I had a great time showing Curveship, and explaining the motivation behind it, at the IF Summit next to PAX-East today. And it was generally a great weekend of catching up with the people who are continually discussing this system (and many other matters) with me online. My thanks particularly to Zarf, the main organizer of the IF suite, Dave, who set up us the conference room, and Emily, who ran the IF Demo Fair on Saturday night. And generally, hooray for interactive fiction and the People’s Republic of Interactive Fiction – I hope we have many other productive gatherings in years to come.
[An announcement from Penn’s Kelly Writers House:]
We’re pulling out all the constraints for our OULIPOLOOZA next Tuesday,
March 15, at 7:00 pm. Organized by our own Sarah Arkebauer (C’11) and
Michelle Taransky, this celebration of all things Oulipo will feature five
experts and aficionados talking about the “Ouvroir de littérature
potentielle,” the highly-influential French school of avant garde poetry.
The evening will be rounded out by the launching “An Oulipolooza,” a
collection of new Oulipian writing, and a constraint-inspired reception.
This is one celebration you should not A Void!
The Kelly Writers House presents
a celebration of potential literature
and NICK MONTFORT
Tuesday, March 15, at 7:00 PM in the Arts Café
Kelly Writers House | 3805 Locust Walk, Philadelphia, PA
No registration required – this event is free & open to the public
Come help us celebrate the continuing potential of literatures by attending
the OULIPOLOOZA, a Kelly Writers House-style celebration of all things
Oulipo. The OuLiPo, or “Ouvroir de littérature potentielle” (workshop of
potential literature), is a group of experimental French poets founded in
1960, devoted to exploring the potential of literature, language and freedom
through the lenses of different constraints. Oulipolooza will include
readings about the Oulipo by five experts and aficionados, a reception full
of Oulipo-inspired foods, and the launch of “An Oulipolooza”: a collection
of oulipian texts.
KATIE L. PRICE is a Ph.D. candidate in the University of Pennsylvania’s
English Department completing her dissertation, tentatively titled “‘The
Tangential Point’: Pataphysical Practice in Post-War Poetry.” She is also an
associate editor for Electronic Poetry Center, co-coordinator of the Poetry
& Poetics graduate group, and will teach a course in the fall entitled
Poetry, Technology, Gender and Globalization.
LOUIS BURY teaches literature at New York University, is a part-time
professional poker player, and is completing a constraint-based dissertation
about constraint-based writing, titled Exercises in Criticism, at the
Graduate Center of the City University of New York.
JEAN-MICHEL RABATÉ is Vartan Gregorian Professor in the Humanities at the
University of Pennsylvania. Co-founder and curator of Slought Foundation,
he is a senior editor of the Journal of Modern Literature. A fellow of the
American Academy of Arts and Sciences, he has authored or edited more than
thirty books on modernism, psychoanalysis, contemporary art and philosophy.
Recent titles include Lacan Literario (2007), 1913: The cradle of modernism
(2007), The Ethic of the Lie (2008) and Etant donnes: 1) l’art, 2) le
crime (2010). Currently, he is editing a collection of essays on Modernism
and Theory. He is the president of the Samuel Beckett Society and completing
a book on Samuel Beckett and philosophy.
GERALD PRINCE is Professor of Romance Languages and Head of the French
section at the University of Pennsylvania. He is the author of many articles
and reviews on narrative theory and on modern (French) literature as well as
of several books (including A Dictionary of Narratology and Guide du roman
de langue française: 1901-1950) and his work has been translated into a
dozen languages. A co-editor of the “Stages” series for the University of
Nebraska Press and a member of a dozen editorial and advisory boards, Prince
is working on the second volume of his Guide du roman (1951-2000).
NICK MONTFORT writes computational and constrained poetry, develops computer
games, and is a critic, theorist, and scholar of computational art and
media. He is associate professor of digital media in the Program in Writing
and Humanistic Studies at the Massachusetts Institute of Technology, and is
now serving as president of the Electronic Literature Organization. He
earned a Ph.D. in computer and information science from the University of
As if polishing a statue of our glorious leader, the Web secretariat of the People’s Republic of Interactive Fiction has hoisted a fine new website. It has everything the old site had, but shiner and more expandable – which is important for a Cambridge-based group with a destiny that is manifest, a group that continues to share IF with the Boston area and the world.
Please do note that PR-IF will be at PAX-East 2011 with a suite and a conference room. All events are open to the public and do not require a PAX-East badge. I’ll hope to see some of you there.
Last night I projected words to accompany music at a local lounge. This practice does not seem have an established name – does it? Please let me know if you’re aware of the conventional term. I have heard the phrase “text jockey” used. I’ve also come up with some other terms that don’t seem to fit perfectly. In a sense, this is VJing, but it’s also a practice that is compatible with VJing, since words can be projected in a subtitle-like fashion on moving images.
Using a small bit of Python code and pyglet, I put a number of texts up a word at a time in very plain and uniform typography. Each successive word appeared centered on the same point as the last in a rapid, serial, and visual manner. Sometimes I showed several texts in juxtaposition, sometimes just one. I thought the combination of the Advanced Dungeons & Dragons Monster Manual and the text of Beckett’s Rockaby was particularly nice. The Unabomber manifesto and the Timecube website were utilized, as were Moby Dick, a Roberto Bolaño story, some altered versions of Little Red Riding Hood, a poem by Harry Mathews, and a few pieces I put together that drew randomly from word sets to confuse gender stereotypes and our notions of otherness. One of the people who came thanked me and said that he wasn’t expecting to spend the evening reading from great books, but that it was pretty cool.
My thanks to DJ Flack & Wayne and Wax, who very kindly invited me to join them.
I just wanted to thank Norman Ramsey, Eddie Aftandilian, and Brad Larsen for the very productive day-long discussion of Curveship that we undertook on Friday. I’ve spent most of the weekend and much of today implementing just one of the ideas for changes that came out of this. The discussion certainly gives me more to do, but it also does a great amount to focus my efforts as I work toward a release of system.
I’ve recently returned from a great trip to Mexico City. I was at the 5th Mexican International Colloquium on Computational Creativity presenting alongside two other foreign guests, Graeme Ritchie and Dan Ventura, and two local researchers, Rafael Pérez y Pérez and Eduardo Peñaloza. There was a productive and lively roundtable on interdisciplinary work and collaboration the day before the talk, too. Rafael Pérez y Pérez, a collaborator of mine, arranged the colloquium and was a very gracious host, making sure that we got to and from the airport, to all of the colloquium events, and to several excellent meals.
I have a few things to mention about the 5th MICCC, but I’d like for this post to be mainly forward-looking rather than backward-looking. That’s because ICCC-11, the 2011 International Conference on Computational Creativity, is an event on the same topic as this recent colloquium, and it will be taking place in the same city thanks to the local organizing work of our wonderful host, Rafael. Although the colloquium was intellectually rich and I enjoyed visiting Mexico City for its own sake, I was also very pleased because I was anticipating this larger-scale academic gathering that will be taking place April 27-29. In part, I was reminded of the conference because I and the other organizers, Rafael, Graeme, and Dan, spent a good bit of the time working to make the remaining decisions and to prepare for ICCC-11. But even just walking around the city, I had in mind how much other computational creativity researchers would enjoy coming to México.
At the colloquium, I was the only one who didn’t discuss a large-scale system that is somehow related to the creative process. (I do have a such a system, Curveship, but I wanted to focus on something else in this talk.) I spoke about creative computing and the relationship that this area has to computational creativity. In creative computing, the computer is seen as a medium and platform for human creative work. There’s a strong relationship between this area and computational creativity, but there are some distinctions, too. I spoke about a very short, simple Commodore 64 BASIC program:
10 PRINT CHR$(205.5+RND(1)); : GOTO 10
This one-line program is the focus of a deep investigation that I am undertaking with nine other authors. We plan for this study to result in a single-voice academic book – not an edited collection, not a “chapter book” with separately authored segments, but something that reads like a single-author book but is written by ten people. We are still in the early stages of writing this book, but it’s our hope that 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 by Nick Montfort, Patsy Baudoin, John Bell, Ian Bogost, Jeremy Douglass, Mark Marino, Michael Mateas, C. E. B. Reas, Mark Sample, and Noah Vawter will be published by the MIT Press in 2012. (Yes, the book’s title is the program itself.) Since the colloquium focused on interdisciplinary work and collaboration, this seemed like a nice project to discuss, even though the ten of us working on this project are not trying to model the creative process using computation. I described how the study of this program shed additional light on the relationship between platform and creativity, and how it suggested that computational creativity models try to take into account that relationship.
The other talks offered some excellent descriptions of and discussions of computational creativity systems: MEXICA, DARCI, and STANDUP (along with its predecessor, JAPE). These systems, and the things that have been done with them, are all great examples of creative computing, by the way, in addition to being computational investigations of creativity! I could do a post this long covering just the new thoughts that have come to me about these projects, each of which I knew about before. For now, I’ll refer you to the abstracts and links for more on those projects.
Coming up: The 2011 International Conference on Computational Creativity, April 27-29 in Mexico City
I’ve been to Mexico City before, but this was my first trip to the city’s main square, the Zócalo. This is the area where ICCC-11 will take place. It’s an amazing sight. You can see that Mexico City is mind-bogglingly big as you fly in, but the Zócalo is massive in a different way. The plaza and the area is human-scale (designed for pedestrians and very walkable, with many shops and restaurants) while also being tremendous and impressive. On the north is the cathedral; the National Palace, where President Calderón works, is to the east. An enormous Mexican flag flies from the National Palace during the day. To the west are several buildings, including the Best Western Majestic Hotel, which will be offering a discounted rate for ICCC-11. Just off the plaza, between the Cathedral and the National Palace, is where ICCC-11 will be held – at La Casa de la Primera Imprenta. The first printing press in the Americas was installed in 1536 in this building. It now offers a conference facility of just the right size for ICCC-11 presentations and demos, several galleries, and a bookstore.
The Autonomous Metropolitan University, Cuajimalpa is the host institution for ICCC-11, which is also supported by UNAM’s postgraduate program in computer science and engineering. The colloquium that UAM-Cuajimalpa put on with UNAM was well-attended by students and faculty who had some good questions for us. I know that we will have great local arrangements for ICCC-11; the participation we had in the colloquium suggests that we will be part of some good conversations (and, no doubt, see some good presentations and demos) from local ICCC-11 attendees.
So, I hope to see you readers who work in computational creativity in Mexico City at the end of April. I’m the publicity chair for ICCC-11, but in addition to publicizing the conference, I’m glad to email with anyone who has questions about the conference or about visiting Mexico City. And, remember that the deadline for submissions (of short papers, long papers, or show-and-tell proposals) is December 13, less than a month away now: The call for papers has the details, and there is more information on other parts of the ICCC-11 site.
The Curveship Codefest today was all I hoped it would be – a source of ideas, a way to discuss how to progress toward release, and even a time for the development of several fiction files (games) and spin files (specifications for narrating), some profound, some amusing, some both. I have received some very useful patches, representing the first contributions to the core Curveship code from others since I started this project in 2006. It looks like – with some serious work on my part, and with further consultation from the Curveship cognoscenti – Curveship can finally be ready for release in a few months.
I want to thank everyone who participated in the codefest today, from Amaranth to Zarf. So I will: Thank you, Amaranth, Angela, Brad, Doug, Jake, Jason, Kevin, Luis, Flourish, Fox, Ralph, and Zarf! Communities represented at the fest included the Boston area IF community, MIT’s Programs in Writing and Humanistic Studies and Comparative Media Studies, and the MIT Media Lab. In particular, thanks to Flourish for breakfast and lunch food for everyone; thanks to Zarf for the cookies; thanks to Amaranth and Brad for the donuts; and thanks to Fox for suggesting the event in the first place.
Thanks to all who came by to the Tuesday book release party for Riddle & Bind at Grafton Street. Riddles were pondered (and some solved) and many good times were had. Jason Scott stopped by, driving up from his archival compound in New York State! Recently kickstarted Andrew Plotkin (a.k.a. Zarf) was there, too. Fiction writer Ralph Lombreglia, my mentor from Boston University, was one of several current colleagues from MIT’s Writing and Humanistic Studies who stopped by despite their teaching and event schedules – thanks as well to Bill Corbett, Ed Barrett, and Magdalena Rieb. All right, enough shout-outs for now. I do appreciate all of you who were able to come by and celebrate the publication of Riddle & Bind.
As my very crummy photo shows, Dave Lebling joined us (the People’s Republic of Interactive Fiction) at MIT yesterday for a productive play session of his game The Lurking Horror. (We got 55 of 100 points, which isn’t bad for three hours, even if some of us who’d solved the game did nudge the others along now and then.) Afterwards, we went on a tour of MIT, checking out some of the locations that inspired those in Lebling’s game.
In other great interactive fiction news, a Kickstarter project by Andrew Plotkin, a.k.a. Zarf, was fully funded almost before one could type “transcript on.” Zarf has promised to write Hadean Lands, an IF game for the iPhone, and to work on other IF-related projects. You can still donate money to support Zarf’s work.
A special event: The People’s Republic of Interactive Fiction is hosting a session in which we’ll play The Lurking Horror, October 31, 2-5pm, MIT’s room 4-145. We’ll take a tour of some MIT campus locations that inspired the ones in this game, and David Lebling, the Infocom implementor who created the game, will be joining us.
Also, remember that there’s a Tuesday Nov 2 book party for the release of my Riddle & Bind, at Grafton St. in Harvard Square, 6-9pm. And on Sunday Nov 7 we’ll have a codefest where people can work on games in Curveship, or on the core system, if they like. Contact me (the login name is “nickm”, the domain to use is this one) if you’d like to join us for that event.
My book Riddle & Bind (with an official publication date of October 31) is out. One day Amazon will have an image of the cover. But for now, anyone can order it through Spineless Books or Amazon, and … there’s a book release party here in Cambridge, in Harvard Square:
Grafton Street Restaurant and Bar
1230 Massachusetts Ave.
Cambridge, MA 02138
Tuesday November 2
You’re invited to stop by, peruse the book, and hang out with us. The book will be available for sale, too, but if you just want to come by and flip through it, or try to crack the code of Christian Bök’s encrypted back-cover blurb, that’s fine too. Grafton Street serves fine food and drink, and you’re welcome to purchase yourself some of it – there are no retail obligations, though. I’ll hope to see you there.
Anyone who is in the Boston area and interested in spending a day (or a good chunk thereof) helping me push Curveship toward release should shoot me an email. Thanks to a great suggestion from Prof. Fox Harrell, I’ll be hosting a one-day Curveship Codefest soon in MIT’s building 14. People are welcome to write games, to write spin (ways of narrating), and to hack on the core Curveship system with me. We’ll be working toward a release of Curveship under a free software license in December or January.
A reminder that the deadline for the 2nd International Conference on Computational Creativity, taking place in Mexico City, April 27-29, 2011, is now in less than two months:
- December 13, 2010 – Submission deadline
- February 14, 2011 – Authors’ Notification
- March 14, 2011 – Deadline for final camera-ready copies
- April 27-29, 2011 – ICCC in Mexico City
I posted about the conference back in July; the CFP has been out since then and information has been up on the Web. Our site (I’m one of the organizers) now has resources for authors preparing papers as well as travel information.
Good luck to those preparing papers. I’ll hope to see some from Post Position and Grand Text Auto there in Méxio, D.F. at the end of April.
I had a great time speaking with people and giving a talk about Curveship, my interactive fiction and interactive narrating system, at Tufts University today in the Department of Computer Science.
Next up is my panel discussion with two others at the Boston Book Festival. It’s on Saturday at 10:30am in the main auditorium of the Boston Public Library. If you read the following incisive paragraph very carefully …
You’ll see that Eugenia Williamson of The Boston Phoenix considers me “a novelist of supreme confidence” – wow! I’m flattered!
I was a sort of “international observer” at the latest ELMCIP Seminar in Bergen, Norway. ELCMIP is a European project, funded by HERA, which looks at the ways electronic literature communities function and foster creativity. On the first day of the seminar (Monday, September 20) I presented about the IF community, supplementing that evening’s screening of Get Lamp at the Landmark Cafe. I offered some thoughts, summarized here, for those working in other types of electronic literature practices.
By “interactive fiction” (often abbreviated “IF”), I mean pretty much exactly what you will find if you Google for the term and starting looking through the first several pages of results. In my dissertation, I defined interactive fiction as: “A form of text-accepting, text-generating computer program that narrates what is happening in a simulated world in reply to input from a user, or interactor. Interactive fiction can have literary qualities and qualities of a game.” In recent decades, people have used the term in different ways, but this is how the interactive fiction community understands IF today and has understood it for a while. This means that IF is not defined by a particular platform, the way that Flash games are, but that people do expect something to work like a “text adventure,” with the simulation of space and objects and natural-language-like input, to be considered IF. Members of the interactive fiction community may find chatterbots, story generators, hypertext fiction, point-and-click graphical games, and other things very interesting, but these productions would not have a place in the annual Interactive Fiction Competition, for instance, because they aren’t interactive fiction.
I have to note at this point that I can’t offer any proper sort of study of the interactive fiction community, as I am not an anthropologist by training (or pretension) and I don’t understand the workings of community in the way that people with a better background would. What I can offer, as a member of this community, are some notes about my experiences and some pointers to ways I have seen the community working together. My hope is that may notes may be of some use in generating ideas about e-lit community or for someone undertaking a systematic study.
Also, I’ll explain at this point that what I and others call “the IF community” is not the only IF community, even for English-language work. One other community is that of authors and players of ADRIFT games. ADRIFT (Adventure Development & Runner – Interactive Fiction Toolkit) is an easy-to-use shareware system for IF development. Another locus of interactive fiction practice and playing is “adult interactive fiction” or AIF, which prominently depicts sexual activity. The AIF community has its own annual awards, the Erins, which are analogous to the IF community’s XYZZY Awards (discussed later). Beyond these communities, there are IF communities, or at least IF activity that involved several people and that I know about, in Spanish, German, Italian, French, and Russian language communities.
An important early resource for the IF community was the IF Archive, originally hosted in Germany thanks to Volker Blasius. The archive was announced on November 24, 1992 and is mirrored today on sites throughout the world, with the main site being ifarchive.org. The archive was originally accessed only by anonymous FTP and can still be reached by that method today, although there is a simple Web interface at the main site and a searchable interface at Baf’s Guide to the IF Archive. The “archive” is not a repository for an organizations old, inactive files; it a system for publishing and sharing new work, including the games for each year’s IF Competition.
The IF community communicated for many years on two USENET newsgroups – and some in the community still read these newsgroups. rec.arts.int-fiction and rec.games.int-fiction were not originally devoted to what we now call IF, but those discussions came to predominate. The “arts” and “games” groups do not argue for different perspectives on interactive fiction; they are simply for discussion of making games (“arts”) and playing them (“games”).
A central institution in the IF community – perhaps the central one – is the annual IF Competition, which began in 1994. Now in its 16th year and run by Stephen Granade, “the Comp,” as it is called, showcases a wide variety of short games, some poorly written and/or poorly programmed and others quite exemplary. While winning the Comp or placing well in it is certainly desirable, anyone who enters the comp can be sure that dozens, if not hundreds, of people will play the game submitted. Many will even write review of it, since it is a tradition among the most enthusiastic members of the IF community to review all of the Comp games. Competitions are central to many popular communities of digital practice – the demoscene as well as creators of Flash games, homebrew 8-bit games, and graphical games. These comps or compos usually do not involve substantial rewards for winners or agonistic competition; instead, they provide an event (in person in the case of the demoscene, online in other cases) that focuses the interest and energy of the community.
Recent years have seen other IF events of different sorts, including “minicomps” with different themes and the “Speed IF” sessions in which several participants each write a themed or constrained game in two hours. Some of the community’s events highlight the different metaphors that are in play, ones that work across literary and gaming concepts. Although works of interactive fiction are conventionally called “games” and the people who interact with them are called “players,” the person who writes a game (almost always the same person who programs it) is an “author.” The online “Interactive Fiction Book Club,” founded in 2001, brought together those who had played a particular game for conversation modeled on conversation about books. In 2009, “Interactive Fiction Writing Month,” with some in-person events that took place mainly at CMU, made an obvious connection to National Novel Writing Month. The annual XYZZY Awards for interactive fiction, on the other hand, are styled after the Oscars. Although they are awarded by popular nominations and popular vote, they are named in the manner of Academy Awards and presented at an online event. Many IF community members even virtually dress up for the award ceremony.
The XYZZY awards take place on ifMUD, a simple text-based MUD that serves almost entirely as a chat room. That is, role-playing and puzzle-construction and -solving have little place there and RPG-style combat has none. The people on ifMUD do use some of the unique MUD-like facilities to support their communications, however, and they also program new capabilities into the MUD for that purpose. There is a bot, Alex, who parrots things that he has been taught, allowing people to query him for the definition of terms and acroymns. An “automeeter” keeps track of which pairs of people have met in person. People use another bot, Floyd, to play IF together on ifMUD, participating in “Club Floyd” sessions. People also ask for programming, design, and writing help, and sometimes even discuss theoretical or critical ideas. Much of the discussion is not directly focused on IF, but when one does want to discuss IF in real time, ifMUD is a great place to do so.
There are now local groups that meet in person to discuss and play interactive fiction. The one I know most about is the one I host in Cambridge, Massachusetts, The People’s Republic of Interactive Fiction, organized by Kevin Jackson-Mead. PR-IF meets monthly, and had a hotel room with snacks and talks, thanks mainly to Andrew Plotkin, at Penny Arcade Expo East. They have also produced a card with instructions for first-time IF players. I organized the first meeting of the PR-IF writers’ group, Grue Street. And two successful events have been held in which the public was invited to play interactive fiction together: the early MIT version of Zork, in the first case, and Admiral Jota’s Comp-winning game Lost Pig in the second.
By now, most people who deal with electronic literature in some way seem inclined to accept that interactive fiction falls under this umbrella term. But even if some resist this, it’s hard to ignore that the community itself connects its meetings, events, roles, and practices to literary ones. Of course, simply importing the institutions of IF into other communities is unlikely to be helpful: Other e-lit communities may not need an FTP site, two USENET newsgroups, a MUD, and so on. But understanding how different structures, conventions, and tools have helped IF authors and players could have broader applicability. For instance, the IF Comp has worked to encourage the annual production of games, but it has also dominated IF production so that the best-known games are those short ones released for the IF Comp. (The community has responded with other comps and with projects to review other games, so the IF Comp is not too much of a victim of its own success.) Nevertheless, this situation can highlight the benefits and the dangers of a regular, central activity with its own format requirements. Considering the IF community may also point the way to other groups that are less obviously literary, but are creative communities of practice involved with computing.
A great event will be taking place in Mexico City at the end of April, one that is sure to help us connect computing and creativity in new ways. I’m helping to organize ICCC-11 and am planning to be there. I hope some of you will submit to this conference, and that I’ll see some of you there. -Nick
Update, October 2011:The 3rd International Conference on Computational Creativity will be May 30 – June 1, 2012 in Dublin, Ireland; The deadline is January 16, 2012. ICCC-11 was great, and I and others are looking forward to ICCC-12! Hope to see you there. -Nick
#### 2nd International Conference on Computational Creativity
##### April 27-29, 2011
Mexico City, Mexico
Original contributions are solicited in all areas related to Computational Creativity, including but not limited to:
1. computational paradigms for understanding creativity, including heuristic search, analogical and meta-level reasoning, and re-representation;
2. metrics, frameworks and formalizations for the evaluation of creativity in computational systems, note: quasi-formal approaches that, for example, argue for recognition without definition or that define the absence of creativity may have interesting implications for computational creativity);
3. perspectives on computational creativity, including philosophy, models of cognition and human behavior, and intelligent systems;
4. development and assessment of computational creativity-support tools;
5. creativity-oriented computing in learning, teaching, and other aspects of education;
6. innovation, improvisation and related pursuits investigating the production of novel experiences and artifacts within a computational framework;
7. computational accounts of factors that enhance creativity, including emotion, surprise, unexpectedness), conflict, diversity, motivation, knowledge, intuition, reward structures, and technologies, e.g. modeling, simulation, human-in-the-loop, human/machine collaboration, etc.);
8. computational treatment of social aspects of creativity, including the relationship between individual and social creativity, diffusion of ideas, collaboration and creativity, formation of creative teams, and creativity in social settings, e.g. modeling, simulation, human-in-the-loop, human/machine collaboration, etc.);
9. specific applications, with a computational component) to music, language, narrative, poetry, the arts, architecture, entertainment, mathematical and scientific discovery, programming and/or design;
10. detailed system descriptions of creative systems, including engineering difficulties faced, example sessions and artifacts produced, and applications of the system;
11. domain-specific vs. generalized creativity — does the domain of study affect, the perception of) creativity? Are there general, computational) creative principles that can be applied across domains?
We invite papers that make a scientific contribution to the field of computational creativity and report work that involves computation, e.g., fully autonomous systems, modeling, support for human creativity, simulation, human/machine collaboration, etc.).
We welcome studies of human creativity that in some way propose a computational model for that creativity.
When papers report on creative computer systems, we particularly encourage them to discuss systems having general or at least multiple sorts of results, to detail the methods used to design and develop the system, or to include useful related theoretical discussion.
We invite papers that go beyond simply documenting interesting systems to describe advances in cognitive science, assessment methods, design methods, or other research areas.
#### DEMOS/ARTS SHOW AND TELL
We invite proposals for demonstrations of computational systems exhibiting behavior that would be deemed creative in humans and for the exhibition of artifacts created using computational means, either primarily or as support for a human creator).
More information will soon be available at: http://iccc11.cua.uam.mx
Or, send email to: email@example.com
#### IMPORTANT DATES
December 13, 2010 — Submission deadline
February 14, 2011 — Authors’ Notification
March 14, 2011 — Deadline for final camera-ready copies
April 27-29, 2011 — ICCC in Mexico City
#### CONFERENCE ORGANIZATION
Graeme Ritchie, University of Aberdeen
Dan Ventura, Brigham Young University
Rafael Pérez y Pérez, Universidad Autónoma Metropolitana – Cuajimalpa
Nick Montfort, Massachusetts Institute of Technology
Senior Program Committee:
- Pablo Gervás, Universidad Complutense de Madrid
- Fox Harrell, Massachusetts Institute of Technology
- Mary Lou Maher, University of Sydney
- Alison Pease, University of Edinburgh
- Geraint Wiggins, Goldsmiths, University of London
- John Barnden, University of Birmingham
- David Brown, Worcester Polytechnic Institute
- Win Burleson, Arizona State University
- F. Amílcar Cardoso, Universidade de Coimbra
- John Gero, George Mason University
- Ashok Goel, Georgia Institute of Technology
- Paulo Gomes, Universidade de Coimbra
- Kaz Grace, University of Sydney
- Kyle Jennings, University of California, Berkeley
- Robert Keller, Harvey Mudd College
- Brian Magerko, Georgia Institute of Technology
- Ramon López de Mántaras, IIIA-CSIC
- Ruli Manurung, University of Indonesia
- David C. Moffat, Glasgow Caledonian University
- Diarmuid O’Donoghue, National University of Ireland
- Sarah Rauchas, Goldsmiths, University of London
- Mark Riedl, Georgia Institute of Technology
- Juan Romero, Universidade da Coruña
- Rob Saunders, University of Sydney
- Ricardo Sosa, Tecnologico de Monterrey
- Carlo Strapparava, Istituto per la Ricerca Scientifica e Tecnologica