Following the success of previous events and the importance of the field of computational intelligence, specifically, evolutionary and biologically inspired (artificial neural network, swarm, alife) music, sound, art and design, evoMUSART has become an evo* conference with independent proceedings since 2012. Thus, evoMUSART 2020 is the ninth International Conference on Computational Intelligence in Music, Sound, Art and Design.
The use of Computational 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 these techniques 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 Computational Intelligence techniques for artistic tasks, providing the opportunity to promote, present and discuss ongoing work in the area.
The event will be held in April 2020 in Seville, Spain, as part of the evo* event.
Evomusart is published in Springer Lecture Notes in Computer Science (LNCS) since 2003.
EvoMUSART Conference Proceedings in SpringerLink
The proceedings of EvoMUSART 2020 are available online following the link. (NEW!)
Download the EvoMUSART flyer (PDF)
- Juan Romero
University of A Coruña, Spain
- Anikó Ekárt
Aston University, UK
- Tiago Martins
University of Coimbra, Portugal
Networks in Art, Sound and Design
The journal Neural Computing and Applications (Q1, IF: 4.66) will publish a Special Issue called “Networks in Art, Sound and Design”. The editors of this Special Issue will be Juan Romero and Penousal Machado. Some authors from EvoMUSART 2020 will be invited to submit a new paper to this Special Issue.
Artificial Intelligence and Complexity in Art, Music, Games and Design
Juan Romero and Colin Johnson will publish a Special Issue on “Artificial Intelligence and Complexity in Art, Music, Games and Design” for the 9th International Conference on Artificial Intelligence in Music, Sound, Art and Design. All the papers accepted in EvoMUSART 2020 are encouraged to submit to this Special Issue: https://www.mdpi.com/journal/entropy/special_issues/ai_complexity
Deadline for manuscript submissions: 29 April 2020 (extension can be granted upon request)
Instruction for authors: http://www.mdpi.com/journal/entropy/instructions
Submit system: https://susy.mdpi.com/user/manuscripts/upload/?journal=entropy
Entropy (IF 2.419; ISSN 1099-4300) is an open access journal which maintains a rigorous and fast peer review system with a median publication time of 44 days from submission to online publication. It is fully covered by the leading indexing and abstracting services, including Scopus and SCIE (Web of Science). You can easily find the aims and scope, board member list, published papers, and much more at http://www.mdpi.com/journal/entropy.
For the 20th year anniversary of the evo* conference, 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 navhlbauer, Jigate 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
Areas of Interest and Contributions
Submissions should concern the use of Computational Intelligence techniques (e.g. Evolutionary Computation, Artificial Life, Machine 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 computational 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 computational intelligence techniques to produce novel objects;
- Systems that resort to computational intelligence approaches to perform the analysis of image, music, sound, sculpture, or some other types of artistic object or resource.
Submissions will be rigorously reviewed for scientific and artistic merit. 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. The acceptance rate at evoMUSART 2018 was 39% for papers accepted for oral presentation, and 26% for poster presentation.
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. Links should be anonymised for double-blind review, e.g. using a URL shortening service.
There are two types of presentation:
- Long talk (20 minutes + 5 minutes for questions). Authors can optionally bring a poster to present at the poster session.
- Short talk (10 minutes, no questions). Authors MUST also bring a poster to present at the poster session.
Authors will be notified in advance of the type of presentation (short/long).
Submissions must be at most 16 A4 pages long, in Springer LNCS format (instructions downloadable from http://www.springer.com/computer/lncs?SGWID=0-164-6-793341-0).
The reviewing process will be double-blind. Please omit information about the authors in the submitted paper.
- María Navarro-Cáceres, Marcelo Caetano and Gilberto Bernardes. Objective Evaluation of Tonal Fitness for Chord Progressions
- Jon McCormack and Andy Lomas. Understanding Aesthetic Evaluation with Deep Learning
- Sebastian Trump. GenImpro: An Evolutionary Model For Musical Improvisation
- Manuel Muehlbauer, Jane Burry and Andy Song. An aesthetic-based fitness measure and a framework for guidance of evolutionary design in architecture
- Simon Colton, Jon McCormack, Elena Petrovskaya, Sebastian Berns and Michael Cook. Adapting and Enhancing Evolutionary Art for Casual Creation
- Edward Ly and Julián Villegas. Genetic Reverb: Synthesizing Artificial Reverberant Fields Via Genetic Algorithms
- Anna Krolikowski, Sarah Friday, Alice Quintanilla and Jacob Schrum. Quantum Zentanglement: Combining Picbreeder and Wave Function Collapse to Create Zentangles
- Stephen Lou Banal and Vic Ciesielski. A deep learning neural network for classifying good and bad photos
- Jonathan Young and Simon Colton. Controlling Self-Organization in Generative Creative Systems
- Xiaoquan Li, Kaiqi Wang, John Soraghan and Jinchang Ren. Fusion of Hilbert-Huang Transform and Deep Convolutional Neural Network for Predominant Musical Instruments Recognition
- Tiago Martins, João Correia, Sérgio Rebelo, João Bicker and Penousal Machado. Portraits of No One: An Interactive Installation
- Matthew Lewis. Emerging Technology System Evolution
- Frederik Heerde, Igor Vatolkin and Günter Rudolph. Comparing Fuzzy Rule Based Approaches for Music Genre Classification
- Augusto Zubiaga and Lourdes Cilleruelo. Emulation Games. See and Be Seen, an Subjective Approach to Analog Computational Neuroscience
- Moshe Sipper, Jason H. Moore and Ryan J. Urbanowicz. Coevolving Artistic Images Using OMNIREP
Best paper candidates
Manuel Muehlbauer, Jane Burry and Andy Song.
An aesthetic-based fitness measure and a framework for guidance of evolutionary design in architecture
- María Navarro-Cáceres, Marcelo Caetano and Gilberto Bernardes.
Objective Evaluation of Tonal Fitness for Chord Progressions
Jon McCormack and Andy Lomas.
Understanding Aesthetic Evaluation with Deep Learning
- Mauro Annunziato, ENEA, Italy
- Daniel Ashlock, University of Guelph, Canada
- Peter Bentley, University College London, UK
- Eleonora Bilotta, Università della Calabria, Cosenza, Italy
- Tim Blackwell, Goldsmiths College, University of London, UK
- Andrew Brown, Griffith University, Australia
- 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
- Palle Dahlstedt, Göteborg University, Sweden
- Eelco den Heijer, Vrije Universiteit Amsterdam, Netherlands
- Alan Dorin, Monash University, Australia
- Jose Fornari, NICS/Unicamp, Brazil
- Marcelo Freitas Caetano, CIRMMT, McGill University, Canada
- Philip Galanter, Texas A&M University, USA
- Pablo Gervás Gómez-Navarro, Universidad Complutense Madrid, Spain
- Andrew Gildfind, Google Inc., Australia
- Carlos Grilo, Instituto Politécnico de Leiria, Portugal
- Andrew Horner, University of Science & Technology, Hong Kong
- Takashi Ikegami, University of Tokyo, Japan
- 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
- Yang Li, University of Science and Technology Beijing, China
- Antonios Liapis, University of Malta, Malta
- Alain Lioret, Paris 8 University, France
- Roisin Loughran, University College Dublin, Ireland
- Penousal Machado, University of Coimbra, Portugal
- Roger Malina, International Society for the Arts, Sciences and Technology, USA
- Bill Manaris, College of Charleston, USA
- Tiago Martins, University of Coimbra, Portugal
- 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
- Philippe Pasquier, School of Interactive Arts and Technology, Simon Fraser University, Canada
- Somnuk Phon-Amnuaisuk, Brunei Institute of Technology, Malaysia
- Douglas Repetto, Columbia University, USA
- Nereida Rodriguez-Fernandez, University of A Coruña, Spain
- Brian Ross, Brock University, Canada
- Jonathan E. Rowe, University of Birmingham, UK
- Artemis Sanchez Moroni, Universidade Estadual de Campinas (UNICAMP), Brasil
- Antonino Santos, University of A Coruña, Spain
- Iria Santos, University of A Coruña, Spain
- Marco Scirea, IT University of Copenhagen, Denmark
- Daniel Castro Silva, University of Coimbra, Portugal
- Benjamin Smith, Indianapolis University, Purdue University, USA
- Gillian Smith, Northeastern University, USA
- Stephen Todd, IBM, UK
- Paulo Urbano, Universidade de Lisboa, Portugal
- Anna Ursyn, University of Northern Colorado, USA
- Dan Ventura, Brigham Young University, USA