xCoAx is an exploration of the intersection where computational tools and media meet art and culture, in the form of a multi-disciplinary enquiry on aesthetics, computation, communication and the elusive X factor that connects them all.
xCoAx has been an occasion for international audiences to meet and exchange ideas, in search for interdisciplinary synergies among computer scientists, artists, media practitioners, and theoreticians at the thresholds between digital arts and culture. Previous editions of xCoAx took place in:
The proceedings of xCoAx are archived at proceedings.xcoax.org.
The focus of xCoAx is on the unpredictable overlaps between the freedom of creativity and the rules of algorithms, between human nature and machine technology, with the aim to evolve towards new directions in aesthetics.
In 2020 xCoAx will take place in Graz, Austria, directly adjoining the symposium Algorithms that Matter (ALMAT). On the two days preceding xCoAx, ALMAT gathers artists and researchers to present and discuss the relations between algorithmic agency and artistic research, the practice of algorithmic experimentation and its impact on compositional process. ALMAT has issued a separate call for participation and reduced combi-tickets are available for xCoAx + ALMAT (see Registration).
xCoAx 2020 calls for papers, artworks, performances and research works-in-progress by scholars, artists, performers and students, respectively, working on any of the multi-disciplinary facets of this event, which will take over Graz for 3 days, starting July 8th 2020, at the following venues:
The Cube at the Institute of Electronic Music and Acoustic of the University of Music and Performing Arts Graz;
The Forum Stadtpark at the centre of the main city park;
The Grazer Kunstverein on the ground floor of the historic Palais Trautmansdorff in the centre of Graz;
The Orchestersaal and the Ligeti Hall of the MUMUTH, the House of Music and Music Drama.
- Wednesday 8 July afternoon: Doctoral symposium.
- Wednesday 8 July evening: Opening of the exhibition, reception cocktail, performances.
- Thursday 9 July: Conference, keynote, performances. Presentations will be organised in panels chaired by a moderator that will lead a final discussion with authors and audience. A guest keynote will close the day.
- Thursday 9 July evening: Performances at the Ligeti Hall.
- Friday 10 July: Conference, keynote, artworks and performances session. The morning will be dedicated to further paper panels, while in the afternoon, the artworks and performances presentations will take place, networking authors and audience. A second keynote address will close the day.
- Friday 10 July evening: Conference dinner.
Keynote: Yuk Hui
Yuk Hui currently teaches at the Bauhaus-Universität Weimar. Between 2012 and 2018 he taught philosophy at the Leuphana University Lüneburg where he also wrote his habilitation thesis. He has been a visiting professor at the China Academy of Art and Visiting Associate Professor at the School of Creative Media of City University of Hong Kong. Hui is initiator of the Research Network for Philosophy and Technology, which facilitates researches and collaborations on philosophy and technology. He is co-editor of 30 Years after Les Immatériaux: Art, Science and Theory (2015), and author of On the Existence of Digital Objects (2016), The Question Concerning Technology in China, An Essay in Cosmotechnics (2017), and Recursivity and Contingency (2019).
Keynote: Špela Petrič
Špela Petrič (SI) BSc, MA, PhD, is a Slovenian new media artist and former scientific researcher currently based between Ljubljana and Amsterdam. Her practice is a multi-species endeavor, a composite of natural sciences, wet media, and performance. She envisions artistic experiments that enact strange relationalities to reveal the ontological and epistemological underpinnings of our (bio)technological societies and challenge the scope of the adjacent possible.
Doctoral Symposium Chairs
Marko Ciciliani is a composer, audiovisual artist, performer and researcher based in Austria. The focus of his work lies in the composition of performative electronic music, mostly in audiovisual and interdisciplinary contexts.
His work has been performed in more than forty-five countries across Eurasia, Oceania and the Americas. It has been released on five full-length CDs and two multimedia books.
Ciciliani is Professor for Computer Music Composition and Sound Design at the Institute of Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts Graz. Since 2016 he is head of the Artistic Research project GAPPP: Gamified Audiovisual Performance and Performance Practice, funded by the Austrian Science Fund.
- Submission deadline: January 31
- Notifications: March 23 (papers) March 30 (artworks and performances)
- Registration deadline for authors: May 3
- Delivery of final versions: May 3
- Doctoral symposium: July 8
- Exhibition opening: July 8
- Conference and exhibition: July 9 & 10
You are invited to submit theoretical, practical or experimental research work that includes but is not limited to the following topics:
- Algorithms / Systems / Models
- Artificial Aesthetics
- Artificial Intelligence
- Audiovisuals / Multimodality
- Generative Art / Design
- Mechatronics / Physical Computing
- Music / Sound Art
- Philosophy of Art / of Computation
- Technology / Ethics / Epistemology
Paper: 5 to 10 pages conference paper, following the formatting in the Word template. Revision of papers will be double-blind. Please make sure that the PDF file is completely anonymised (i.e. omits author-related information in body of text or as explicit self-citations, notes and bibliography). Accepted papers will be published in the conference proceedings and allotted 15 minutes presentation time at the conference in the Orchestersaal in the MUMUTH..
Artworks: 3 to 4 page description paper, following the formatting in the Word template. Revision of proposals will be single-blind. Proposals should provide a clear description of the work, one or more URLs for access to relevant media assets, and a technical rider (layout, setup, required equipment). The acceptance of artworks will not only depend on reviews, but also on their technical requirements. xCoAx has a limited budget, mainly based on the registration fees. Works that require excessive resources on xCoAx’s part may not be accepted. It is fundamental that the proponents are ready to bring their own equipment and minimize their reliance on the xCoAx organisation. All accepted works will be allotted 5 minutes presentation time at the conference in the Orchestersaal in the MUMUTH. Artworks will be part of the exhibition at the Kunstverein and the Forum Stadtpark. The proceedings will publish an extended abstract to be provided by the authors after the conference.
Performances: 3 to 4 page description paper, following the formatting in the Word template. Revision of proposals will be single-blind. Proposals should provide a clear description of the work, one or more URLs for access to relevant media assets, and a technical rider (layout, setup, required equipment). The acceptance of performances will not only depend on reviews, but also on their technical requirements. xCoAx has a limited budget, mainly based on the registration fees. Works that require excessive resources on xCoAx’s part may not be accepted. It is fundamental that the proponents are ready to bring their own equipment and minimize their reliance on the xCoAx organisation. All accepted works will be allotted 5 minutes presentation time at the conference in the Orchestersaal in the MUMUTH. Performances will be allotted a maximum of 20 minutes on stage during the performance night at the Forum Stadtpark. The proceedings will publish an extended abstract to be provided by the authors after the conference.
Special Call: Works for MUMUTH's Ligeti Hall: The Ligeti Hall is KUG’s main concert stage, equipped with state-of-the-art technology for sound and video projection. In particular, the hall provides a system of 32 loudspeakers mounted on independent, custom made motorised suspensions, which allow to adjust height level, azimuth angle and tilt of each individual speaker and to compose custom speaker layouts. Further, an array of 64 speakers spans the hall’s entire ceiling and upper walls. This is a call for works which are especially tailored towards the Ligeti Hall's special infrastructure and its possible aesthetic implication. In particular, we seek contributions with a strong experimental and electroacoustic character that challenge common and established approaches to sound on multichannel setups. Further information regarding this special call can be found here.
Submit a 3 to 4 page description paper, following the formatting in the Word template. Revision of proposals will be single-blind. Proposals should provide a clear description of the work, one or more URLs for access to relevant media assets, and a technical rider (layout, setup, required equipment). The acceptance of performances will not only depend on reviews, but also on their technical requirements. xCoAx has a limited budget, mainly based on the registration fees. Works that require excessive resources on xCoAx’s part may not be accepted. It is fundamental that the proponents are ready to bring their own equipment and minimize their reliance on the xCoAx organisation. All accepted works will be allotted 5 minutes presentation time at the conference. Performances will be allotted a maximum of 20 minutes on stage during the performance night. The proceedings will publish an extended abstract to be provided by the authors after the conference.
Doctoral symposium abstracts: Only Master’s and PhD students can apply to present their work-in-progress and receive feedback from established researchers. Submit a document, following the formatting in the Word template, comprised of a letter of support from your advisor followed by a 2-page research paper with 1) Purpose of the research and its importance to the field; 2) Brief survey of background and related work; 3) Description of the proposed approach; 4) Expected contributions; 5) Progress towards goals. A revised version will be requested for inclusion in the proceedings after the symposium.
Previous xCoAx Doctoral Symposia were chaired by Frieder Nake, Mario Klingemann, Philip Galanter, and Simona Chiodo. The Doctoral Symposium will take place in the Cube at the Institute of Electronic Music and Acoustic of the University of Music and Performing Arts Graz.
- All works must be submitted via EasyChair;
- Submissions must be original and will be rigorously reviewed by an international and multidisciplinary scientific committee, in a process that will assess originality, relevance, artistic and technical achievements;
- Submissions should be presented as .pdf files with all the media files embedded or linked to online resources;
- Final versions for publication should be delivered in .docx with all the images and other media files attached as independent files;
- All images and media assets must be cleared for publication by the authors;
- At least one of the authors of each selected contribution must register to the conference before the first author registration deadline in order for the work to be published in the proceedings;
- xCoAx’s working language is English;
- xCoAx’s conference proceedings (with ISBN) will be published online;
- A selection of works will be published in a forthcoming special issue of CITAR’s Journal of Science and Technology of the Arts;
- Please contact the program chairs at email@example.com with any questions regarding submissions.
- Author registration: € 220 — before May 3rd. One author per paper. Includes entry to conference, performances, and conference dinner.
- Reduced registration: € 90 — Non-presenting co-authors, authors without academic affiliation, general public. Includes entry to conference, performances, and conference dinner.
- Doctoral symposium: € 90 — Includes entry to conference, performances, and conference dinner.
- Conference dinner: € 30 — Open to non-registered accompanying persons.
- ALMAT discount: € 30 — Add this to your ticket, and in addition to xCoAx you will also be registered for the Algorithms that Matter symposium (06–07 July 2020) at a discounted price.
Registrations will open after the notifications of the reviews in March 2020.
We offer free child care service through the university. If you would like to use it, please get in touch with us when you register, as the contingent is limited.
- Adriana Sá ESAD/CICANT [+]
- Alessandro Ludovico Winchester School of Art, University of Southampton / Neural
- Alice Cannava Technische Universität Berlin
- Alice Eldridge University of Sussex
- André Rangel CITAR / i2ADS
- Andreas Broeckmann Leuphana Arts Program, Lüneburg
- Andreas Muxel Faculty of Design at University of Applied Sciences Augsburg
- Andreas Zingerle Department of Linguistic, Literary and Aesthetic Studies, University of Bergen
- Andres Burbano School of Architecture and Design, Universidad de los Andes, Colombia
- Anne Balsamo University of Texas at Dallas
- Anneké Pettican Department Lead Art & Communication, University of Huddersfield
- Anna-Luise Lorenz
- Astrid Drechsler Experimental Radio Group, Bauhaus-Universität Weimar
- Aura Satz Royal College of Art
- Boris Debackere V2 / Luca School of Arts
- Carlos Guedes New York University Abu Dhabi [+]
- Chara Lewis Manchester School of Art, Manchester Metropolitan University
- Christian Faubel Academy of Media Arts Cologne
- Cristina Sá CITAR / Portuguese Catholic University, School of Arts
- Dale MacDonald University of Texas at Dallas
- Daniel Irrgang Weizenbaum Institute / Berlin University of the Arts
- Daniel Schorno STEIM
- Darko VelazquezBauhaus Form + Function Lab, Bauhaus-Universität Weimar
- David Pirrò Institute of Electronic Music and Acoustics, University of Music and Performing Arts, Graz
- Filipe Pais Ensadlab, Ensad, Paris
- Francisco Cardoso Lima Independent Artist, Aveiro
- Frieder Nake University of Bremen & Hochschule für Künste Bremen
- Gerhard Eckel University of Music and Performing Arts Graz
- Gerhard Nierhaus University of Music and Performing Arts Graz
- Hanns Holger Rutz Institute of Electronic Music and Acoustics, University of Music and Performing Arts, Graz [+]
- Heitor Alvelos ID+ / Faculty of Fine Arts, University of Porto
- Irina Spicaka CC4AV
- João Cordeiro CITAR / University of West London
- Jason Reizner Bauhaus-Universität Weimar
- Johannes Zmölnig University of Music and Performing Arts Graz
- Jon He Massey University
- Jon McCormack Monash University
- Kristin Mojsiewicz Edinburgh College of Art, University of Edinburgh
- Laura Beloff School of Arts, Design and Architecture, Aalto University
- Linda Kronman University of Bergen
- Luísa Ribas CIEBA / Faculty of Fine Arts, University of Lisbon
- Manuela Naveau Ars Electronica
- Marko CicilianiInstitute of Electronic Music and Acoustics at the University of Music and Performing Arts Graz
- Mario Verdicchio Università degli Studi di Bergamo
- Martin Kaltenbrunner Kunstuniversität Linz
- Martin Rumori sonible GmbH
- Miguel Carvalhais INESC TEC / i2ADS / Faculty of Fine Arts, University of Porto [+]
- Michael MarkertInterface Design Group, Bauhaus-Universität Weimar
- Mitchell Whitelaw College of Arts and Social Sciences, Australian National University
- Mona Kasra University of Virginia
- Monty Adkins University of Huddersfield
- Nathan Wolek Stetson University
- Nuno N. Correia University of Greenwich
- Patrícia João Reis University of Applied Arts Vienna, Austria, Department of Digital Arts [+]
- Paulo Ferreira Lopes IMG - University of Applied Sciences Mainz
- Pedro Cardoso INESC TEC / Faculty of Fine Arts, University of Porto
- Penousal Machado University of Coimbra
- Philip Galanter Texas A&M University
- Ricardo Melo CEOS.PP / Polytechnic of Porto. Porto Accounting and Business School
- Robert Höldrich University of Music and Performing Arts Graz
- Rodrigo Hernández-Ramírez UNIDCOM / Instituto de Arte, Design e Empresa (IADE) [+]
- Rosemary Lee IT-University Copenhagen
- Roxanne Leitão Central Saint Martins, University of the Arts London
- Rui Penha INESC TEC / FEUP [+]
- Rui Torres Electronic Literature Organization / Faculty of Human and Social Sciences, University Fernando Pessoa, Porto
- Samuel Van Ransbeeck UCP-CITAR
- Sophie-Carolin Wagner Austrian National Library / RIAT
- Shusha Niederberguer House of Electronic Arts Basel
- Søren Pold School of Communication and Culture, Aarhus University
- Tim Boykett Time's Up
- Thor Magnusson University of Sussex / ixi audio
- Valentina Nisi University of Madeira
- Valentina Vuksic Zurich University of the Arts
- Veronika Mayer Freelance Artist and Lecturer
- Visda GoudarziSchool of Media Arts at Columbia College Chicago
- Winnie Soon Department of Digital Design at Aarhus University
Local Organising Committee
Proceedings Editorial Board
Located on the hillside of the Austrian Central Alps border, Graz offers a unique southern charm. Visitors may walk through narrow hidden alleys, picturesque courtyards, palazzi and playful squares. The renowned old town, with its cobblestones and red tiled roofs, is one of the best-preserved historic centres in Europe, part of the UNESCO list of World Heritage Sites since 1999. Buildings designed by architects from the Gothic, Renaissance and Baroque period, and artworks influenced by the Germanic, Balkans, and Mediterranean cultures closely co-habit the urban space in a peculiar synthesis. In-between, new architecture stands out, enhancing and contrasting the older buildings. In 2003, Graz was designated European Capital of Culture, and since 2011 it is UNESCO City of Design. Graz, with its various venues and international festivals for art (such as Steirischer Herbst, Musikprotokoll, Elevate, La Strada, Architektursommer and Diagonale) and its universities for various academic disciplines, has become a centre where research and contemporary arts intertwine. In 2020, Graz hosts a special Year of Culture, providing many cultural activities on the future of urban living, including the project "Algorithmic Segments" which networks several sites through digital and sound art exhibitions.
Travel to Graz
By train: The main railway station in Graz, Graz Hauptbahnhof, is one of the most important stations in Austria and is not far from the city centre, which can be reached by tramlines 1, 3, 6 and 7 in a few minutes. Ticket prices are lower if you book ahead of time ("Sparschiene"). oebb.at
By car: Graz is located on the A2 and A9 Austrian motorways and easy to get to: about 2 hours from Vienna, Ljubljana or Zagreb, 3 hours from Trieste, and 4 hours from Munich. Affordable coaches are also operated by various companies.
By plane: Graz international airport provides multiple daily connections to all main airports in Europe, e.g. Vienna, Munich, Frankfurt, Berlin and Amsterdam. The city centre can be reached by bus in 20–25 minutes (Bus 630/631, destination Jakominiplatz, ticket €2.50) or by urban railway (S5 to Graz Hauptbahnhof). A taxi ride from the airport to the city center costs around €30. The airport of Vienna, the nearest major hub, offers a 3 hours direct train to Graz central station with hourly departures (around €14 to €25 if bought in advance), and a 2 1/2 hours coach connection (Flixbus, around €19 to €23).
To the venue: The main venue of xCoAx 2020 is MUMUTH (the House of Music and Music Theatre), a building of the University of Music and Performing Arts (KUG). The easiest way to reach it is with tram 1 or 7, stop Lichtenfelsgasse/Kunstuniversität. A single ticket costs €2.50 and is valid in trams and buses for one hour after validation. Tickets can be bought inside the tram or from the bus driver. Jakominiplatz is the central hub for all tram lines. If you limit your route to Jakominiplatz and Hauptplatz plus one extra stop in either direction, you can travel for free on the tram (stops included are designated by the sticker "Altstadt Bim"). For example, you can take the tram between Kunsthaus (contemporary arts museum) and Kaiser-Josef-Platz (an 8 minute walk away from MUMUTH). Tram and bus information at holding-graz.at