Following the success of previous events and the importance of the field of Artificial Intelligence applied to Music, Sound, Art and Design, EvoMUSART has become an evo* conference with independent proceedings since 2012. Thus, EvoMUSART 2021 is the 10th International Conference on Artificial Intelligence in Music, Sound, Art and Design.
The use of Artificial Intelligence for the development of artistic systems is a recent, exciting and significant area of research. There is a growing interest in the application of Artificial Intelligence techniques (such as Artificial Neural Network, Evolutionary Computation, Swarm, Cellular Automata, Alife) in fields such as: visual art and music generation, analysis, and interpretation; sound synthesis; architecture; video; poetry; design; and other creative tasks.
The main goal of EvoMUSART is to bring together researchers who are using Artificial Intelligence techniques for artistic tasks, providing the opportunity to promote, present and discuss ongoing work in the area.
EvoMUSART is published in Springer Lecture Notes in Computer Science (LNCS) since 2003. The conference proceedings of EvoMUSART are available online in SpringerLink.
Download the CFP in PDF format from here.
The journal “Genetic Programming and Evolvable Machines” (Q2, IF: 1.78) will publish a Special Issue called “Evolutionary computation in Art, music & Design”. The editors of this Special Issue will be Juan Romero and Penousal Machado. Some authors from EvoMUSART 2021 will be invited to submit a new paper to this Special Issue.
- Juan Romero
University of A Coruña, Spain
- Tiago Martins
University of Coimbra, Portugal
- Nereida Rodríguez-Fernández
University of A Coruña, Spain
Areas of Interest and Contributions
Submissions should concern the use of Artificial Intelligence techniques (e.g. Evolutionary Computation, Artificial Neural Networks, Artificial Life, Machine Learning, Deep Learning, Swarm Intelligence) in the generation, analysis and interpretation of Art, Music, Design, Architecture and other artistic fields. Topics of interest include, but are not limited to:
- 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 artefacts 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.
- 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 artificial 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.
- Techniques for automatic fitness assignment;
- Systems in which an analysis or interpretation of the artworks is used in conjunction with artificial intelligence techniques to produce novel objects;
- Systems that resort to artificial intelligence approaches to perform the analysis of image, music, sound, sculpture, or some other types of artistic object or resource.
A website was made available with all the information on all EvoMUSART papers since 2003. The idea is to bring together all the publications in a handy web page that allows the visitors to navigate through all papers, best papers, authors, keywords, and years of the conference, while providing quick access to the Springer’s web page links. Feel free to explore, search and bookmark: evomusart-index.dei.uc.pt
Accepted papers will be presented orally or as posters at the event and included in the evo* proceedings, published by Springer Nature in a dedicated volume of the Lecture Notes in Computer Science series. Submissions will be rigorously reviewed for scientific and artistic merit. Submitters are strongly encouraged to provide in all papers a link for download of media demonstrating their results, whether music, images, video, or other media types. The reviewing process will be double-blind. Please omit information about the authors in the submitted paper. Links should be anonymised for double-blind review. Submissions must be at most 16 A4 pages long, in Springer LNCS format.
Paper limit: 16 pages
Submission link: https://easychair.org/my/conference?conf=evo2021
The authors of accepted papers will have to improve their paper on the basis of the reviewers’ comments and will be asked to send a camera ready version of their manuscripts (deadline in 3 February 2021). At least one author of each accepted work has to register for the conference not later than 19 February 2021, attend the conference and present the work. The acceptance rate at EvoMUSART 2020 was 39% for papers accepted for long talks and 10% for short talks.
Mauro Annunziato, ENEA, Italy
Daniel Ashlock, University of Guelph, Canada
Peter Bentley, University College London, UK
Eleonora Bilotta, University of Calabria, Italy
Daniel Bisig, University of Zurich, Switzerland
Tim Blackwell, Goldsmiths College, University of London, UK
Andrew Brown, Griffith University, Australia
Luz Castro Pena, University of A Coruña, Spain
Adrian Carballal, University of A Coruña, Spain
Amilcar Cardoso, University of Coimbra, Portugal
Vic Ciesielski, RMIT, Australia
João Correia, University of Coimbra, Portugal
Pedro M. Cruz, College of Arts, Media and Design, Northeastern University, USA
Hans Dehlinger, Independent Artist, Germany
Alan Dorin, Monash University, Australia
Jose Fornari, NICS/Unicamp, Brazil
Marcelo Freitas Caetano, CIRMMT, McGill University, Canada
Philip Galanter, Texas A&M University, USA
Carlos Grilo, Instituto Politécnico de Leiria, Portugal
Eelco den Heijer, Vrije Universiteit Amsterdam, Netherlands
Andrew Horner, University of Science & Technology, Hong Kong
Takashi Ikegami, University of Tokyo, Japan
Troy Innocent, Swinburne University, Australia
Colin Johnson, University of Kent, UK
Daniel Jones, Goldsmiths College, University of London, UK
Anna Jordanous, University of Kent, UK
Amy K. Hoover, University of Central Florida, USA
Maximos Kaliakatsos-Papakostas, Department of Music, Aristotle University of Thessaloniki, Greece
Cristobal Kubli, University of Texas at Dallas, USA
Matthew Lewis, Ohio State University, USA
Antonios Liapis, IT University of Copenhagen, Denmark
Alain Lioret, Paris 8 University, France
Roisin Loughran, University College Dublin, Ireland
Penousal Machado, University of Coimbra, Portugal
Bill Manaris, College of Charleston, USA
Jon McCormack, Monash University, Australia
Eduardo Miranda, University of Plymouth, UK
Nicolas Monmarché, University of Tours, France
Marcos Nadal, Universitat de les Illes Balears, Spain
Michael O’Neill, University College Dublin, Ireland
Somnuk Phon-Amnuaisuk, Brunei Institute of Technology, Malaysia
Jane Prophet, City University, Hong Kong
Brian Ross, Brock University, Canada
Jonathan E. Rowe, University of Birmingham, UK
Antonino Santos, University of A Coruña, Spain
Iria Santos, University of A Coruña, Spain
Marco Scirea, IT University of Copenhagen, Denmark
Daniel Silva, University of Porto, Portugal
Stephen Todd, IBM, UK
Alvaro Torrente-Patiño, University of A Coruña, Spain
Paulo Urbano, Universidade de Lisboa, Portugal
Anna Ursyn, University of Northern Colorado, USA