<br>Please distribute<br>(Apologies for multiple posting)<br><br>----------------------------------------------------------------------------<br>CALL FOR PAPERS<br><br>evomusart 2012<br><br>1st International Conference and 10th European Event on Evolutionary and Biologically Inspired Music, Sound, Art and Design <br>
<br>11-13 April 2012, Malaga, Spain<br><br><br>Part of evo* 2012<br>evo*: <a href="http://www.evostar.org">http://www.evostar.org</a><br>evomusart: <a href="http://www.evostar.org/2012/call-for-contributions/evomusart/">http://www.evostar.org/2012/call-for-contributions/evomusart/</a><br>
----------------------------------------------------------------------------<br><br>evomusart 2012 is the tenth European event on Evolutionary Music and Art. Following the success of previous events and the importance of the field of evolutionary and biologically inspired music, sound, art and design, evomusart has became a evo* conference with independent proceedings. Thus, evomusart 2012 is the tenth European Event on Evolutionary and Biologically Inspired Music, Sound, Art and Design and the first conference on the field.<br>
<br>The use of biologically inspired techniques for the development of artistic systems is a recent, exciting and significant area of research. There is a growing interest in the application of these techniques in fields such as: visual art and music generation, analysis, and interpretation; sound synthesis; architecture; video; poetry; design; and other creative tasks.<br>
<br>The main goal of evomusart 2012 is to bring together researchers who are using biologically inspired computer techniques for artistic tasks, providing the opportunity to promote, present and discuss ongoing work in the area.<br>
<br>The event will be held from 11-13 April, 2012 in Malaga, Spain as part of the evostar event.<br><br>Accepted papers will be presented orally 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.<br>
<br><br>----------------------------------------------------------------------------<br>Topics of interest<br>----------------------------------------------------------------------------<br><br>The papers should concern the use of biologically inspired computer techniques - e.g. Evolutionary Computation, Artificial Life, Artificial Neural Networks, Swarm Intelligence, other artificial intelligence techniques. - in the scope of the generation, analysis and interpretation of art, music, design, architecture and other artistic fields. Topics of interest include, but are not limited to:<br>
<br>-- Generation<br> - Biologically Inspired Design and Art - Systems that create drawings, images, animations, sculptures, poetry, text, designs, webpages, buildings, etc.;<br> - Biologically Inspired Sound and Music - Systems that create musical pieces, sounds, instruments, voices, sound effects, sound analysis, etc.;<br>
- Robotic Based Evolutionary Art and Music;<br> - Other related artificial intelligence or generative techniques - in the fields of Computer Music, Computer Art;<br><br>--Theory<br> - Computational Aesthetics, Experimental Aesthetics; o Emotional Response, Surprise, Novelty;<br>
- Representation techniques;<br> - Surveys of the current state-of-the-art in the area; identification of weaknesses and strengths; comparative analysis and classification;<br> - Validation methodologies;<br> - Studies on the applicability of these techniques to related areas;<br>
- New models designed to promote the creative potential of biologically inspired computation;<br><br>--Computer Aided Creativity and computational creativity<br> - Systems in which biologically inspired computation is used to promote the creativity of a human user;<br>
- New ways of integrating the user in the evolutionary cycle;<br> - Analysis and evaluation of: the artistic potential of biologically inspired art and music; the artistic processes inherent to these approaches; the resulting artifacts;<br>
- Collaborative distributed artificial art environments;<br><br>--Automation<br> - Techniques for automatic fitness assignment;<br> - Systems in which an analysis or interpretation of the artworks is used in conjunction with biologically inspired techniques to produce novel objects;<br>
- Systems that resort to biologically inspired computation to perform the analysis of image, music, sound, sculpture, or some other types of artistic object;<br><br>----------------------------------------------------------------------------<br>
Important Dates<br>----------------------------------------------------------------------------<br><br>Submission: 30 November 2011<br>Conference: 11-13 April 2012<br><br>----------------------------------------------------------------------------<br>
Additional information and submission details<br>----------------------------------------------------------------------------<br><br>Submit your manuscript, at most 12 A4 pages long, in Springer LNCS format (instructions downloadable from <a href="http://www.springeronline.com/sgw/cda/frontpage/0,11855,5-164-2-72376-0,00.html">http://www.springeronline.com/sgw/cda/frontpage/0,11855,5-164-2-72376-0,00.html</a>) no later than November 30, 2011 to site <a href="http://myreview.csregistry.org/evomusart12">http://myreview.csregistry.org/evomusart12</a><br>
<br>The reviewing process will be double-blind, please omit information about the authors in the submitted paper.<br><br>----------------------------------------------------------------------------<br>Programme committee<br>
----------------------------------------------------------------------------<br><br>Adrian Carballal, University of A Coruna, Spain<br>Alain Lioret, Paris 8 University, France<br>Alan Dorin, Monash University, Australia<br>
Alejandro Pazos, University of A Coruna, Spain<br>Amilcar Cardoso, University of Coimbra, Portugal<br>Amy K. Hoover, University of Central Florida, USA<br>Andrew Brown, Griffith University, Australia<br>Andrew Gildfind, Google Inc., Australia<br>
Andrew Horner, University of Science & Technology, Hong Kong<br>Anna Ursyn, University of Northern Colorado, USA<br>Antonino Santos, University of A Coruna, Spain<br>Artemis Sanchez Moroni, Renato Archer Research Center, Brazil<br>
Benjamin Schroeder, Ohio State University, USA<br>Bill Manaris, College of Charleston, USA<br>Brian Ross, Brock University, Canada<br>Carlos Grilo, Instituto Politécnico de Leiria, Portugal<br>Christian Jacob, University of Calgary, Canada<br>
Colin Johnson, University of Kent, UK<br>Dan Ashlock, University of Guelph, Canada<br>Daniel Bisig, University of Zurich, Switzerland<br>Daniel Jones, Goldsmiths College, University of London, UK<br>David Rosenboom, California Institute of Arts, USA<br>
Douglas Repetto, Columbia University, USA<br>Eduardo Miranda, University of Plymouth, UK<br>Eelco den Heijer, Vrije Universiteit Amsterdam, Netherlands<br>Erwin Driessens, Independent Artist, Netherlands<br>Gary Greenfield, University of Richmond, USA<br>
Gary Nelson, Oberlin College, USA<br>Hans Dehlinger, Independent Artist, Germany<br>Ingeborg Reichle, Berlin-Brandenburg Academy of Sciences and Humanities, Germany<br>J. E. Rowe, University of Birmingham, UK<br>James McDermott, University of Limerick, Ireland<br>
Jon Bird, University of Sussex, UK<br>Jon McCormack, Monash University, Australia<br>José Fornari, NICS/Unicamp, Brazil<br>Juan Romero, University of A Coruna, Spain<br>Kenneth O. Stanley, University of Central Florida, USA<br>
Luigi Pagliarini, University of Southern Denmark, Italy<br>Marcelo Freitas Caetano, IRCAM, France<br>Marcos Nadal, University of Illes Balears, Spain<br>Maria Verstappen, Independent Artist, Netherlands<br>Matthew Lewis, Ohio State University, USA<br>
Mauro Annunziato, Plancton Art Studio, Italy<br>Mitchell Whitelaw, University of Canberra, Australia<br>Nicolas Monmarché, University of Tours, France<br>Oliver Bown, University of Sidney, Australia<br>Palle Dahlstedt, Göteborg University, Sweden<br>
Paul Brown, University of Sussex, UK<br>Paulo Urbano, Universidade de Lisboa, Portugal<br>Pedro Cruz, University of Coimbra, Portugal<br>Penousal Machado, University of Coimbra, Portugal<br>Peter Bentley, University College London, UK<br>
Peter Cariani, University of Binghamton, USA<br>Philip Galanter, Texas A&M College of Architecture, USA<br>Rafael Ramirez, Pompeu Fabra University, Spain<br>Roger Malina, International Society for the Arts, Sciences and Technology, USA<br>
Scott Draves, Independent Artist, USA<br>Simon Colton, Imperial College, UK<br>Somnuk Phon-Amnuaisuk, University Tunku Abdul Rahman, Malaysia<br>Stephen Todd, IBM, UK<br>Tim Blackwell, Goldsmiths College, University of London, UK<br>
Troy Innocent, Monash University, Australia<br>Usman Haque, Haque Design + Research Ltd, UK/Pakistan<br>Vic Ciesielski, RMIT, Australia<br>William Latham, University of London, UK<br>Yang Li, University of Science and Technology Beijing, China<br>
<br>Conference chairs<br><br>Juan Romero<br>University of A Coruna, Spain<br>jj(at)<a href="http://udc.es">udc.es</a><br><br>Penousal Machado<br>University of Coimbra, Portugal<br>machado(at)<a href="http://dei.uc.pt">dei.uc.pt</a><br>
<br><br><br>Publication chair<br><br>Adrian Carballal<br>University of A Coruna, Spain<br>adrian.carballal(at)<a href="http://udc.es">udc.es</a><br><br><br><br>