xCoAx 2016

7–8 July
Bergamo, Italy

4th Conference on Computation, Communication, Aesthetics & X

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.

Since 2013, 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 of digital arts and culture.

The focus is on the unpredictable overlaps between the chaos and freedom of creativity and the rules and determinism of algorithms, between human nature and machine technology, with the aim to evolve towards new directions in aesthetics.

In 2016 xCoAx will go back to where it started: the S. Agostino campus of the University of Bergamo, a familiar place made fresh by exquisitely renovated premises where we look forward to hosting you and your work.


  • Wednesday 6: Opening of the exhibition, reception cocktail.
  • Thursday 7: Conference, keynote, performances. Presentations will be organized in panels chaired by a moderator that will lead a final discussion with authors and audience. A guest keynote will close the day.
  • Thursday 7, evening: Performances.
  • Friday 8: Conference panels and short-paper session. Artworks and performances presentations. Presentations and discussion will be organized in the afternoon, networking authors and audience.
  • Friday 8, evening: Conference dinner.
  • Friday 8, night: Closing party + Algorave.

Keynote: Frieder Nake “The Disappearing Masterpiece”

Of course, all images that we see, are analog. Otherwise we could not see them. But we call them digital. Analog is their surface. Digital is their subface. The subface wins: it has driven the masterpiece out of the world of art. For the art in the work of art now belongs to a set of images. The set the image belongs to has become more important than the image itself. This is the algorithmic revolution in the arts.

Frieder Nake is a mathematician, computer scientist, critic of artificial intelligence, and pioneer of digital art. He teaches at the University of Bremen and University of the Arts, Bremen. He loves algorithmics and art and both together.

Important Dates

  • Submission deadline: 31 January 2016
  • Notifications: 21 March 2016
  • Registration deadline for first authors: 18 April 2016
  • Delivery of final versions for publication: 18 April 2016
  • Exhibition opening: 6 July 2016
  • Conference: 7-8 July 2016


You are invited to submit theoretical, practical or experimental research work that includes but is not limited to the following topics:

  • Computation
  • Communication
  • Aesthetics
  • X
  • Algorithms / Systems / Models
  • Artificial Aesthetics
  • Audiovisuals / Multimodality
  • Creativity
  • Design
  • Interaction
  • Games
  • Generative Art / Design
  • History
  • Mechatronics / Physical Computing
  • Music / Sound Art
  • Performance
  • Philosophy of Art / of Computation
  • Technology / Ethics / Epistemology

Submission Details

  • 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;
  • Reviewing will be double-blind for papers, single-blind for artworks and performances, please omit all information about the authors in double-blind submissions;
  • Papers may be up to 10 pages long, following the format in the Word template;
  • Artworks and performances should be accompanied by a two-page extended abstract formatted using the same template and by one or more URLs for access to relevant media assets;
  • Submissions should be sent as .pdf files with links to relevant online resources. Final versions for publication should be delivered in .docx format 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 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 info@xcoax.org with any questions regarding submissions.


  • Author registration: € 150 — before April 18th (one author per paper; includes entry to conference and performances, does not include conference dinner)
  • Reduced registration: € 50 — (non-presenting co-authors, authors without academic affiliation, general public; includes entry to conference and performances, does not include conference dinner)
  • Conference dinner: € 25 — (not included in the registration, also open to non-registered accompanying persons)

Scientific Committee

  • Alessandro Ludovico Neural / Academy of Art Carrara
  • Alex McLean Interdisciplinary Center for Scientific Research in Music, University of Leeds
  • Alice Eldridge University of Sussex
  • Alison Clifford University of the West of Scotland
  • Álvaro Barbosa University of Saint Joseph, Macao
  • André Rangel CITAR
  • Andreas Muxel Köln International School of Design, University of Applied Sciences Cologne
  • Andreas Zingerle University of Art and Design, Linz
  • Arne Eigenfeldt Simon Fraser University
  • Bongkeum Jeong m-iti — Madeira Interactive Technologies Institute
  • Carlos Guedes New York University Abu Dhabi
  • Christian Faubel Academy of Media Arts Cologne
  • Cristina Sá CITAR / School of the Arts, Portuguese Catholic University in Porto
  • Daniel Schorno STEIM
  • Diemo Schwarz IRCAM
  • Francesca Pasquali University of Bergamo
  • Francisco Cardoso Lima Independent Artist, Aveiro
  • Graeme Truslove University of the West of Scotland
  • Heitor Alvelos ID+ / Faculty of Fine Arts, University of Porto
  • João Cordeiro CITAR, University of Saint Joseph, Macao
  • Jason Reizner Faculty of Computer Science and Languages, Anhalt University of Applied Sciences
  • Jon McCormack Monash University
  • Julio D'Escriván University of Huddersfield
  • Ken Neil The Glasgow School of Art
  • Linda Kronman Danube University Krems
  • Luís Gustavo Martins CITAR / Portuguese Catholic University
  • Luísa Ribas ID+ / Faculty of Fine Arts, University of Lisbon
  • Manuela Naveau Ars Electronica
  • Mario Verdicchio University of Bergamo
  • Martin Kaltenbrunner Kunstuniversität Linz
  • Miguel Carvalhais ID+ / Faculty of Fine Arts, University of Porto
  • Miguel Leal i2ADS / Faculty of Fine Arts, University of Porto
  • Mitchell Whitelaw Faculty of Arts and Design, University of Canberra
  • Monty Adkins University of Huddersfield
  • Nathan Wolek Stetson University
  • Nicolas Makelberge Symbio
  • Pablo Garcia School of the Art Institute of Chicago
  • Paulo Ferreira Lopes Portuguese Catholic University, School of Arts
  • Pedro Cardoso ID+ / Faculty of Fine Arts, University of Porto
  • Pedro Tudela i2ADS / Faculty of Fine Arts, University of Porto
  • Penousal Machado University of Coimbra
  • Philip Galanter Texas A&M University
  • Roxanne Leitão The Cultural Communication and Computing Research Institute, Sheffield Hallam University
  • Rui Torres Faculty of Human and Social Sciences, University Fernando Pessoa, Porto
  • Simone Ashby m-iti — Madeira Interactive Technologies Institute
  • Teresa Dillon Independent Curator, Artist, Research & Educator
  • Tim Boykett Time's Up
  • Titus von der Malsburg University of Potsdam
  • Thor Magnusson University of Sussex / ixi audio
  • Valentina Nisi University of Madeira
  • Yolanda Vazquez-Alvarez University of Glasgow

Organizing Committee


Bergamo, Città Alta

In the heart of one of the largest industrial districts in Europe, in the North-Eastern part of the Lombardy region, Bergamo is a charming city where the sharp edges of plants and machines slowly give way to the softer lines of beautiful churches and villas that have been overlooking the misty flatland below them for centuries.

Bergamo has a long history of invasions, which peaked in the 16th century when the Venetian Republic, then ruler of the city, started the construction of a wall that protected what is known today as “Città Alta”, the upper part on top of a hill, as opposed to “Città Bassa”, the more recent urban development outside the wall.

The days of divisions and conflicts are long gone for Bergamo, and today the city aims at bringing her beauty from the past into a cosmopolitan future by means of an airport just 5 km away from the city centre that has quickly developed into an international hub, the third airport in Italy for number of passengers and the first for low-cost companies.

Travel to Bergamo

Bergamo’s “Il Caravaggio” international airport, also known as “Orio al Serio” (IATA code: BGY) is served by a number of low-cost companies, among which Ryanair. Bus n.1 will take you from just outside the airport to Città Bassa and Città Alta in less than 20 minutes.

The railway station in Città Bassa connects Bergamo to several stations in Milano (Centrale, Lambrate, Garibaldi), so flying to Milano Malpensa (MXP) or to Milano Linate (LIN) is also an option.

Where to Stay

Bergamo offers a wide selection of Hotels, Hostels and B&Bs, both in Città Alta and Città Bassa, all of them advertised on the best known hotel booking websites. Since public transport at night is not one of the strongholds of the city, we advise you to look for lodging directly in Città Alta or, if in Città Bassa, not too far from Viale Vittorio Emanuele II, the street that leads to the S.Agostino campus where xCoAx will take place.