CO-CREATIVITY IN MUSIC, SOUND, AND AI

Themes & Topics

We invite contributions that engage critically and creatively with co-creativity in music, sound, and AI, including but not limited to:

Philosophical, Aesthetic & Critical Perspectives

• Co-agency, authorship, and distributed creativity
• Phenomenology, embodiment, and perception in human–AI interaction
• Aesthetics of machine-generated sound and image
• Ethical and ecological implications of AI in creative practices

AI in Musical and Audiovisual Practice

• Improvisation with Somax2, and other ML systems
• Hybrid human–machine compositional processes
• AI in popular music, hip-hop, EDM, and global genres
• Live coding, telematic performance, algorithmic collaboration
• Generative audiovisual environments and installations

Interfaces, Systems, Tools

• Gesture, sensing, multimodal interaction design
• Machine learning in real-time performance
• AI-based instruments and performance systems

Historical & Comparative Perspectives

• Early algorithmic composition and cybernetic music
• Machine intelligence in musical experimentation (20th–21st centuries)
• Comparative frameworks for human–AI creativity

Important Dates

• December 15, 2025 – Call for Papers and Call for Artistic Works released
• March 13, 2026 – Submission deadline (papers & artistic works)
• April 1, 2026 – Notification of acceptance
• June 5–6, 2026 – Conference at UC Riverside, Culver Center of the Arts

Submissions are peer reviewed by the Scientific / Program Committee and invited expert referees. Reviewer identities are not disclosed to authors.

Call for Artistic Works

Co-Creative Audiovisual & Sound Works with AI

We invite submissions of artistic works that explore co-creativity in sound and image involving AI at any stage of the process. We particularly encourage:

• Audiovisual compositions integrating machine-learning models
• Performative pieces involving real-time interaction with AI systems
• Installations or environments that entangle sound, image, and algorithmic processes
• Works that critically interrogate AI, data, or automation through artistic practice

Presentation Formats

Selected works will be presented in two complementary formats:

1. Virtual Exhibition
   • Hosted on https://audiovisualmusic.ucr.edu featuring documentation (video, audio, stills, statements) of the selected works.
2. Screening / Presentation at the Culver Center (June 6, 2026)
   • Curated screening and/or fixed-media presentation in the Culver Center Screening Room.

Not all works in the virtual exhibition can be guaranteed an in-person screening; the curatorial team will propose a balanced program based on duration, diversity of approaches, and technical feasibility.

Optional Archiving Opportunity

Artists submitting audiovisual and sound works will have the option to express interest in archiving their work in the Electro-Acoustic Music Mine (EAMM), an international archive dedicated to the preservation of electroacoustic music and sound art.

This option is entirely voluntary and may be selected during the submission process. Further details and permissions will be discussed with artists after acceptance.

Artistic Submission Requirements

Each artistic submission should include:

• Project title
• Artist(s) name(s) and affiliation(s)
• Project description (max. 300 words)
  • Conceptual framework (including any critical or theoretical questions)
  • Role of AI in the work (e.g., sound generation, image synthesis, live interaction, data-based processes, etc.)
  • Intended audience experience and/or performance context
• Technical details (max. 300 words)
  • Format (stereo / multichannel audio, video resolution, frame rate, file format)
  • Duration
  • Required playback configuration (e.g., stereo, 5.1, projector, screen, etc.)
  • Any special software/hardware requirements
• Artist bio (max. 150 words per contributor)
• Documentation links
  • 1–2 URLs to video/audio documentation (YouTube, Vimeo, private links, or direct files).

Artistic Peer Review

Artistic submissions will be peer-reviewed by the Scientific / Program Committee and additional artistic reviewers. Evaluation criteria include:

• Artistic quality and originality
• Relevance to co-creativity in music, sound, and AI
• Clarity of the conceptual and technical approach
• Feasibility of presentation within the conference’s facilities and timeframe

Committees

Scientific / Program Committee

• Paulo C. Chagas – University of California, Riverside
• Gérard Assayag – IRCAM, Paris
• Nikolay Maslov – University of California, Riverside
• Ivana Petković Lozo – University of California, Riverside
• Liz Przybylski – University of California, Riverside
• Amy Skjerseth – University of California, Riverside
• Christophe Katrib – University of California, Riverside
• Steven Leffue – University of California, Riverside
• Tatiana Catanzaro – University of California, Santa Barbara
• Tae Hong Park, Purdue University, West Lafayette
• Kerry Hagan, University of Illinois Urbana-Champaign
• Rodrigo Sigal – ENES–UNAM, Morelia, Mexico
• Marc Battier – Sorbonne University, Paris
• Miriam Akkermann, Freie Universität, Berlin
• Patrick Hartono, RMIT University, Ho Chi Minh City, Vietnam
• Constantin Basica, CCRMA, Stanford University
• Julie Zhu, University of Michigan
• Celeste Betancur, Stanford University

Organizing Committee

• Paulo C. Chagas (Chair) – University of California, Riverside
• Nikolay Maslov – University of California, Riverside
• Ivana Petković Lozo – University of California, Riverside
• Liz Przybylski – University of California, Riverside
• Amy Skjerseth – University of California, Riverside
• Christophe Katrib – University of California, Riverside
• Tatiana Catanzaro – University of California, Santa Barbara
• Tae Hong Park, Purdue University, West Lafayette

Contact

For questions about the conference, submissions, or technical matters, please contact: audiovisualmusic@ucr.edu