Paper Submission

Important Dates

Main Track

1 July 2024

Full Paper Submission deadline

15 August 2024

Notification deadline

1 October 2024

Camera-ready deadline

Late Track

5 August 2024

Full Paper Submission deadline

5 September 2024

Notification deadline

10 October 2024

Camera-ready deadline

Scope and Topics

ArtsIT brings together a diverse international community of researchers, practitioners, artists, and academics from various disciplines to explore the dynamic relationship between art and information technology across a range of distinct domains. Since its inception in 2009, ArtsIT has been established as a prominent scientific platform for sharing cutting-edge research findings at the convergence of art, science, culture, performing arts, media, and technology. Artistic practice utilizing digital media serves not only as a means of analyzing and critically reflecting on the influence of technology on our lives, culture, and society but also as a tool for fostering discussions on sustainability, responsibility, and human dignity. In addition to the main track that includes topics such digital artworks and cultural heritage, audio art, games and gamification, immersive technologies and interactive art installations, the event dedicates attention to recent advancements that have made significant contributions to the field in recent years, such as virtualization, artificial intelligence and big data, virtual reality and the metaverse, with dedicated sessions. In an attempt to bridge the gap between research in art and technology, this interdisciplinary conference aims to enrich both fields and contribute to the development of new ideas, experiences, and global societal advancements. The convergence of Art and Tech can cultivate innovation and stimulate imaginative thought. The conference aims to bring together artists and technologists to join forces to challenge the limitations within their respective domains, while through the merging artistic expression with technological progress, novel concepts, methodologies, and modes of creative expression can arise.

The conference will take place at New York University Abu Dhabi (NYUAD). By hosting this prominent scientific platform that encompasses the convergence of art, science, culture, performing arts, media, and technology, NYUAD demonstrates its unwavering commitment to innovation, academic and research excellence. The conference serves as an invaluable opportunity for scholars, researchers, and practitioners to exchange groundbreaking research findings, ideas, and methodologies, thus facilitating intellectual discourse and fostering interdisciplinary collaboration. NYUAD’s academic reputation in the field of art and technology can be further enhanced through this platform, solidifying its position as a hub of intellectual inquiry. In line with the university’s mission to embrace a global perspective, the conference attracts diverse participants from various cultural backgrounds, thereby fostering cross-cultural dialogue and enabling the exchange of perspectives, experiences, and best practices. Moreover, the conference serves as a means for NYUAD to engage with both local and global communities, welcoming individuals and organizations from Abu Dhabi and beyond to attend, participate, and gain insights into the latest advancements in the field. This engagement strengthens the university’s community ties, promotes cultural exchange, and raises awareness of NYUAD’s mission and expertise.

The conference will consist of a three-day program featuring a wide range of activities, including keynote speeches delivered by renowned researchers and artists in the field of art and technology, panel discussions, paper and poster presentations with special tracks, interactive demonstrations, exhibitions, and artistic performances.

  1. Artificial Intelligence and Big Data
  2. Audio Art & Sonification
  3. Design
  4. Digital Artworks Addressing the Sustainable Development Goals
  5. Digital Storytelling
  6. Digital Cultural Heritage
  7. Digital Musical Interfaces
  8. Games & Gamification
  9. Human Computer & Human Robot Interaction
  10. Interactive Art & Interactive Installations
  11. Media Art
  12. Metaverse, Avatars and Presence
  13. Virtual Reality, Augmented Reality and Performance
  14. Virtual Worlds and Practices

Publication

All registered papers will be submitted for publishing by Springer – LNICST series and made available through SpringerLink Digital Library: ArtsIT Conference Proceedings.

Proceedings will be submitted for inclusion in leading indexing services, such as Web of Science, Compendex, Scopus, DBLP, EU Digital Library, Google Scholar, IO-Port, MathSciNet, Inspec, and Zentralblatt MATH.

Available Journals

All accepted authors are eligible to submit an extended version in a fast track of:

EAI Endorsed Transactions on Creative Technologies
EAI Endorsed Transactions on AI and Robotics
EAI Endorsed Transactions on Internet of Things(Scopus)

Additional publication opportunities:

EAI Transactions series (Open Access)
EAI/Springer Innovations in Communications and Computing Book Series
(titles in this series are indexed in Ei Compendex, Web of Science & Scopus)

Authors of selected papers will be invited to submit an extended version to:

Leonardo – Special Section: The Interdisciplinary Dimensions of Second-Wave Ubiquitous Music

Co-editors:
Damián Keller 
Anthony (aka Tony) L. Brooks
Martin K. Koszolko
 
1 Full Professor Music Technology, Federal University of Acre and Federal University of Paraiba, Brazil
2 Professor Emeritus Aalborg University, Denmark
3 Lecturer in Music Industry, the University of Newcastle, Australia
 
A CFP to the edition beyond ArtsIT is also open (as below):
Ubiquitous music (ubimus) is an emergent field of research that combines several areas from sound and music computing, human computer interaction, creativity studies, and music education, with a strong social and community underpinning. The term owes its origins to concepts and ideas around ubiquitous computing, connecting with the principle that deep technologies “weave themselves into the fabric of everyday life until they are indistinguishable from it.” (Weiser, 1991). Frequently, it is assumed that music is ubiquitous in society but, more often than not, it is experienced in a passive way. Our perspective on ubiquitous music as a field of study aims to foster new opportunities for creative participation, open to all.
 
Since its beginnings in 2007, ubimus has featured a variety of artistic, social, and technological perspectives that highlight the field’s potential for applications in diverse contexts. While the impact of the emergent infrastructures for music making remains central in ubimus debates, the social and cognitive dimensions of ubimus research has gained strength due to the deployment of ubimus resources for educational and artistic endeavours. For instance, a topic such as creativity – increasingly tied to cultural and social factors (Glăveanu, 2013) – has been adopted as a relevant theme of ubimus research (Keller and Lazzarini, 2015).
 
Furthermore, the push for the adoption of technological infrastructure in both public and domestic settings is increasingly being subjected to critical analysis. Ubimus’ proposals explore the artistic possibilities of music-making incorporating casual participants with no formal musical training. Thus, both musicians and non-musicians are potential stakeholders. These mixed modes of participation have unveiled opportunities to repurpose Internet of Things resources and multisensorial-interaction techniques to address the limitations of the current infrastructure, beyond the standard artistic venues. These practices incorporate the extant technological resources and also highlight the emergent social and cognitive demands of activities tailored for everyday settings. Hence, rather than a genre-oriented trend, second-wave ubiquitous music proposals may be characterised as a movement that targets music-making as a universal right, skewing the imposition of hegemonic and prepackaged aesthetic choices. 
 
In line with the above, this special section/series, whilst focusing upon featuring expanded versions of peer-reviewed texts from the annual conferences Ubiquitous Music Symposium (to be held in Morelia, Mexico, in 2025) and ArtsIT2024 (held in New York University, Abu Dhabi, November 2024), is open for text submissions by others interested in the ubiquitous music topic. 

Paper Submission

Papers should be submitted through EAI ‘Confy+‘ system, and have to comply with the Springer format (see Author’s kit section).

– Regular papers should be up to 12-15+ pages in length.
– Short papers should be 6-11 pages in length.

All conference papers undergo a thorough peer review process prior to the final decision and publication. This process is facilitated by experts in the Technical Program Committee during a dedicated conference period. Standard peer review is enhanced by EAI Community Review which allows EAI members to bid to review specific papers. All review assignments are ultimately decided by the responsible Technical Program Committee Members while the Technical Program Committee Chair is responsible for the final acceptance selection. You can learn more about Community Review here.

Paper submission

Papers should be submitted through EAI ‘Confy+‘ system, and have to comply with the Springer format (see Author’s kit section below).

How do I submit a paper in Confy?

  1. Go to Confy+ website
  2. Login or sign up as new user
  3. Select your desired Track
  4. Click the ‘Submit Paper’ link within the track and follow the instructions

Alternatively, go to home page of Confy+ and click on “Open conferences”.

Submission guidelines

– Papers should be in English.
– Papers have to be anonymous.

– Double-Blind Review process.
– Previously published work may not be submitted, nor may the work be concurrently submitted to any other conference or journal.
   Such papers will be rejected without review.
– The paper submissions must follow the Springer formatting guidelines (see Author’s kit section below).
– Read the Publication Ethics and Malpractice Statement.

Papers must be formatted using the Springer LNICST Authors’ Kit.

Instructions and templates are available from Springer’s LNICST homepage:

LaTeX2e Proceedings Templates (zip)
Microsoft Word Proceedings Templates (zip)

Please make sure that your paper adheres to the format as specified in the instructions and templates.

When uploading the camera-ready copy of your paper, please be sure to upload both:

– a PDF copy of your paper formatted according to the above templates, and
– an archive file (e.g. zip, tar.gz) containing the both a PDF copy of your paper and LaTeX or Word source material prepared according to the above guidelines.

Workshops

Transport systems in industry 5.0
  1. Development of digital twins focused on decision-makers
  2. Industry 5.0 and Sports Science
  3. Workshop Chair: Carlos Martner
Attendance: scientists, students and professionals