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<p class="MsoNormal"><span style="font-family:&quot;Verdana&quot;,sans-serif">Call for papers<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:&quot;Verdana&quot;,sans-serif"><o:p>&nbsp;</o:p></span></p>
<p class="MsoNormal"><b><span style="font-family:&quot;Verdana&quot;,sans-serif">Artificial Creativity<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family:&quot;Verdana&quot;,sans-serif"><o:p>&nbsp;</o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family:&quot;Verdana&quot;,sans-serif">Guest editors:<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family:&quot;Verdana&quot;,sans-serif">Dr. Bojana Romic (Malm</span><span lang="SV" style="font-family:&quot;Verdana&quot;,sans-serif"> University, Sweden)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:&quot;Verdana&quot;,sans-serif">Dr. Bo Reimer (Malm</span><span lang="SV" style="font-family:&quot;Verdana&quot;,sans-serif"> University, Sweden)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:10.0pt;font-family:&quot;Verdana&quot;,sans-serif"><o:p>&nbsp;</o:p></span></p>
<p class="MsoNormal">Special issue of&nbsp;<i>Transformations: Journal of Media, Culture and Technology</i>, in collaboration with&nbsp;Medea<span lang="EN-US"> Research Lab,
</span>Malm University, Sweden.<span style="font-size:12.0pt"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="UZ-CYR" style="color:#7030A0"><o:p>&nbsp;</o:p></span></p>
<p class="MsoNormal"><span style="color:black">This<i> </i>special issue of <i>Transformations
</i>entitled <i>Artificial Creativity</i> aims to stir a discussion about the cultural, societal, and ethical aspects of robots or AI engaged in creative production.
</span><span lang="EN-GB" style="color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:black"><o:p>&nbsp;</o:p></span></p>
<p class="MsoNormal">Machines engaged in creative activities can be traced back to Pierre Jaquet-Droz&#8217;s automata
<i>The Writer</i> and <i>Musical Lady</i> (1770s), which involved calligraphic writing and the performing of music respectively. In the 1950s, Jean Tinguely&#8217;s
<i>Mta-matics</i> produced generative artworks, in response to the long-standing questions about the role of the artist.<span style="color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:black">Most recently, a number of artworks have featured robots that draw (Robotlab), paint (Moura), or make music (Weinberg). It has been announced that the 10<sup>th</sup> Bucharest Biennale in 2022 will be &#8220;curated&#8221;
 by <i>Jarvis</i>, an AI system created by Spinnwerks, Vienna (FlashArt). <o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:black"><o:p>&nbsp;</o:p></span></p>
<p class="MsoNormal"><span style="color:black">These tendencies provoke at least two lines of inquiry. On one hand, what are the possibilities and potential pitfalls of AI technologies in the cultural sector? For example, AI makes its recommendations and choices
 based on its exposure to large databases, and yet worries pertain about the &#8220;increasing automation of the aesthetic realm&#8221;, that might, over time, reduce cultural diversity (Manovich 85).
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:black"><o:p>&nbsp;</o:p></span></p>
<p class="MsoNormal"><span style="color:black">On the other hand, AI technologies encourage debate about the meaning and purpose of human creativity
</span><span style="color:black">(Gunkel 1)</span><span style="color:black">. The title of this special issue is a playful rendering of the term
<i>artificial intelligence</i>, which also serves as a reminder that technological innovations are often ripe with organismic language
</span><span style="color:black">(Jones; Boden)</span><span style="color:black">.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:black"><o:p>&nbsp;</o:p></span></p>
<p class="MsoNormal"><span style="color:black">The call for papers invites researchers from different areas of expertise, including but not limited to: creative arts research, science and technology studies (STS), critical cultural studies, humanities, human-robot
 interaction (HRI), ethics of technology, design anthropology, social sciences, gender studies, posthumanism, architecture, game studies, and voice interface design.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:black"><o:p>&nbsp;</o:p></span></p>
<p class="MsoNormal"><span style="color:black">We especially encourage submissions</span><span style="color:red">
</span><span style="color:black">rooted in the humanities, with a focus on robots (i.e. embodied AI) invested in creative/artistic labour. We also welcome submissions that critically address the contested terms &#8220;artificial intelligence&#8221; and &#8220;creativity&#8221;.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:black"><o:p>&nbsp;</o:p></span></p>
<p class="MsoNormal"><span style="color:black;background:white">Possible topics include but are not limited to:<o:p></o:p></span></p>
<p class="MsoNormal"><o:p>&nbsp;</o:p></p>
<ul style="margin-top:0cm" type="disc">
<li class="MsoListParagraphCxSpFirst" style="margin-left:0cm;mso-add-space:auto;mso-list:l0 level1 lfo1">
<span lang="EN-GB">Applied and/or imagined potential of the &#8220;artificial creativity&#8221;<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="color:black;margin-left:0cm;mso-add-space:auto;mso-list:l0 level1 lfo1">
<span lang="EN-GB">Automatisation of aesthetics and image culture</span><span lang="EN-GB"><o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l0 level1 lfo1">
<span lang="EN-GB">Creative robotics and/or AI<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l0 level1 lfo1">
<span lang="EN-GB">Robots and performative arts<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="color:black;margin-left:0cm;mso-add-space:auto;mso-list:l0 level1 lfo1">
<span lang="EN-GB">Ethical questions regarding authorship in computational art<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l0 level1 lfo1">
<span lang="EN-GB">Human-robot collaboration in the process of cultural production<o:p></o:p></span></li><li class="MsoListParagraphCxSpLast" style="margin-left:0cm;mso-add-space:auto;mso-list:l0 level1 lfo1">
<span lang="EN-GB" style="color:black">Investigations into the shared histories of humans and machines in the process of co-creation</span><strong><span lang="EN-GB" style="font-family:&quot;Calibri&quot;,sans-serif"><o:p></o:p></span></strong></li></ul>
<p style="vertical-align:baseline"><strong><span lang="SV" style="font-family:&quot;Calibri&quot;,sans-serif;color:black;border:none windowtext 1.0pt;padding:0cm">&gt;&gt;&gt; Abstracts</span></strong><span class="apple-converted-space"><span lang="SV" style="font-family:&quot;Calibri&quot;,sans-serif;color:black">&nbsp;</span></span><span lang="SV" style="font-family:&quot;Calibri&quot;,sans-serif;color:black">(400
 - 500 </span><span lang="EN-GB" style="font-family:&quot;Calibri&quot;,sans-serif;color:black">words excluding references</span><span lang="SV" style="font-family:&quot;Calibri&quot;,sans-serif;color:black">)
</span><span lang="EN-GB" style="font-family:&quot;Calibri&quot;,sans-serif;color:black">are due 5<sup><span style="border:none windowtext 1.0pt;padding:0cm">th</span></sup><span class="apple-converted-space">&nbsp;</span>February 2021, with a view to submit articles by 31<sup><span style="border:none windowtext 1.0pt;padding:0cm">st</span></sup><span class="apple-converted-space">&nbsp;</span>May
 2021.<o:p></o:p></span></p>
<p style="vertical-align:baseline"><strong><span lang="SV" style="font-family:&quot;Calibri&quot;,sans-serif;color:black;border:none windowtext 1.0pt;padding:0cm">&gt;&gt;&gt; Abstracts</span></strong><span class="apple-converted-space"><span lang="SV" style="font-family:&quot;Calibri&quot;,sans-serif;color:black">&nbsp;</span></span><span lang="EN-GB" style="font-family:&quot;Calibri&quot;,sans-serif;color:black">should
 be forwarded to:</span><span lang="SV" style="font-family:&quot;Calibri&quot;,sans-serif;color:black"> bojana.romic@mau.se<o:p></o:p></span></p>
<p class="MsoNormal"><b><span lang="EN-US" style="color:black">Bibliography:<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span lang="EN-US" style="color:black"><o:p>&nbsp;</o:p></span></b></p>
<p class="MsoNormal" style="margin-left:24.0pt;text-indent:-24.0pt;text-autospace:none">
<span lang="EN-US" style="color:black">Boden, Margaret. <i>The Creative Mind: Myths and Mechanisms</i>. Routledge, 2004.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left:24.0pt;text-indent:-24.0pt;text-autospace:none">
<span lang="EN-US" style="color:black">Flash Art Feed. &#8220;The 10<sup>th</sup> Bucharest Biennale: the first biennial curated by Artificial Intelligence in VR.&#8221; May 27<sup>th</sup> 2020<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left:24.0pt;text-indent:-24.0pt;text-autospace:none">
<span lang="EN-US" style="color:black">Gunkel, David. &quot;Special Section: Rethinking Art and Aesthetics in the Age of Creative Machines: Editor&#8217;s Introduction.&quot;
<i>Philosophy and Technology</i>, vol. 30, no. 3, 2017, pp. 263&#8211;265. <o:p></o:p></span></p>
<p class="MsoNormal" style="text-autospace:none"><span lang="EN-US" style="color:black">Jacquet-Droz, Pierre.
<i>The Musical Lady. 1770s</i>, </span><span lang="EN-US" style="color:black">Mus</span><span lang="EN-US" style="color:black"></span><span lang="EN-US" style="color:black">e d'art et d'histoire de Neuch</span><span lang="EN-US" style="color:black"></span><span lang="EN-US" style="color:black">tel.</span><span lang="EN-US" style="font-size:8.5pt;font-family:&quot;Times New Roman&quot;,serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="text-autospace:none"><span lang="EN-US" style="color:black">Jacquet-Droz, Pierre.
<i>The Writer. 1770s</i>, </span><span lang="EN-US" style="color:black">Mus</span><span lang="EN-US" style="color:black"></span><span lang="EN-US" style="color:black">e d'art et d'histoire de Neuch</span><span lang="EN-US" style="color:black"></span><span lang="EN-US" style="color:black">tel.</span><span lang="EN-US" style="font-size:8.5pt;font-family:&quot;Times New Roman&quot;,serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left:24.0pt;text-indent:-24.0pt;text-autospace:none">
<span lang="EN-US" style="color:black">Jones, Raya. &quot;What makes a robot &#8216;social&#8217;?&quot;
<i>Social Studies of Science</i>, vol. 47, no. 4, 2017, pp. 556&#8211;579. </span><span lang="EN-GB" style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="color:black">Manovich, Lev. &#8220;Automating Aesthetics.&#8221;
<i>Flash Art,</i> vol. 50, no. 316, 2017, pp. 85-87<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="color:black">Moura, Leonel<i>. Swarm Painting 08</i>. 2002, Courtesy of Robotarium, Alverca / Sao P</span><span lang="EN-US" style="color:black"></span><span lang="EN-US" style="color:black">ulo.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="color:black">Robotlab. <i>The Big Picture</i>. 2014, Courtesy of Robotlab. ZKM, Karlsruhe.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left:24.0pt;text-indent:-24.0pt;text-autospace:none">
<span lang="EN-US" style="color:black">Weinberg, Gill. &#8220;Shimon: Now a Singing, Songwriting Robot: Marimba-Playing Robot Composes Lyrics and Melodies with Human Collaborators.&#8221; 25 Feb. 2020, www.news.gatech.edu/2020/02/25/shimon-now-singing-songwriting-robot.<o:p></o:p></span></p>
<p class="MsoNormal"><o:p>&nbsp;</o:p></p>
<p class="MsoNormal"><o:p>&nbsp;</o:p></p>
<p class="MsoNormal"><o:p>&nbsp;</o:p></p>
<p class="MsoNormal"><span style="font-size:9.0pt;font-family:&quot;Helvetica&quot;,sans-serif;color:#838383;mso-fareast-language:EN-AU"><o:p>&nbsp;</o:p></span></p>
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