Conference United States 2017 Chicago Art and Technology Science

xCoAx 2022

10th Conference on Computation, Communication, Aesthetics &X

half-dozen–viii July, Coimbra, Portugal and online

Registrations are at present open

• Program
• Of import dates
• Submit
• Registration
• Committees
• About Us
• Proceedings

xCoAx is an exploration of the intersection where computational tools and media see fine art and culture, in the form of a multi-disciplinary enquiry on aesthetics, ciphering, communication and the elusive X factor that connects and characterises them all.

The focus of xCoAx is on the unpredictable overlaps between creative freedom and algorithmic rules, between man nature and motorcar engineering science, aimed towards new directions in aesthetics.

xCoAx has been an occasion for international audiences to exchange ideas in search for interdisciplinary synergies between computer scientists, artists, media practitioners, and theoreticians at the thresholds between digital arts and culture.

Starting in 2013 in Bergamo, xCoAx has then far taken place also in Porto, Glasgow, Bergamo again, Lisbon, Madrid, Milan, Graz, and online.

xCoAx 2022 will accept place in Coimbra, Portugal, even so, edifice on our experience of the CoViD-19 pandemic, role of the effect will be made available online. We will closely monitor the evolving situation and more details will follow.

xCoAx 2022'south keynote speakers are Winnie Soon and Andreas Broeckmann

Conference Program

• Midweek July 6: Doctoral Symposium, Opening Event, Opening of the Exhibition, Proceedings Launch.
• Thursday July vii: Paper Sessions with Q&A, Keynote with Q&A, Artworks and Performances Presentations, Performance Evening.
• Friday July 8: Paper Sessions with Q&A, Keynote with Q&A, Artworks and Performances Presentations, Closing Party.

Keynote: Winnie Shortly

Winnie Soon is an artistic coder and researcher, working at the intersections of media/computational fine art, software studies, cultural studies and code practice, specifically concerning digital censorship, data politics, existent-time processing/liveness, invisible infrastructure and the aesthetics of code. With works actualization in museums, galleries, festivals, distributed networks, papers and books, they are the author of two books titled Aesthetic Programming: A Handbook of Software Studies (with Geoff Cox) and Ready My Code (with Cornelia Sollfrank). Winnie is the co-initiator of the art community Lawmaking & Share [ ] and the co-editor of the Software Studies Book Series at MIT Press. They are Acquaintance Professor at Aarhus University in Denmark. www.siusoon.internet

Keynote: Andreas Broeckmann

Andreas Broeckmann is an art historian and curator who lives in Berlin. He is engaged in the DFG-funded research and documentation project Les Immateriaux Research at Leuphana University Lüneburg (2021-2024). He continues to teach at the Academy of Fine Arts, Leipzig (HGB – Hochschule für Grafik und Buchkunst) where he was Visiting Professor for Art History and Media Theory (2017-2020). He was the Artistic Director of the Leuphana Arts Program (2011-2016), the founding managing director of Dortmunder U – Heart for Art and Creativity (2009-2011), and has curated exhibitions and festivals in major European venues, incl. transmediale and ISEA2010 RUHR. He holds a PhD in Art History from the University of East Anglia, Norwich/UK, and lectures internationally almost the history of mod and contemporary art, media theory, and digital culture. He is the author of "Auto Art in the Twentieth Century" (MIT-Press, 2016).

Important Dates

• February 15: Extended submission deadline.
• March 27: Notifications to authors.
• April thirty: Registration deadline for authors.
• April 30: Commitment of terminal versions of papers and artwork/performances/symposium abstracts for the proceedings.
• May 8: Delivery of final versions of multimedia files for the website.
• July half-dozen: Welcome, doctoral symposium, opening of the exhibition, performance.
• July 7-eight: Discussions of papers, artworks and performances.
• July 7: Performance evening.
• July 8: Closing party.
• July nine: Exhibition take-downward.

Call for papers, artworks, performances

xCoAx 2022 calls for papers, artworks, performances and research works-in-progress by scholars, artists, performers and students, working on any of the multi-disciplinary facets of xCoAx.

Yous are invited to submit theoretical, practical or experimental research work that includes just is not limited to the post-obit topics:

• Computation
• Communication
• Aesthetics
• X
• Algorithms / Systems / Models
• Artificial Aesthetics
• Artificial Intelligence / Inventiveness
• Audiovisuals / Multimodality
• Pattern
• Interaction
• Games
• Generative Art / Design
• History
• Mechatronics / Physical Computing
• Music / Audio Fine art
• Performance
• Philosophy of Fine art / of Computation
• Engineering science / Ideals / Epistemology

Submission Categories

Papers: Please submit a paper (3.000 to vi.000 words, excluding references) post-obit the formatting in the Word template. Revision of papers will be double-bullheaded. Delight make sure that the PDF file is completely anonymised (i.east. omits author-related information in the trunk of text or as explicit cocky-citations, notes and bibliography). Accepted papers volition be published in the conference proceedings and authors will concord a 15-minute presentation at xCoAx 2022.

Doctoral Symposium Abstracts: Only Primary's and PhD students tin can apply to nowadays their work-in-progress and receive feedback from established researchers. Submit a document, following the formatting in the Word template, comprised of a research newspaper and a letter of support from your counselor (700 to 2.000 words, excluding references) that should include the following: 1) Purpose of the research and its importance to the field; 2) Brief survey of background and related work; three) Description of the proposed approach; 4) Expected contributions; v) Progress towards goals. Revision of proposals will be single-bullheaded. A revised version will be requested for inclusion in the proceedings afterwards the symposium. Previous xCoAx Doctoral Symposia were chaired by Frieder Nake, Mario Klingemann, Philip Galanter, Angela Ferraiolo, Simona Chiodo and Marko Ciciliani. The Doctoral Symposium will take identify online and information technology will be a closed result.

Artworks: Proposals should provide a clear clarification of the work (in instance of online artworks possibly a link to the artwork itself) in the form of a document including the post-obit:

• An abstract of maximum 200 words
• A master text of 700 to ii.000 words (excluding references)
• An appendix with technical details of the artwork
• Another appendix with references to multimedia material on the artwork

The document must follow the formatting in the Discussion template. Revision of proposals will be unmarried-bullheaded. All accustomed works will be allotted a 7-minute presentation time at the briefing and will be role of the exhibition. The proceedings volition publish the abstract, the main text, and ane image of the artwork provided by the authors. Should the circumstances and the logistics of xCoAx 2022 change due to the CoViD-19 pandemic, an culling solution (online or hybrid) will be proposed by the Organising Committee.

Performances: Proposals should provide a clear description of the functioning in the course of a document including the following:

• An abstract of maximum 200 words
• A master text of 700 to two.000 words (excluding references)
• An appendix with technical details of the artwork
• Another appendix with references to multimedia fabric documentation on the performance

The submission document must follow the formatting in the Word template. Revision of proposals will be single-blind. Accepted performances volition be allotted a maximum of 30 minutes on stage during the performance nighttime or at the opening event. For all accepted works, the abstruse, the main text, and ane photographic prototype of the performance will exist published in the proceedings. Should the circumstances and the logistics of xCoAx 2022 change due to the CoViD-xix pandemic, an alternative solution (online or hybrid) will exist proposed by the Organising Committee.

Boosted information and submission details

• All works must exist submitted via EasyChair;
• Submissions must be original and volition be rigorously reviewed by an international and multidisciplinary scientific committee, in a process that volition appraise originality, relevance, artistic and technical achievements;
• Submissions should be presented every bit .pdf files with all the media files embedded or linked to online resource;
• Terminal versions for publication should be delivered in .docx with all the images and other media files attached as independent files;
• All images and media assets must be cleared for publication by the authors;
• At least one of the authors of each selected contribution must register to the conference before the first author registration deadline in order for the work to exist published in the proceedings;
• xCoAx's working language is English;
• xCoAx's conference proceedings (with ISBN) will be published online with gratis access;
• Please contact the program chairs at info@xcoax.org with any questions regarding submissions.

Registration

For each accustomed submission, 1 author will have to register as beneath earlier Apr 30.

• Writer registration: € 200
• Reduced registration: € 75 (for authors without academic affiliation and full general audition)
• Doctoral symposium: € 75
• Attendance to the online portion of xCoAx 2022 is free and does not require registration

Please register through EasyChair.

Travel

Coimbra is located in central Portugal, 120 km southward of Porto, 195 km north of Lisbon, forty km due east of the seaside urban center of Figueira da Foz. One of Portugal's biggest crossroads, Coimbra is served by the A1, the main highway of Portugal, and past train services. Those travelling from outside the Iberian Peninsula volition probably fly to Lisbon or Porto, from where railroad train connections to Coimbra are regular, fast and reliable. Both airports take direct flights to a large number of international destinations and are served by depression cost airlines.

xCoAx 2022 will be held at Convento São Francisco, the major congress and cultural heart of Coimbra, equally well as a crucial chemical element in Coimbra'southward architectural mural. Situated on the left side of the Mondego river, it started as a convent in the early 17th century and worked equally a wool manufactory between 1888 and 1980. Coimbra Municipality bought the edifice in 1986 to begin a renovation process that led to the cosmos of a congress and cultural centre.

Performances volition be presented at Salão Brazil, located in the eye of Coimbra's historical heart. The concert hall is on the kickoff floor of a building that dates back to the early 20th century. In contempo years, Salão Brazil has been an essential venue for genres such every bit jazz, free improvisation and experimental music.

Scientific Committee

• Adriana Sá ESAD/CICANT
• Alessandro Ludovico Winchester School of Art, University of Southampton / Neural
• Alice Cannava Technische Universität Berlin / Occulto Magazine
• André Rangel CITAR / i2ADS / Faculty of Fine Arts, Academy of Porto
• Andreas Broeckmann Leuphana Arts Programme, Lüneburg
• Andreas Muxel Faculty of Pattern at University of Practical Sciences Augsburg
• Anna Terzaroli Nicola Sala Solarium of Music
• Anne Balsamo University of Texas at Dallas
• Anneke Pettican Department Lead Fine art & Advice, Academy of Huddersfield
• Astrid Drechsler Audio Design, FH Joanneum, University of Applied Sciences
• Birgit Bachler Information Design, FH Joanneum, University of Practical Sciences Graz
• Boris Debackere V2 / Luca School of Arts
• Catarina Maçãs University of Coimbra
• Chara Lewis Manchester School of Fine art, Manchester Metropolitan University
• Christian Faubel Academy of Media Arts Cologne
• Cristina Sá CITAR / Portuguese Catholic University, School of Arts
• Dale MacDonald University of Texas at Dallas
• Daniele Pozzi Institute of Electronic Music and Acoustics, University of Music and Performing Arts, Graz
• Daniel Irrgang Weizenbaum Found / Berlin University of the Arts
• Daniel Schorno STEIM
• Darko VelazquezBauhaus Course + Function Lab, Bauhaus-Universität Weimar
• David Pirrò Constitute of Electronic Music and Acoustics, Academy of Music and Performing Arts, Graz
• Filipe Pais Ensadlab, Ensad, Paris
• Francisco Cardoso Lima Independent Creative person, Aveiro
• Frieder Nake University of Bremen & Hochschule für Künste Bremen
• Gerhard Nierhaus Academy of Music and Performing Arts Graz
• Hanns Holger Rutz Independent Creative person
• Heitor Alvelos ID+ / Faculty of Fine Arts, University of Porto
• Jason Reizner Bauhaus-Universität Weimar
• Jia-Rey Chang archgary.com / Art & Pattern Section, University of Delaware
• Ji Youn Kang The Royal Conservatoire in The Hague
• Joanna Zylinska Department of Media, Communications and Cultural Studies, Goldsmiths, Academy of London
• João Cordeiro CITAR / University of West London
• Johannes Zmölnig University of Music and Performing Arts Graz
• Jon He Massey University
• Jon McCormack Monash University
• Jung In Jung InGAME, Abertay University
• Kristin Mojsiewicz Edinburgh College of Art, Academy of Edinburgh
• Laura Beloff School of Arts, Design and Architecture, Aalto University
• Luc Döbereiner Establish of Electronic Music and Acoustics, University of Music and Performing Arts, Graz
• Luísa Ribas CIEBA / Faculty of Fine Arts, Academy of Lisbon
• Manuela Naveau Ars Electronica
• Marko CicilianiInstitute of Electronic Music and Acoustics at the Academy of Music and Performing Arts Graz
• Mario Verdicchio Università degli Studi di Bergamo
• Martin Kaltenbrunner Kunstuniversität Linz
• Martin Rumori sonible GmbH
• Martin Zeilinger Abertay University
• Max Hampshire Independent Researcher & Artist
• Miguel Carvalhais INESC TEC / i2ADS / Kinesthesia of Fine Arts, University of Porto
• Michael MarkertHochschule Coburg
• Mitchell Whitelaw College of Arts and Social Sciences, Australian National Academy
• Nathan Wolek Stetson University
• Nuno N. Correia Tallinn Academy
• Patrícia João Reis University of Applied Arts Vienna, Republic of austria, Department of Digital Arts
• Pedro Cardoso University of Aveiro / DigiMedia
• Pedro Martins University of Coimbra
• Penousal Machado University of Coimbra
• Philip Galanter Texas A&M University
• Ricardo Melo Fraunhofer Portugal Research Center for Assistive Information and Communication Solutions (Fraunhofer AICOS)
• Rodrigo Hernández-Ramírez UNIDCOM / Instituto de Arte, Design eastward Empresa (IADE)
• Ron Kuivila Wesleyan University
• Rosemary Lee Independent Researcher & Artist
• Rui Penha ESMAE / CESEM
• Rui Torres Electronic Literature Organization / Faculty of Man and Social Sciences, University Fernando Pessoa, Porto
• Samuel Van Ransbeeck UCP-CITAR
• Sophie-Carolin Wagner Austrian National Library / RIAT
• Shusha Niederberguer House of Electronic Arts Basel
• Søren Pold School of Communication and Civilisation, Aarhus University
• Tim Boykett Fourth dimension'southward Upwards
• Trent Kim University of the West of Scotland
• Valentina Vuksic Zurich Academy of the Arts
• Valerie Wolf Gang
• Veronika Mayer Freelance Artist and Lecturer
• Victoria Bradbury University of North Carolina, Asheville
• Visda GoudarziSchoolhouse of Media Arts at Columbia Higher Chicago
• Winnie Presently Department of Digital Design at Aarhus Academy

Almost Us

Organising Commission

• André Rangel CITAR / i2ADS / Faculty of Fine Arts, Academy of Porto
• Jason Reizner Bauhaus-Universität Weimar
• Luís Pinto Nunes i2ADS / Kinesthesia of Fine Arts, University of Porto
• Luísa Ribas CIEBA / Kinesthesia of Fine Arts, University of Lisbon
• Mario Verdicchio Università degli Studi di Bergamo
• Miguel Carvalhais INESC TEC / i2ADS / Faculty of Fine Arts, University of Porto
• Pedro Martins University of Coimbra
• Penousal Machado University of Coimbra

Past Organisers

• Alejandro Sanchez Zaragoza MACA / ETSAM
• Alison Clifford University of the West of Scotland
• Andrea González Garrán MACA / ETSAM
• Atxu Amann MACA / ETSAM
• Daniele Pozzi Found of Electronic Music and Acoustics, University of Music and Performing Arts, Graz
• David Pirrò Institute of Electronic Music and Acoustics, University of Music and Performing Arts, Graz
• Carol Pierina MACA / ETSAM
• Graeme Truslove Academy of the West of Scotland
• Hanns Holger Rutz Establish of Electronic Music and Acoustics, University of Music and Performing Arts, Graz
• Pedro Tudela i2ADS / Faculty of Fine Arts, University of Porto

xCoAx Proceedings

• Previous Proceedings
• Publication Ethics

Proceedings Editorial Board

• André Rangel CITAR / i2ADS / Faculty of Fine Arts, University of Porto
• Luísa Ribas CIEBA / Faculty of Fine Arts, Academy of Lisbon
• Mario Verdicchio (main editor) Università degli Studi di Bergamo
• Miguel Carvalhais (chief editor) INESC TEC / i2ADS / Faculty of Fine Arts, Academy of Porto

Get in touch with us

• info@xcoax.org
• @xcoaxorg
• instagram.com/xcoaxorg

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Source: https://xcoax.org/

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