Contributors must provide permissions for any illustrations they wish to use. MLA-style citation.
Manuscripts and editorial correspondence should be addressed to editor@evolutionaryreview.com
Deadline for Submissions: June 21st, 2012
http://evolutionaryreview.com/

Conference: Creativity & Cognition 2011
Website: http://dilab.gatech.edu/ccc/index.html
Conference dates: November 3-6, 2011
Location: Atlanta, Georgia, USA

Keynote Speakers: We have Guy Claxton (creativity and learning), Sara Diamond (creativity and visual arts), Atau Tanaka (creativity and music), and Ben Shneiderman (social creativity) as our keynote speakers.

Conference Program: The main conference consists of 32 rigorously-refereed cutting-edge papers, as well as three provocative panel discussions on Creativity and Technology.

Evening Program: The evening program consists of exciting art demos, exhibits and performances as well as a stimulating poster session.

The conference also includes tutorials, workshops, and a graduate student symposium. Details at

<http://dilab.gatech.edu/ccc/index.html>. Please come and join us in the fun!

Ashok Goel, Chair

Brian Magerko and Kurt Luther, Local Chairs

Alexandra Mazalek, Treasurer

Evan Barba, Registration

Brian ONeill, Webmaster

Gail Wynens, Administration

Rutgers University announces “Science and Method in the Humanities,” an interdisciplinary graduate symposium to be held on March 2, 2012, with keynote speakers Peter Dear (Cornell University) and Barbara Herrnstein Smith (Duke University).

The aim of the conference is to explore questions of method and methodology in the sciences and in humanities scholarship that engages the sciences. This one-day event will bring together scholars working across that curricular divide for an interdisciplinary discussion of science and method, ranging from the historical development of scientific methods and their various historical re-articulations to broader concerns of methodology across the humanities.

How does interdisciplinary scholarship reframe questions of methodology, broadly construed? How is method variously understood and how are its formulations shaped by historical, theoretical, and disciplinary concerns? How does method relate to matters of fact and theory? How do humanities disciplines appropriate and modify particular scientific methods?

Related themes/topics may include (but are not limited to):

Scientific methods and the history of science

Methodology, disciplinary history, and the professionalization of the humanities

Method and form, genres of scientific knowledge, aesthetics of science, or as science

Inscription and writing: media, authority, translation, referentiality

Elements of method: hypothesis, collaboration, witnessing, objectivity

Historical method: induction, deduction, experimentation

Philosophy and the Analytic/Continental divide

Vitalism in the sciences and in critical theory

The afterlives of positivism

The “cognitive revolution” and the humanities

The curriculum and the “two cultures” debate

Science Studies/STS, Actor Network Theory, and historical study

Vernacular Science and Mobile Technologies

Digital humanities: computation, quantitative analysis, electronic publishing and peer review

Please send 400-500-word abstracts to Lizzie Oldfather (lizzie.oldfather@gmail.com) by November 1, 2011.

Sponsored by: Rutgers British Studies Center, Program in the History of Science, Technology, Environment and Health, Center for Cultural Analysis, Program in Early Modern Studies.

The interdisciplinary journal “Fragmenta” welcomes contributions to the theme Art and Knowledge in Italy and the European Republic of Letters, 1500-1750. The volume explores the ways in which knowledge was shaped and shared among painters, architects, collectors and scientists. It brings to the fore the epistemological dimensions of the making, trading, collecting and discussion of artworks. The city of Rome, debating ground for the key artistic and scientific issues of the Early Modern period, and perennial fulcrum of European antiquarianism and the academic approach of art, functions as the backdrop for a range of topics with a wide geographical spread.

The editors especially encourage a transnational perspective. How and why were artists and architects involved in the knowledge networks of the Republic of Letters, and how does this international dimension modify older historiographical differentiations?

Possible topics include:

● artists’ and collectors’ writings;

● images and material objects included in correspondence;

● scientific publications and “paper museums” involving international collectives of artists (e.g., Dutch and French engravers working in Rome);

● the interrelations between artists, artisans and scientists in the production of scientific instruments and encyclopaedic collecting;

● the role of material objects in the shaping and circulation of antiquarian scholarship;

● notions of virtuosity and connoisseurship;

● the role of the visual arts in communicating technical and theological knowledge to the non-Western world (and knowledge about the colonies and missions to Europe).

Fragmenta, published by Brepols, is a peer-reviewed interdisciplinary journal available in print and online, focusing on history, art history and archaeology. Recent thematic issues have discussed Early Modern subjectivity (forthcoming) and archaeology and national identity (2008). It is edited by the staff of the Royal Netherlands Institute in Rome. Guest editor for this volume is Thijs Weststeijn.

Contributors are invited to send a one-page abstract to: thijs.weststeijn@uva.nl before September 30th, 2011.

URL: http://www.knir.it/images/stories/CFP_FRAGMENTA.doc.pdf

Art & Science Collaboration’s
13th international digital print competition-exhibition
to be held at the New York Hall of Science
September 3, 2010 – February 5, 2011

Submission deadline: July 17, 2010

INTRODUCTION

Humans, animals, insects, trees, plants, oceans, and air — indeed, all that we see, taste, smell, touch, and breathe, contain molecular processes of physical transformation; a dynamic dance of change. This magic of transition, called alchemy by our earliest scientists, became the science of chemistry. It describes both the physical structure and characteristic actions of matter. It allows for all organic and inorganic change to take place — brain synapses to fire, oxygen to be formed from carbon dioxide and water during photosynthesis; the transformation of gases in our solar system; along with the ability of proteins to turn our genes on/off. If you extend your imagination beyond the epithelial surface of your body, or into the ether that carries cosmic dust, or even into your kitchen, chemistry can inspire wonder. Like a fabulous menu of concocted primordial soups, when exposed to changes in temperature, pressure, or speed, chemistry can create a stick! of dynamite or a magnificent souffle!

For this exhibition, we celebrate the International Year of Chemistry by inviting artists and scientists to show us their vision of this deeply fundamental, magical enabler of life called chemistry.

CO-JURORS
~ Robert Devcic, owner-director of GV Art London gallery
~ Philip Ball, writer and author of popular science books
Click here forJuror Bios>

SEE GUIDELINES: for details on how to Enter <Guidelines>

ASCI’s SUPPORT OF DIGITAL PRINTS:
ASCI was one of the first organizations in the world to recognize the digital print as a valid fine art product in 1998 by organizing an afternoon panel discussion, “Collectibility & the Digital Print.” The event was held in The Great Hall at Cooper Union, New York City, in conjunction with ASCI’s first international digital print competition/exhibition.

ASCI’s EXHIBITION ARCHIVE here with 12 previous digital print online exhibitions

ABOUT ASCI
Founded in 1988, Art & Science Collaborations, Inc. (ASCI) is an international organization based in New York City. Its mission is to raise public awareness about artists and scientists using science and technology to explore new forms of creative expression, and to increase communication and collaboration between these fields. Explore our extensive archives of past Exhibitions, Featured Members, ASCI Member News, and Homepage Listing, and discover the amazing resource information in our monthly ASCI eBulletin <http://www.asci.org/index2.php?artikel=1156> . [a benefit of membership]

Art & Science Collaborations, Inc. (ASCI) is an open membership organization serving the international art-sci-tech field for 23-years. Click “join” on www.asci.org <http://www.asci.org> for Membership info.

Evoking Washington’s status as an artistic and scientific center, “The Book in Art & Science” is a theme open   to multiple interpretations. Besides prompting considerations of the book as a force in either art or science or  the two fields working in tandem, it also encourages examinations of the scientific text; the book as a work of  art; the art and science of manuscript, print, or digital textual production; the role of censorship and politics in the creation, production, distribution, or reception of particular scientific or artistic texts; the relationship between the verbal and the visual in works of art or science; art and science titles from the standpoint of publishing history or the histories of specific publishers; and much more. Such topics raise a host of possible questions:

§  What tensions exist between the book in art and the book in science?

§  What collaborations emerge? How do these tensions or collaborations differ according to time or place?

§  What roles have material forms—manuscript, print or digital embodiments or books,   periodicals, journals, editions—played in the histories of artistic and scientific works?

§  How does the lens of art or science inform histories of reading and readers?

§  What does this lens reveal about histories of authorship?

§  How have commercial factors or economics influenced the production or distribution of scientific or artistic works?

§  What roles have states or institutions played in the history of the book in art and science?

The conference hopes to welcome many longstanding SHARP members but also aims to attract new members. The conference’s address of art and science in its title invites those working on the illustrated book, book arts, the history of science, technology, knowledge production, or the scientific book, to join us. Similarly, it is hoped that the stellar holdings in Russian, Eastern European, Iberian, Latin American, Caribbean, Middle-Eastern and Asian written and visual texts held in Washington libraries and museums will encourage both scholars from these parts of the world and those who are working in the media histories of these cultures to attend. As always, proposals dealing with any aspect of book history are welcome.

Sessions will be 90 minutes in length, including three twenty-minute papers and a discussion period. In addition, the program committee will consider proposals for sessions using other formats—for example, roundtables or demonstrations of resources and methods. We encourage proposals for fully constituted panels but also welcome proposals for individual papers. While SHARP membership is not required to submit a proposal, all presenters must be members of SHARP before the registration deadline for the conference.

The deadline for both panels and individual proposals is 30 November 2010. Proposals for panels should list the session chair and names of participants along with abstracts for each talk. All abstracts should be no more than 400 words. The program committee will determine which proposals to accept and will notify proposers about its decision.

SHARP has allotted $5,000 to fund 7 to 10 travel grants to help scholars with limited funds attend the conference. Grants typically will not exceed $500, although one or two awards may be slightly higher if circumstances warrant. Scholars interested in being considered for such grants should complete the appropriate section of the proposal form.

For proposal questions, please email SHARP2011proposal@gmail.com (program committee). For all other questions, email SHARP2011@gmail.com.

The link to the electronic form for both session and individual-paper proposals is available now at www.sharpweb.org <http://www.sharpweb.org/>  and will be posted on the conference website.

If you want to propose a session with an alternative format, please email the program committee at the address above to obtain a special form for such submissions.

INTRODUCTION
Our blue planet, spinning like a jewel in our solar system, has been perceptually defined by the technology of each era, from believing the Earth was flat, to the scientific understanding that it spins on its axis and has gravitational pull, to being part of just one of many solar systems. In terms of scale, humans are too small to viscerally comprehend our planet’s magnitude and the dynamics of its interconnected physical systems. We therefore break the concepts down into smaller parts, collect data and physical specimens of all kinds, and invent instruments to measure and track physical phenomena like earthquakes, tornados, and hurricanes. However, we still cannot grasp the “big picture” of planet Earth unless we read, look at photos, and finally… use our imagination to construct it!

For Digital’2010, ASCI invites artists and scientists to submit digital prints that reflect their perceptions of our planet. Are these perceptions changing as we learn more about Earth from explorers, scientists, and artists? What is the relationship between all living things and planet Earth? What images are evoked by calling it the blue planet or the peaceful planet or the changing planet?  What is the human impact on the whole planet? What is our concern for its future?

Art co-juror, Maddy Rosenberg, is a printmaker, independent curator, and owner/director of Central Booking in DUMBO, Brooklyn, NY. Opened in 2009, one of her two gallery spaces and its programming is devoted to shows of science-inspired artwork.

Science co-juror, Patrick Hamilton, is the Science Museum of Minnesota’s Director, Environmental Sciences and Earth-System Science. He is currently heading-up the Future Earth Initiative, an NSF-supported set of exhibits and programs that explores the implications of human impact on the Earth.

Takes place on 5 – 6  November at Artspace, 43/51 Cowper Wharf Rd, Sydney, NSW 2011.
Deadline for Abstracts:  June 25,  2010

A profound shift is occurring in our understanding of postmodern media culture. Since the turn of the millennium the emphasis on mediation as technology and as aesthetic idiom, as opportunity for creative initiatives and for critique, has become increasingly normative and doctrinaire. Mediation and the new media arts have in fact become the new medium of critical and pedagogical discourse: like water is for fish, like culture is for cultural studies, mediation is a concept that is taken for granted now because it is itself the medium in which we think and act, in which we swim. We need a concept that is amphibian, and that can leave its medium. The concept we propose is a remediated apprehension of the image: an active image and activity of imaging beyond the boundaries of disciplinary definition, but also altering the relations of intermedia aesthetics and interdisciplinary pedagogy. This concept will need to incorporate a vibrant materialism of the image’s sensory and cognitive strata and an evanescent immaterialism of its affective qualities. Rather than locate our conference in the space of negotiation between disciplines or media (the “inter-“), we propose the opposition, transit and surpassing of the interdisciplinary by a “transdisciplinary aesthetics”, and its conceptual and physical practice of a “transdisciplinary imaging.”

The aim of the conference is to bring together artists, scholars, scientists historians and curators.

The conference will explore areas related to: Painting, Drawing, Film, Video, Photography, Computer visualization, Real-time imaging,
Intelligent systems, Image Science.

Participants are asked to address at least one the following areas in
their abstract:
·       remediated image
·       hypermediacy and  the iconic character of the image
·       politics of the image and/or image making in a transdisciplinary context
·       life sciences and bioart in relation to the living image
·       distributed and networked image
·       table top scale to nano
·       machines and computer vision
·       perspectival image
·       image as speculative research and critique
·       illusion, process and immediacy
·       aesthetics and the proliferation of imaging

Proposals

You are invited to submit an abstract for an individual paper relevant to a conference theme as described above. The deadline for abstracts is June 25, 2010. Abstracts for individual papers should be no longer than 250 words. Please provide full contact details with your abstract.

Refereeing of papers will be done by members of an expert review panel (to Australian DEST refereed conference paper standards). All selected peer reviewed papers will be published in the online conference proceedings.

Please submit by email to conference organiser Julian Stadon transimageconf@gmail.com

Conference chairs:

Associate Professor Su Baker and Associate Professor Paul Thomas

Conference Committee

Brad BUCKLEY :: Brogan BUNT :: Ted COLLESS :: Ernest EDMONDS :: Petra GEMEINBOECK:: Julian GODDARD :: Ross HARLEY :: Martyn JOLLY :: Daniel MAFE :: David THOMAS

Timeline

March 31  call for abstracts; June 30  deadline for call; July 31 peer reviewed abstracts notified; November  5  -  6  Final papers for conference 3000 words; January 6  Final Papers for refereeing; 1  March  refereed papers returned to be published.

Conference Partners

College of Fine Art, University of New South Wales;  University of Melbourne, Faculty of the VCA and Music; Artspace

Conference Sponsors

Australian National University, Curtin University, Queensland University of Technology, RMIT University, Sydney College of the Arts,
University of Sydney, University of Technology Sydney, University of Wollongong.

Abstracts of no more than 500 words should be sent by email (following website instructions) by 2010 March 15th: http://events.unitn.it/en/easst010/abstract-submission

This panel is concerned with the social dimensions of neuroscience. It will explore the emergence, topography and implications of the Œnew brain sciences‚. The focus is intentionally broad, reflecting the heterogeneity of neuroscience itself. The specific history and sociology of neurologic terms and concepts are likely to be a focus, as will the practices that have given rise to and are enabled by these sociotechnical objects: from neurons to psychiatric disorders; brain genomics to Œneurodiversity‚; imaging technologies to Œneuroethics‚. The increasing prominence of the brain across science and society, and the traction of neuroscientific ideas in key public and policy debates, makes neuroscience the perfect case through which to examine both classic themes within STS (expertise, democracy, power, technique, etc.), while also allowing for the development and enrichment of newer conceptual frameworks (practice, materiality, performativity, and so on). In the latter case, this track invites contributors to consider ways in which the neurosciences themselves attempt to describe how the Œsocial‚ comes into existence and to reflect back on the ways through which this might at once challenge and support changing uses and meanings of the category of Œthe social‚ within our own disciplines.
Potential questions and directions

For this track we invite contributions which explore the complex of elements assembled in neuroscience, in which instances of things like Œsociality‚ and Œtechnique‚ form around and configure the brain. Central questions to be considered include (but are by no means limited to): what might the concepts of practice and performance offer to studies of the brain and of neuroscience ˆ in terms of both opportunity and danger? How did the brain-as-thing arise? What might STS learn from neuroscientific configurations of the social, and vice versa? What is at stake when visualising the subjective? How can we Œexplain‚ the emergence of fields like Œneuroscientific lie detection‚ or Œneuroeconomics‚? And how do these developments sit within, sustain, reshape and challenge existing configurations of ethics and practice?

Abstracts of no more than 500 words should be sent by email (following website instructions) by 2010 March 15th: http://events.unitn.it/en/easst010/abstract-submission

Convenors

Andrew Balmer is completing his PhD at the Institute for Science and Society, the University of Nottingham. His thesis explores the development of functional magnetic resonance imaging as a lie detector, exploring questions about the production of lies, and the translation of scientific expertise into legal evidence. He is currently a research associate at the University of Sheffield.

http://sheffield.academia.edu/AndrewBalmer

Des Fitzgerald is in the second year of his PhD at the BIOS Centre and the Department of Sociology, at the London School of Economics and Political Science. His PhD work considers the interactions between brain-imaging technologies and Autism Spectrum Disorders.

http://www.lse.ac.uk/collections/BIOS/whosWho/Studentprofilepages/Des_Fitzgerald.htm

Martyn Pickersgill is a research fellow at the University of Edinburgh. His primary interests are in the co-production of science, medicine and subjectivity, focusing particularly on neuroscience and psychiatry.

http://edinburgh.academia.edu/MartynPickersgill

All best wishes,

Andy Balmer, Des Fitzgerald and Martyn Pickersgill

Call for Papers

Although it seems clear that creativity plays an important role
in developing intelligent computational systems, it is less clear
how to model, simulate, or evaluate creativity in such
systems. In other words, it is often easier to recognize the
presence and effect of creativity than to describe or prescribe
it. The purpose of this conference is to facilitate the exchange
of ideas on the topic of computational creativity in a
crossdisciplinary setting. It will bring together people from AI,
Cognitive Science and related areas such as Psychology,
Philosophy and the Arts who research questions related to the
notion of creativity as it relates to computational systems. This
focus on creativity in the context of computational systems has
the potential for increasing innovation in existing fields of
research as well as for defining new fields of study, including:

1. Artificially Creative Systems: development of computational
systems that produce or simulate creativity. These systems may be
inspired by human creativity or by the possibilities of
artificial systems beyond human capabilities.

2. Computational Models of Human Creativity: construction of
cognitive models of human creativity that can be the basis for
computational creativity.

3. Computational Systems for Supporting Creativity: production
of user interfaces, interaction design, decision support, and
data modeling techniques that lead to the development of
intelligent assistants that support the user in being more
creative.

Original contributions are solicited in all areas related to
Computational Creativity, including but not limited to:

a. computational paradigms for understanding creativity, including
heuristic search, analogical reasoning, and rerepresentation;

b. metrics, frameworks and formalizations for the evaluation of
creativity in computational systems;

c. perspectives on creativity, including philosophy of computational
creativity, models of human behaviour intelligent systems, and
creativity-support tools;

d. the role of creativity in learning, innovation, improvisation, and
other pursuits;

e. factors that enhance creativity, including conflict,
diversity, knowledge, intuition, reward structures, and
technologies;

f. social aspects of creativity, including the relationship
between individual and social creativity, diffusion of ideas,
collaboration and creativity, formation of creative teams, and
simulating creativity in social settings;

g. specific applications to music, language and the arts, to
architecture and design, to scientific discovery, to education
and to entertainment;

h. detailed system descriptions of creative systems, including
engineering difficulties faced, example sessions and artefacts
produced, and applications of the system.

The conference will
include traditional paper presentations, will showcase the
application of computational creativity to the sciences, creative
industries and arts, and will incorporate a "show and tell"
session, which will be devoted to demonstrations of computational
systems exhibiting behaviour which would be deemed creative in
humans. In addition, the conference will provide a forum for
identifying trends and opportunities for research on
[computational] creativity and promising practices concerning the
development of creative computational systems.

Invited Speaker

Our keynote speaker will be Nancy J. Nersessian, Regents' Professor
and Professor of Cognitive Science, Georgia Institute of Technology,
USA. Nancy is an expert on creativity and innovation in scientific
processes.

Submissions

Please submit full papers of up to 10 sides in Springer LNCS format.

We are also inviting short papers of up to 5 sides in Springer LNCS
format. These can cover preliminary work, late-breaking results, short
systems descriptions and interesting musings.

Submission details (via
easychair) are available on the conference website:

Important Dates

September 21, 2009 Submission deadline

October 30, 2009 Authors' Notification

November 22, 2009 Deadline for CRCs

January 7-9, 2010 Conference
Organising Committee
General Chair: Geraint A. Wiggins (Goldsmiths, UK)
PC Chair: Dan Ventura (Brigham Young, USA)
Local Chair: Amilcar Cardoso (Coimbra, Portugal)
Publicity Chair: Simon Colton (Imperial College, UK)

Please consider submitting a paper to what we hope will be a very
stimulating first conference in the computational creativity series.