CALL FOR PAPERS, POSTERS and DEMONSTRATIONS

Deadline for submission: 31st December, 2012 (Papers and Posters) (CLOSED)

Deadline for Demonstration submission: 1st March, 2013

Extended Deadline for Demonstrations: 8th March, 2013

Submission Method: Easychair, Submission Format: SIGCHI – see Submission for details and links. All papers and posters will be peer-reviewed. Accepted papers and posters will be published in the proceedings and will be included in the ACM Digital Library.

Creativity is sometimes thought of as being a human cognitive capacity to solve problems.  Creativity is sometimes thought of as a process that occurs in the intersections between individuals, domains and fields. Creativity is sometimes viewed as a characteristic of an artifact, such as an artwork, or of a concept, such as a new scientific theory, that is both novel and valuable.

The Creativity and Cognition Conference Series aims to be a common meeting ground where individuals can interact with others from different domains and fields to explore and share a variety of information, observations, insights and ideas about the human capacity to creatively solve problems and produce novel and valuable artifacts in their context and culture.

As a single track conference the Creativity and Cognition conference series establishes a forum where people can “rub minds” with and hear about the work of others from a variety of domains and perspectives as they report and describe their engagement with that most complex of intersections–creativity and cognition.

To this end, Creativity and Cognition 2013 seeks papers, posters and demonstrations from individuals and teams of people working in any of a variety of domains who seek to improve our understanding of this multifaceted domain that engages the interest and attention of people from so many different fields.

General topics may include, but are not limited to:

  • Descriptions or case study reports of musical, artistic, literary or other forms of successful creative expression or collaboration.
  • Reflections or analyses of design, artistic thinking or creative thought in general or analysis of the creative process in any medium of expression.
  • Visual, auditory, tactile or multi-modal representations for creative work, e.g., technology for graphics, visualization, virtual reality and other forms of computing.
  • Materials for creativity, e.g., tangible interaction for creative expression, e.g., sticky notes, electronic textiles, physical computing, new materials for creativity.
  • Creation, implementation, evaluation and practical use of digital tools to support creative cognition or visualization.
  • Empirical reports of design, development and deployment of platforms, tools and toolkits to support creative work in any domain.
  • Models and theories of creative thinking from any perspective, e.g., cognitive, cognitive neuroscience, information-processing and computational.
  • Studies of bringing creative ideas to mind: e.g., open-ended reports and explorations of idea generation, divergent thinking, and other ways of breaking up habitual modes of thought, creative problem solving or decision making.
  • Empirical studies of creativity or creative cognition: e.g., cognitive study of artistic work and/or creative design methods
  • Evaluation methods and/or criteria for assessing creative work by an individual, small group, or community.
  • Creative information design to support communication.
  • Understanding the `audience’ experience and reactions to creative works, e.g., evaluation criteria, methods and tools, empirical reports on development and production of creative work by and for target audiences.
  • Inter-disciplinary methods and models for creative collaboration, e.g., reports of inter-disciplinary interactions and collaboration for creativity, including discussion of what worked and what didn’t.
  • Collective creativity and creative communities, e.g., collaborative cognition, the nature and role of analogies used in groups, conceptual synergy and combination, when and how group processes may actually inhibit or limit creative collaboration.
  • Empirical studies of social media and computing in creativity.
  • Creativity in the wild: e.g., reports of everyday personal creativity, group creativity, or the workings of online creative communities.

All submissions are to be anonymised, and presented in SIGCHI format, for which templates can be found on the Submission page of the conference website.

Papers and posters are to be submitted by 31 Dec 2012 (deadline extended) through the easychair paper submission system. Please read the details on the Submission page for help with obtaining the SIGCHI format templates and details of submitting through easychair.

Papers are to be a maximum of 10 pages, while poster submissions are to be a maximum of 4 pages in length.

Demonstrations are also invited, with a maximum of 2 pages in length, will be due on the 1st of March 2013.