists. Both submissions will be showcased at the conference: academic papers through conference presentations, and creative submissions through an art exhibition.

=== Academic Submissions ===

Academic papers will be accepted subject to a peer review process conducted by our Program Committee. Accepted papers will be published in full in the accompanying proceedings, and all papers will be allotted a speaking slot at the conference. Authors of accepted papers will be invited to submit expanded versions of their papers to a Special Issue of the newly launched Journal of Computational Creativity that will follow the conference. Papers which contain interesting contributions but do not meet our standards for rigour and originality may be accepted as posters instead of rejected completely. A separate call for poster submissions will follow, and the deadline will be after paper reviews have been returned. ICCC19 encourages submission from a broad range of academic disciplines, and we ask authors to indicate to which of a set of broad categories their work belongs. The following categories are intended to give you some guidance on different types of papers which we welcome for submission to ICCC19. Please indicate in your submission which category or categories your paper best fits:

Technical papers

Technical papers pose and address hypotheses about aspects of creative behaviour in computational systems. The emphasis here is on using solid experimentation / computational models / formal proof / argumentation that clearly demonstrates an advancement in the state of the art or current thinking in Computational Creativity research. Strong evaluation of approaches through comparative, statistical, social or other means is essential.

System or resource description papers

System papers describe the building and deployment of a creative system or resource to produce artefacts of potential cultural value in one or more domains. Resource description papers should emphasise presenting material that can be used by others; systems description papers should emphasise their original contribution to the engineering of creative software. Submissions should include 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. While full evaluation of the approaches employed is not essential if the technical achievement is very high, it is necessary to demonstrate how the system or resource could contribute to computational creativity in the future.
Study papers

Study papers describe studies of the field of Computational Creativity as a whole. They may draw on allied fields such as psychology, philosophy, cognitive science, mathematics, humanities, the arts, and so on; or appeal to broader areas of Artificial Intelligence and Computer Science. 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, comparison with studies of human creativity and surveys. The contribution of the paper to computational creativity should be made clear.

Position papers

Position papers present an opinion on some aspect of the culture of Computational Creativity research, including discussions of future directions, past triumphs or mistakes and issues of the day. The emphasis here is on carefully arguing a position; highlighting and exposing previously hidden or misunderstood issues or ideas; and generally providing thought leadership about the field in general, or in specific contexts. While opinions don’t need to be substantiated through formalisation or experimentation, justification of points of view will need to draw on thorough knowledge of the field of Computational Creativity and overlapping areas, and provide convincing motivations and arguments related to the relevance of the points being addressed and their importance. All submissions will be reviewed in terms of quality, impact and relevance to the area of Computational Creativity.

=== Creative Submissions ===

ICCC19 welcomes creative submissions, including both artworks or artefacts produced by computational creative systems and demonstrations of computational creative systems in action. Creative submissions can be in any format, including (but not limited to) visual artworks, music compositions, design artefacts, performances, physical objects, virtual environments, video games, or creative systems that produce work in any medium. Creative submissions are expected to be associated with a process in which the locus of creativity was, at least in part, computational. Creative submissions will be subjected to a peer review process by the Creative Program Committee, and, if accepted, presented in an exhibition running in parallel with the conference.

Creative submissions should include a 1-2 page extended abstract in ICCC-paper format for inclusion in the conference proceedings. The extended abstract should document the artefact or system, the computational aspects of the creative process, and why it is a substantial original contribution to the field. Creative submissions should also include either a 3-minute video, high definition audio recording, or high resolution photo/image portfolio (max. 10 images) for review purposes.

Finally, creative submissions should include a separate document, which provides a description of how the artwork/demo will be installed/presented (e.g., wall hanging, video screen, projection, headphones, etc.). The description should include technical/resource requirements, including equipment needed from the organisers (e.g. AV equipment) and spatial requirements (e.g. floorspace or wall area, optimal screen size, etc.). The selection criteria for creative submissions will have to take into consideration the logistics of exhibiting works and resource constraints. As such, authors may want to address contingency plans as part of their installation requirements, e.g., exhibiting a video if a work cannot be shipped to the conference.

Academic and Creative Submission Instructions

Papers should be up to 8 pages in length, and of course papers shorter than 8 pages which make a strong contribution are more than welcome. All submissions should be anonymised, at least as much as is possible without damaging the connection to prior work. Note that this is a change from previous years: studies suggest double-blind review encourages submissions from authors in adjacent research fields.

Creative Submissions should should include a 1-2 page extended abstract with accompanying documentation (e.g. 3-minute video, high definition audio, high resolution photographic portfolio), together with details of how the artwork/demo will be installed/presented and technical/resource requirements. The extended abstract and documentation will be used to assess the submissions for inclusion in the ICCC19 exhibition. Extended abstracts of accepted creative submissions will be published in the proceedings. Links to additional material can be included in the submission, but are not required. There is no requirement to anonymise creative submissions.

Academic submissions must be submitted through the EasyChair platform: https://easychair.org/conferences/?conf=iccc20190.

Creative submissions should be emailed directly to rob.saunders@sydney.edu.au. Large files should be clearly identified and uploaded using the following link: https://bit.ly/2NtGvy5

Papers and extended abstracts must be submitted as a PDF document formatted according to ICCC style (which is similar to AAAI and IJCAI formats). You can download the ICCC template from http://computationalcreativity.net/iccc2019/ICCC-author-kit.zip.

Double Submissions Policy: Papers submitted to ICCC should not be under review in another scientific conference or journal at the time of submission. Creative Submissions are not subject to this policy.

To be included in the proceedings, each submission must be presented in the conference by one of the authors. We recognise that some authors may be unable to travel to the conference for a variety of reasons and we support remote presentations in those cases. Please contact the Program Chairs if you wish to discuss this option. We are not able to support remote presentation of creative submissions due to the requirement to exhibit at the conference.