Events
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Abstracts due 16 December for online, 30 December for in-person. see more
We are pleased to announce the Call for Papers for the Manifest’ou 2nd International Art and Design Symposium, organized by the Faculty of Art, Design and Architecture at Istanbul Okan University. This year’s symposium focuses on “EVERYDAY LIFE: THE AESTHETICS AND POLITICS OF THE QUOTIDIAN IN ART AND DESIGN”, inviting scholars, artists, and designers to explore how everyday life is represented, questioned, and transformed in contemporary art and design practices.
Deadline for Abstract Submission
In-person: December 30, 2025
(Submissions will close at 00:00 (the very first minute) on December 30, 2025.)
Online: December 16, 2025
(Submissions will close at 00:00 (the very first minute) on December 16, 2025.)
Dates: 10–12 March 2026
Format: Hybrid (Istanbul Okan University Tuzla Campus + online participation)
The symposium aims to open a dialogue on everyday routines, habits, objects, and spatial practices as sites of cultural meaning, aesthetic reconfiguration, and political potential. We welcome theoretical, artistic, and practice-based contributions addressing topics such as:
- Representations and transformations of everyday life in art and design
- Aesthetics and politics of ordinary objects, gestures, and spaces
- Performativity, embodiment, and daily practices
- Cultural and social implications of redesigning the everyday
- Digitalization and shifting forms of experiencing the everyday
Full CFP and submission details: https://oevent.okan.edu.tr/manifestou
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Abstracts due 27 February 2026. see more
The 17th International Conference on Computational Creativity (ICCC'26)
June 29 – July 3 2026, Coimbra, Portugal
Call for papers: full regular papers
https://computationalcreativity.net/iccc26/full-papers/
If you wish to receive more information about ICCC'26 subscribe here.------------------------------------------------
Computational Creativity (CC) is a field rooted in scientific disciplines such as Artificial Intelligence, Cognitive Science, Engineering, Design, Psychology, and Philosophy, each of which explores the potential for computers to be creative – either in partnership with humans or as autonomous creators in their own right.
The 17th International Conference on Computational Creativity (ICCC’26) welcomes papers on different aspects of CC, such as principles, theories and models of creativity in computers, frameworks that offer conceptual insight and computational rigor for describing and analysing machine (and human) creativity, systems that exhibit creative autonomy or act as creative partners for human creators, methodologies for building or evaluating CC systems, as well as approaches to teaching CC in schools and universities or to promoting societal uptake of CC as a field and as a technology.
Important Dates- Abstracts due: Feb 27, 2026
- Submissions due: Mar 6, 2026
- Acceptance notification: April 20, 2026
- Camera-ready copies due: May 27, 2026
- Conference: June 29 – July 3, 2026 — Coimbra, Portugal
All deadlines given are 23:59 anywhere on Earth time.
Themes and Topics
Original research contributions are solicited in all areas related to Computational Creativity research and practice, including, but not limited to:
- Foundations of Computational Creativity: theories, models, and principles of computational creativity.
- Interdisciplinary Perspectives: perspectives on computational creativity which draw from philosophical and/or sociological studies in the context of creative AI systems.
- Computational Paradigms: computational approaches for modelling cognitive aspects of creativity, such as heuristic search, analogical and meta-level reasoning, cognitive architectures, and re-representation.
- Human-Machine Co-Creativity: systems, studies, frameworks, or methodologies related to co-creativity between humans and AI, with emphasis on systems in which the machine acts as a creative partner.
- Social Models: computational models of social aspects of creativity, including: social creativity, the diffusion of ideas, collaboration, team dynamics, and creativity in social settings.
- Psychological Factors: computational models of psychological factors that enhance creativity, including emotion, surprise (unexpectedness), reflection, conflict, diversity, motivation, knowledge, intuition, reward structures. Additionally, social or experiential factors related to novelty and originality, such as innovation, improvisation, and virtuosity.
- Societal Impact: ethical considerations in the design, deployment or testing of creative AI systems, as well as studies that explore the societal impact of computational creativity and generative AI.
- Computational Creativity Evaluation: metrics, frameworks, formalisms and methodologies for the evaluation of creativity in computational systems, or for the evaluation of how such systems are perceived/accepted in society.
- Applications of Computational Creativity: computational applications of creativity in areas such as music, language (e.g, narrative, poetry, humor), games, visual arts, design, architecture, entertainment, education, mathematical invention, scientific discovery, programming. Applications should be evaluated for their creativity using methods of the CC field, and the papers should carry a message relevant for the CC community.
- Data and Creativity: data science approaches to computational creativity: resource development and data gathering/knowledge curation for creative AI. There is a need for datasets and resources that are scalable, extensible and freely available/open-source.
- Provocations: raising new issues not on this list that bring the foundations of the discipline into question or throw new light on seemingly settled debates.
A note on generative AI models: while the study of generative AI models is both welcomed and encouraged, such models and their application must be properly situated in the CC literature and evaluated according to acceptable practices in the field. Papers that fail to do this are unlikely to be reviewed favorably.
Paper Types
We welcome the submission of five different types of full papers. During your submission, please indicate the category in which your paper best fits:- Technical papers: these are papers posing and addressing hypotheses about aspects of creative behaviour in computational systems. The emphasis here is on using solid experimentation, computational models, formal proof, and/or argumentation that clearly demonstrates advancement in the state of the art or current thinking in CC research. Strong evaluation of approaches through comparative, statistical, social, or other means is essential.
- System or Resource description papers: these are papers describing the building and deployment of a creative system or resource to produce artefacts of potential cultural value in one or more domains. The emphasis here is on presenting engineering achievement, technical difficulties encountered and overcome, techniques employed, reusable resources built, and general findings about how to get computational systems to produce valuable results. Presentation of results from the system or resource is expected. While full evaluation of the approaches employed is not essential if the technical achievement is very high, some evaluation is expected to show the contribution to CC of this work.
- Study papers: these are papers which draw on allied fields such as psychology, philosophy, cognitive science, mathematics, humanities, the arts, and so on; or which appeal to broader areas of AI and Computer Science in general; or which appeal to studies of the field of CC as a whole. The emphasis here is on presenting enlightening novel perspectives related to the building, assessment, or deployment of systems ranging from autonomously creative systems to creativity support tools. Such perspectives can be presented through a variety of approaches including ethnographic studies, thought experiments, comparisons with studies of human creativity, and surveys. The contribution of the paper to CC should be made clear in every case.
- Cultural application papers: these are papers presenting the use of creative software in a cultural setting, for example via art exhibitions/books, concerts/recordings/scores, poetry or story readings/anthologies, cookery nights/books, results for scientific journals or scientific practice, released games/game jam entries, and so on. The emphasis here is on a clear description of the role of the system in the given context, the results of the system in the setting, technical details of inclusion of the system, and evaluative feedback from the experience garnered from public audiences, critics, experts, stakeholders, and other interested parties.
- Position papers: these are papers presenting an opinion on some aspect of the culture of CC research, including discussions of future directions, speculative explorations of the impact of state-of-the-art approaches, past triumphs or mistakes, and current issues. The emphasis here is on carefully arguing a position; highlighting or exposing previously hidden or misunderstood issues or ideas; and providing thought leadership for the field, either in a general fashion or in a specific setting. While opinions need not be substantiated through formalization or experimentation, any justification of a point of view will need to draw on a thorough knowledge of the field of CC and of overlapping areas, and provide relevant motivations and arguments.
ICCC is a conference that emphasises the empirical and theoretical evaluation of technical systems, results and outcomes, in an ethical and scientific fashion. Evaluation is expected in Technical papers (strong evaluation) and in System or Resource description papers. Although evaluation is not required in other types of papers, the contribution of the paper to CC should be made clear.
All submissions will be reviewed in terms of quality, impact, and relevance to the area of Computational Creativity.
Presentation
In order to ensure the highest level of quality, all submissions will be evaluated in terms of their scientific, technical, artistic, and/or cultural contribution, and therefore there will be only one format for submission. The program committee will decide the best format for presenting accepted manuscripts in the conference.
To be included in the proceedings, each paper must be presented at the conference by one of the authors. This implies that at least one author will have to register and will have to participate live in the session in which their paper is presented, including the designated question-and-answer period.
Submission instructions
The submission process has two stages: initial submission of a title and abstract, and subsequent submission of the full paper a week later. The abstracts are used to allocate reviewer workload. The abstract itself can be updated with the full paper submission deadline.- Recommended length for the abstract is 100–200 words.
- Abstracts are to be submitted one week before the full paper deadline. Submit your abstract via the EasyChair system [here]. You are required to fill out author(s) information, a title, abstract and keywords.
- The full paper page limit is 8 pages + up to 2 pages of references.
- You are responsible for making your papers anonymous to allow for double-blind review. Remove all references to your home institution(s), refer to your past work in the third person, etc.
- Papers must be submitted as a PDF document formatted according to ICCC style (which is similar to AAAI and IJCAI formats). You can download the ICCC LaTeX template [here] and Word template [here].
- Submit your full paper by updating the abstract in EasyChair [here] and uploading your manuscript file. Abstract submissions that do not contain a manuscript will be automatically rejected at the beginning of the review time.
- Double submissions policy: Work submitted to ICCC should not be under review in another scientific conference or journal at the time of submission.
Camera-Ready Submission Instructions
To submit the camera-ready version, log into the EasyChair platform [here], select your paper, click “update file” and upload the camera-ready version of your paper.
Please bear in mind that:- Papers should be no more than 8 page sides in length + 2 pages of references.
- Papers must be submitted as a PDF document formatted according to ICCC style (which is similar to AAAI and IJCAI formats). You can download the ICCC LaTeX template [here] and Word template [here].
- To be included in the proceedings, each paper must be presented in the conference by one of the authors.
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Deadline for Short Papers and Pictorials: 12 January 2026. see more
Deadlines
Deadline for Short Paper and Pictoral: 12 January 2026
Notification of Acceptance: 27 February 2026
Final Submission Deadline for Short Paper and Pictoral: 6 April 2026
Conference dates 17, 18 and 19 June 2026
Final Submission Deadline for Springer full paper: 15 July 2026
In a time marked by technological disruptions, ecological collapse, and systemic inequalities, critically rethinking Design Thinking is not just timely — it is necessary. The Design Thinking Research Symposium invites researchers, practitioners, and educators to challenge the assumptions that have shaped this approach, exploring the plurality of practices, epistemologies, and impacts of design today. We welcome contributions that not only evolve the discourse, but interrogate it: what kinds of worlds has Design Thinking helped construct — and which ones has it silenced? What alternative ways of thinking and doing design might open paths toward more just, ethical, and interdependent futures? The following thematic tracks serve as entry points for this plural and collective reflection:
1. The Evolution (and Generations) of Design Thinking
This sub-theme invites a critical reassessment of Design Thinking, not as a linear progression, but as an arena of epistemic disputes, appropriations, and resistances. Across its history, different framings have emerged: from reflective practice (DT 1.0), to innovation method (DT 2.0), to systemic and sustainability-oriented approaches (DT 3.0), and now to a debated DT 4.0, where AI may act as a catalyst for new forms of co-design between human creativity and machine intelligence. We welcome contributions that interrogate these framings and their exclusions: How has Design Thinking reproduced extractivist logics, quick-fix solutions, or user-centred yet planet-disconnected approaches? What alternative genealogies, disciplinary, cultural, or geographic, might challenge or enrich the paradigm? We encourage both critical and imaginative perspectives, exploring neglected pasts and speculating on possible futures of Design Thinking.
2. The Role of AI and Ethics
The increasing presence of AI in design processes demands more than technical integration — it calls for ethical, epistemological, and ontological debate. This sub-theme shifts the focus from AI as tool to AI as co-agent: how does it reconfigure creativity, authorship, judgement, and care in design? What moral scripts are embedded in algorithmic systems, and how can designers resist an uncritical automation of decision-making? We invite reflections on limits of delegation, risks of opacity, and the potential for ethics of restraint, care, and coexistence. Contributions that situate AI within wider ecologies of power, inequality, and interdependence are especially welcome — questioning not just what we can create, but what we should, and with what consequences.
3. Sustainability and Value Creation
In a world facing climate collapse, the question is no longer “how to innovate,” but how to repair, regenerate, and redirect design towards sustaining life. This sub-theme challenges dominant models of value — centred on growth, efficiency, and profit — and proposes alternative matrices: use value, environmental justice, interspecies reciprocity, and the commons. What forms of Design Thinking are being reimagined in light of circular economies, regenerative systems, or non-Western cosmologies? How might design practices embrace ecological limits, redistribute power, and cultivate the art of enough? We invite work on situated, post-capitalist, or transition design practices that reposition design from a contributor to crisis to an ally of regeneration.
4. Education and Change
More than an instrumental skill, Design Thinking can be a transformative language — or a reductive pedagogy. This theme explores the role of education in (re)shaping how we learn, collaborate, and act in the world. How can we prepare designers to think critically, act responsibly, and imagine plural alternatives? What pedagogical approaches cultivate deep listening, radical empathy, systems thinking, and relational ethics? And what risks emerge from the uncritical generalisation of Design Thinking across disciplines? We invite perspectives from care pedagogies, transformative learning, participatory methods, or curricular decolonisation — opening space for education that not only develops competencies, but cultivates consciousness and commitment.
Submission type
For this conference, the short papers and pictorials will be accepted according to the templates, download below, and submitted by January 12th. Abstracts will not be accepted.
Templates links:
Publications
The conference has two separate publications: Proceedings and Springer publication.
The proceedings include short papers and pictorials. This publication consists of all the papers selected to be presented at the symposium.
Twenty articles will be selected for publication in the Springer edition. These will be transformed into full papers and formatted according to a template to be provided later.
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CfP: The Languages of Fashion: Critical Reflections on Fashion Discourses. see more
THE LANGUAGES OF FASHION: CRITICAL REFLECTIONS ON FASHION DISCOURSES
Journal website and call download: https://riviste.fupress.net/index.php/fh/announcement/view/89
Instruction for authors:
We welcome full papers in English with a range length of 4000-6000 words, footnotes and bibliographical references excluded. It is highly recommended to use the template and APA STYLE as a formatting guideline. We also welcome the following formats:
Fashion mythologies – Cultural reflections and critical commentaries in the spirit of Roland Barthes’ Mythologies and Umberto Eco’s Travels in Hyper Reality (1500-2000 words max. Captions, footnotes and bibliographies excluded; tables included).Fashion Lexigraphy – A focused and critical study of the historical development and ongoing debates surrounding key terms and ideas in fashion (1500-2500 words max. Captions, footnotes and bibliographies excluded; tables included).
The deadline for submitting the full paper (saved in .doc or .docx format) via the platform is 10 January 2026. Issue 7 will be published in 2026.
Call for papers
Fashion has been personified as the younger sister of Death, a daughter of Caducity. It has been portrayed as a lifelong companion and described as capitalism’s favourite child. It has been conceptualised as a belief, a system, and an empire. These varied characterisations hint at fashion’s complexity as both cultural phenomenon and global industry.
As the global fashion industry and academic field of fashion studies have expanded and diversified, so has fashion-related discourse. The terms and concepts used within and beyond the academy to discuss what fashion was, is, could be, and should be are numerous and increasingly varied. This diversity of language and ideas reflects fashion’s widespread cultural and commercial presence as both daily practice and global industry. It also reflects how the academic field of fashion studies draws creatively from multiple disciplines. Additionally, it highlights the challenge faced by fashion scholars, advocates, journalists, influencers, and industry representatives who are increasingly expected to reassess and improve fashion’s planetary impact.
Whilst it may be premature to suggest fashion studies is at an inflection point, the challenges posed by its diverse range of conversations and perspectives will likely intensify as expectations grow for both the academic field and industry to contribute meaningfully to solving humanity’s most pressing problems: environmental destruction, social inequality, and political polarisation.
Does fashion need a new language to facilitate the industry’s shift towards a more environmentally friendly structure? Building on Lotman’s (1991) concept of the semiosphere, we can view fashion as a semiotic structure whose self-description has become crystallised in fashion media — what Barthes (1967) described as the fashion system perfected. However, this perfection presents a core issue: when systems reach full structural organisation, they gain coherence but lose the “internal reserves of uncertainty” that are crucial for flexibility and ongoing development.
Fashion journalism’s idealised self-description consistently excludes the lived realities of most fashion consumers: disability, illness, ethical concerns, and sustainability challenges. This creates an epistemological trap for fashion studies: relying mainly on fashion’s official self-description risks perpetuating its blind spots rather than exploring its full semiotic complexity.
The promise lies in what Lotman calls the “semiosphere’s periphery”—those marginal spaces where fashion’s ideal norm contradicts the underlying semiotic reality. In non-fashion and alternative fashion press, other media platforms, and industry margins, new languages are developed precisely where fashion intersects with broader societal challenges. These peripheral discourses may hold the linguistic resources fashion needs to move beyond self-referential perfection towards meaningful engagement with planetary and social realities.
At its core, this seventh issue of Fashion Highlight Journal seeks to examine both the theoretical foundations and practical implications of fashion discourse. We encourage interdisciplinary perspectives and research-driven discussions on topics including, but not limited to, the following:
- Language and Design Practice: In what ways do language practices influence fashion design processes, business models, promotional strategies, and consumer engagement?
- Disciplinary Boundaries and Methods: How does fashion studies’ interdisciplinary nature both enrich and complicate scholarly discourse? What are the implications of borrowing language, methods, and paradigms from multiple disciplines for collective action within the field?
- Divergent Discourses: How do the languages and priorities of academia, industry, and consumers align or diverge in fashion discourse? What are the consequences of these disconnections?
- Commercial Communication and Sustainability: How do commercially-driven communication strategies affect public understanding of sustainable fashion initiatives? Why do circular fashion efforts continue to face scepticism despite industry investment?
- Global Language Hierarchies: How does the dominance of English in fashion discourse limit truly global conversations about fashion’s environmental and social impacts? What alternative approaches might foster more inclusive dialogue?
- Mythological Constructions: How are new mythologies around fashion constructed through discourse, and what role do these narratives play in shaping contemporary fashion culture?
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Exhibition — OA2025 Crosscutting and Fusion of Disciplines see more
OPEN CALL
Call for Contributions is now open.
EXHIBITION
(INTERNATIONAL, JURIED WITH AWARDS, OPEN CALL)3–17 December 2025
Gallery of Science and Technology of the Serbian Academy of Sciences and Arts, Belgrade, Serbia
Djure Jakšića 2, 11000 Belgrade, SerbiaSUBMIT YOUR CONTRIBUTION
Send 70–100 words text description with title, authors names and two illustrations
⟶ via Exhibition Form or email info@strand.rs by 10 July 2025Established in 2016, the MicroMacro awards are dedicated to the recognition of design solutions in innovative ways that successfully implement new standards in architecture and urban design and planning and encourage environmental sustainability.
Who can enter?
The competition is open to individuals and organizations in the fields of architecture, urban planning, design, history, technology, art, photography, new media art and to all geographical locations.Who can submit a nomination?
If you are an organization, an association, a not-for-profit or an individual you can nominate. You can self-nominate or nominate another organization.Themes?
International exhibition follows the Conference thematic blocks: Phenomenology of Architecture, Science & Technology and Architecture, Architecture and New Media approach, Showcase Presentations – new idea or project realization in Architecture, Urban Design or Art.,Vision of the City/Architecture –from capturing moments of city life towards utopias in a form of artistic drawing, design, photography, design product…We kindly invite the perspective architects, town planners and artist to submit their projects, drawings, and photographs that respond to the scope of the above listed topics.
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Conference — OA2025 Crosscutting and Fusion of Disciplines see more
OPEN CALL
Call for Contributions is now open.
CONFERENCE
(INTERNATIONAL, PEER-REVIEWED, OPEN CALL)4–5 December 2025
Serbian Academy of Sciences and Arts, Belgrade, Serbia
Knez Mihailova 35, 11000 Belgrade, SerbiaSUBMIT YOUR CONTRIBUTION
Send 250–300 words abstract with title, authors names and up to 6 keywords
⟶ via Conference Form or email info@strand.rs by 10 July 2025CONCEPT
On Architecture — Crosscutting and Fusion of Disciplines is based on the concept of an interdisciplinary, international, multi-location conference, with two exhibitions and a panel.
OA2025 would bring together partner institutions, representatives from both academia and industry, from different parts of the world, working together on organization and realization of the event. The motivation of holding a multiplaces conference, in several places at the same time, is the knowledge exchange, dissemination of research results and possible interaction and implementation aimed at stakeholders and sponsors. This is why the principle of networking is key.
Another principle of interdisciplinarity underlines the complexity and multiplicity of architecture, as well as the new challenges facing architects, urban designers, and artists. An interdisciplinary approach is the basis for defining thematic blocks/topics which include the essential approaches to the subject of architecture, innovative projects that impose new approaches and challenges, such as innovations in building materials, design and technology, which contribute to new aesthetics and a different understanding of functionalism, as well as architecture whose backbone is always creativity and art.
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