The 16th International Conference on Artificial Intelligence in Music, Sound, Art and Design (EvoMusArt) 2027 is a multidisciplinary conference that brings together researchers who are working on the application of Artificial Intelligence techniques in creative and artistic fields.

There is a growing interest in the application of Artificial Neural Networks, Evolutionary Computation, Swarm Intelligence, Cellular Automata, Artificial Life (Alife), Generative AI, Foundation Models, and other Artificial Intelligence (AI) techniques in creative and artistic fields such as Visual Art, Music, Architecture, Video, Digital Games, Poetry, Design, and Interactive Media. As a result, the use of Artificial Intelligence in these creative domains has become a significant and exciting area of research. EvoMusArt provides the opportunity to present, discuss and promote innovative contributions and ongoing work in the area.

EvoMusArt has been an evo* conference with independent proceedings since 2012. The EvoMUSART proceedings have been published in Springer Lecture Notes in Computer Science (LNCS).

Conference Chairs

  • Patrick Donnelly
    Oregon State University, USA
    donnellp (at) oregonstate.edu
  • Sérgio M. Rebelo
    University of Coimbra, Portugal
    srebelo (at) dei.uc.pt

Publication Chair

  • Nereida Rodríguez-Fernández
    Universidade Da Coruña, Spain
    nereida.rodriguezf(at)udc.es

Areas of Interest and Contributions

Submissions should concern the use of AI techniques (e.g. Evolutionary Computation, Artificial Neural Networks, Alife, Machine Learning (ML), Deep Learning, and Swarm Intelligence) in creative and artistic domains, including art, music, design, architecture, and related fields. Topics of interest span generation, automation, computer-aided creativity and creativity support tools, and theoretical aspects of computational creativity, including but not limited to:

  • Systems that create drawings, images, animations, videos, sculptures, poetry, text, designs, webpages, buildings, virtual environments, and other creative artefacts;
  • Systems that create musical pieces, sounds, instruments, voices, sound effects, soundscapes, and multimodal artistic experiences;
  • Systems that create artefacts such as game content, architecture, furniture, industrial products, and digital experiences based on aesthetic and functional criteria;
  • Generative AI, foundation models, large language models (LLMs), multimodal models, and diffusion-based creative systems;
  • Computational creativity in digital games, interactive storytelling, and narrative generation;
  • Virtual Reality (VR), Augmented Reality (AR), Mixed Reality (MR), and Extended Reality (XR) for artistic and creative applications, including immersive art installations and interactive creative environments;
  • Robotic-based Evolutionary Art and Music;
  • Embodied AI, tangible and wearable interfaces, and smart environments for creative applications;
  • Digital fabrication, 3D printing, and computational approaches to physical artefact creation;
  • Other artificial, generative, evolutionary, or biologically inspired techniques in the fields of Computer Music, Computer Art, Design, and Digital Culture;
  • Techniques for automatic fitness assignment;
  • AI agents and autonomous creative systems;
  • Systems in which analysis or interpretation of artworks is combined with AI techniques to generate novel artefacts;
  • Systems that use AI for the analysis, understanding, restoration, preservation, or curation of artistic and cultural heritage resources;
  • Human-AI co-creation, mixed-initiative systems, intelligent interfaces, and AI-based creativity support tools;
  • New ways of integrating users and audiences into the evolutionary, generative, or creative cycle;
  • User-centred evaluation of creative AI systems and creative experiences;
  • Analysis and evaluation of the artistic potential of biologically inspired and AI-based creative systems, their creative processes, and resulting artefacts;
  • Collaborative, distributed, and multi-user creative systems, networked art environments, and collective computational creativity;
  • Contextualisation of Creative AI in cultural, economic, social, political, legal, ethical, ecological, and sustainability-related discourse.
  • Computational Aesthetics, Experimental Aesthetics, Emotional Response, Engagement, Surprise, Novelty, and Meaning;
  • Representation techniques and creative knowledge representations;
  • Explainability, transparency, authorship, ownership, and ethics in Creative AI;
  • Surveys of the current state of the art; identification of strengths and weaknesses; comparative analyses and taxonomies;
  • Validation and evaluation methodologies for creative systems and generated artefacts;
  • Studies on the applicability of these techniques to related domains;
  • New models designed to promote creativity through evolutionary computation, Alife, ML, and hybrid approaches.

Submission Details

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, so please omit information about the authors in the submitted paper and anonymise links for double-blind review.

Follow these instructions to submit a paper.

Programme Committee

Michael Affenzeller, University of Applied Sciences Upper Austria, Austria
Sebastian Berns, Queen Mary University of London, United Kingdom
Terence Broad, University of the Arts London, United Kingdom
Nick Bryan-Kinns, University of the Arts London, United Kingdom
Inês Caetano, University of Lisbon, Portugal
Marcelo Caetano, University of California San Diego, United States
João Liborio Cardoso, University of Coimbra, Portugal
Miguel Carvalhais, University of Porto, Portugal
Vic Ciesielski, RMIT University, Australia
Simon Colton, Queen Mary University of London, United Kingdom
João Correia, University of Coimbra, Portugal
João Miguel Cunha, University of Coimbra, Portugal
Roger B. Dannenberg, Carnegie Mellon, United States
Georgios Diapoulis, University of Gothenburg & Chalmers University of Technology, Sweden
Amalia Foka, University of Ioannina, Greece
José Fornari, UNICAMP, Brazil
Björn Gambäck, Norwegian University of Science and Technology, Norway
Francesca Gasparini, University of Milano-Bicocca, Italy
Carlos Grilo, University of Leiria and Oeste, Portugal
Andrew Horner, Hong Kong University of Science and Technology, Hong Kong
Colin Johnson, University of Nottingham, United Kingdom
Maximos Kaliakatsos-Papakostas, Hellenic Mediterranean University, Greece
Stephen Krol, Dolby Research, United States
Serge Lacasse, Laval University, Canada
Man Hei Law, Hong Kong University of Science and Technology, Hong Kong
Carlos León, Complutense University of Madrid, Spain
Matthew Lewis, Ohio State University, United States
Antonios Liapis, University of Malta, Malta
Alain Lioret, University of Paris 8, France
Teresa Llano Rodriguez, University of Sussex, United Kingdom
Nuno Lourenço, University of Coimbra, Portugal
Róisín Loughran, Dundalk Institute of Technology, Ireland
João Macedo, University of Coimbra, Portugal
Penousal Machado, University of Coimbra, Portugal
Anindya Maiti, University of Oklahoma, United States
Tiago Martins, University of Coimbra, Portugal
Jon McCormack, Monash University, Australia
Michael O’Neill, University College Dublin, Ireland
Fabian Ostermann, TU Dortmund, Germany
Matthew Peterson, North Carolina State University, United States
Adrián García Riber, Technical University of Madrid & Madrid Royal Conservatory, Spain
Jonathan E. Rowe, University of Birmingham, United Kingdom
Conor Ryan, University of Limerick, Ireland
Aurora Saibene, University of Milano-Bicocca, Italy
Paulo Urbano, University of Lisboa, Portugal
Igor Vatolkin, TU Dortmund, Germany
Sebastian von Mammen, University of Würzburg, Germany