Design Research Society

Call for Papers: Textile Intersections 2026 Due 20 April 2026

20 Apr 2026 (All Day) | https://www.textile-intersections.com/call-for-papers/

Papers due 20 April 2026. see more

We are delighted to announce the 2026 edition of Textile Intersections will be hosted in London, UK by the Dyson School of Design Engineering, Imperial College London and invite contributions of papers for oral presentations at the conference on 17^th and 18^th of September 2026.

Textile Intersections provides a platform for original research that focuses on the interdisciplinary, cross-disciplinary and transdisciplinary nature of textiles research. It encourages critical dialogue and new perspectives on textiles research and its adjacent areas of interest.

The general conference theme is Material intelligence which encompasses a wide range of interpretations, from broad definitions of materials that are used in textile production/fabrication, to the exploration of ‘Intelligence’ as contextualised by AI, advances in biotechnology, and explorations of multi-species and more-than-human intelligence.

We are interested in works that address and expand the theme’s critical aspects in relation to textile technology, textile thinking and textile practices. This might include human-machine collaboration; the use of non-human agents (whether biological or synthetic); and the construction of commons within craft tradition, communities, and the passing of knowledge through material processes.

We look forward to receiving your contributions to the next Textile Intersections conference!

Call for Paper Contributions

We invite original contributions of full papers exploring interdisciplinary connections, collaborations and communities that further research in the field of textiles and textile design, particularly those that consider the conference theme of Material Intelligence.

Topics of interest include, but are not limited to:

Craft, Computation, Digital Fabrication

Sustainability and Circularity

Interactive textiles (including sensing, actuating, smart textiles)

Textile technologies and future fabrication methodologies

Biological, Chemical, and Digital Material Innovation

Textiles to wear, to deploy, to install

Social textiles: cognition, collaboration, storytelling

Critical reflections on and around textiles, including history, fashion, materials

Textile Ecosystems and Regenerative Practices and Technology,

Biodesign, Bioengineering

Policy, Social Impact, AI Cultural Heritage

Human and More Than Human textile narrative

Key Dates

Full Paper submission: Monday, 20 April 2026

Notification: Wednesday, 17 June 2026

Final paper submissions: 31 July 2026

Conference dates: 17-18 September 2026

Submission Guidelines

Please submit an anonymised version of your full paper using the template, that will be provided soon.

All papers will be peer reviewed on a double blind basis. For this reason, please make sure to remove any direct links or mentions that reveal authorship details.

Papers are anticipated to be around 2500-4000 words of length. The maximum word count for paper submissions is limited to 4000 words, excluding references and appendices, but including title, abstract, and acknowledgements.

The link to the submission platform will be announced and posted in due course at: https://www.textile-intersections.com/. Please stay tuned for updates.

Proceedings

All accepted and presented papers will be published in the conference proceedings and made available through the Design Research Society’s Digital Library.

Contact

If you have any further questions, please don’t hesitate to reach out to the Paper Chairs Jane Scott (jane.scott@newcastle.ac.uk) and Sophie Skach (Sophie.Skach@santannapisa.it).

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Call for Papers: IIID VisionPlus Conference 2026

31 Jan 2026 | 6:00pm to 7:00pm | https://www.visionplus.iiid.net/symbol26

Proposals due 31 January 2026 see more

The International Institute for Information Design is organising the annual VisionPlus conference in Vienna, Austria, on 28 and 29 May 2029.

This year’s theme: “Information design and civic administration: trust, transparency, tradition, and toxicity.”

We invite designers, researchers, and professionals to share insights on how civic administration documents—licenses, forms, websites, tax documents, voting systems—shape public life. Let’s explore clarity, equity, and the role of design in resisting harmful systems.

Formats:
• 30-minute talk
• 10-minute short presentation

Why apply?
Speaking at VisionPlus means contributing to a global conversation on design’s responsibility in civic infrastructure, networking with leading experts, and showcasing your work to an interdisciplinary audience.

This year, VisionPlus is in collaboration with the symbol group. (https://www.symbol-group.org/) This is a one-day conference on "Neurath@90" on May 27. It focuses on international picture language. Apply via the same link below.

Submit your proposal by January 31, 2026:
https://www.visionplus.iiid.net/paper-submission

Conference website:

https://www.visionplus.iiid.net/

https://www.visionplus.iiid.net/symbol26

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CfP: Special Issue of Crafts "Regenerative Craft and Circular Practice: Material, Technological, and Socio-Cultural Dimensions of Sustainable Making"

28 Oct 2026 (All Day) | https://www.mdpi.com/journal/crafts/special_issues/741V4C9E6J

Paper deadline 28 October 2026. see more

Call for Papers: Special Issue of Crafts

"Regenerative Craft and Circular Practice: Material, Technological, and Socio-Cultural Dimensions of Sustainable Making"

Paper submission Deadline: 28 October 2026
Special Issue Website: mdpi.com/journal/crafts/special_issue

The Special Issue of Crafts, "Regenerative Craft and Circular Practice: Material, Technological, and Socio-Cultural Dimensions of Sustainable Making", invites contributions that advance our understanding of sustainable making through craft-based practices, with a focus on the following themes:

material innovation
technological integration
socio-cultural dynamics
systems thinking and framework
case studies and interventions.

We particularly welcome interdisciplinary collaborations that bridge craft studies, design, materials science, sustainability studies, anthropology, and related fields. Submissions may include original research, empirically grounded case studies, methodological explorations, or critical reviews.

This Special Issue is affiliated with Making Sustainability 2026: International Conference on Craft, Design and Innovation

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CfP: Critiquing the Urban Renaissance Design, Architecture, Planning Conference 2026

01 Apr 2026 (All Day) | https://amps-research.com/conference/manchester-livable-cities/

Abstracts due 1 April 2026. see more

Critiquing the Urban Renaissance

Design, Architecture, Planning Conference 2026

Dates: 17-19June, 2026

University of Salford, Manchester

Event Partners:

AMPS; UCL Press; Cambridge Scholars Publishing

https://amps-research.com/conference/manchester-livable-cities/

Call:

Some 25 years ago Richard Rogers proposed an urban renaissance for cities across the UK. It was a moment of optimism for an urbanised world that, a decade ago, the United Nations identified had become the most common mode of living for peoples around the globe. The intervening years have brought many criticisms, with cities being seen as places of inequality, social injustice, unsustainability and sites of global health problems. They can, of course, also be places of cultural creativity, intelligent design and cutting edge architecture and planning. They are, almost by definition, places of contradiction, contrast and contestation.

This conference is interested in diverse readings of the design of the buildings and cities in which we live. It is interested in critiques of urban regeneration and creative economies, whether they come from the North or South America. It seeks debate on tourism and its impacts from across Europe, Asia and beyond. It welcomes examinations of the urban economies and smart cities of the digital age, whether stemming from Silicon Valley or Taiwan. It is open to explorations of design agendas in the Pacific Rim, and the effects of climate change in both the Global South and North.

Engaging with these questions from the city of Manchester, UK, the conference location is a perfect example of the complexity that typifies urbanisation. A quintessential post-industrial city, it is the birth place of the industrial revolution. One of the UK’s most important historic locations, it is a gateway to the north of England and its iconic country estates and landscapes. A national and global transport hub, it is central to the UK economy and has been branded a ‘Northern Powerhouse’. However, alongside these successes are inevitably the long-term problems that typify cities the world over: gentrification, unsustainable design, social divisions and unaffordable housing, to name but a few.

From this location, the 16^th Annual Livable Cities Conference, ‘Critiquing the Urban Renaissance’ explores how we design the buildings, parks, streets and public spaces of cities globally.

Abstracts: 1 April, 2026

https://amps-research.com/conference/manchester-livable-cities/

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Harvard x Design 2026 Unconference Applications Due 29 January

29 Jan 2026 (All Day) | https://www.harvarduxd.com/application

Harvard x Design 2026 Unconference Applications Due 29 January see more

Join us for a one-day Unconference at the Harvard Graduate School of Design on Saturday, March 7th, 2026. This year, we are reimagining our annual conference as an unconference, a participant-driven gathering that centers collaboration, open conversation, and connection.

Our theme is ‘designing for togetherness’: How do you bring people together with intention? How do you use gathering in your work and life? We’re bringing together people who design spaces of gathering in all forms – formal and informal, professional and personal.

What to expect:

Participant led sessions shaped on site, including discussions, roundtables, and skill shares
Hands on activities that support co design and shared learning
Networking and cross connecting opportunities throughout the day
This event is completely free to attend

Apply here: Application

Applications close: January 29th, 2026

More info: Website┃ Instagram

We are looking for community-builders of all kinds: bring a question you are grappling with, a tool or method to share, or a case you want feedback on.

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CfP: Making Sustainability 2026: International Conference on Craft, Design and Innovation

10 Mar 2026 (All Day) | https://makingsustainability2026.our.dmu.ac.uk/

Extended abstracts due 10 March 2026. see more

The Making Sustainability 2026: International Conference on Craft, Design and Innovation (on 7-8 in September 2026 at De Montfort University, UK and online) will bring together researchers, practitioners, educators, and industry leaders to explore how craft, design, innovation, and technology intersect to shape sustainable futures.

With a particular emphasis on the connections between craft and design, such as prototyping in contexts including product, furniture, interior, fashion, architecture, and the built environment, the conference will address themes including:

sustainable materials and processes
circular design and practices
digitalisation and technological advances for sustainable and regenerative practices
preservation and reinvention of traditional practices
the role of education, entrepreneurship, markets, and policy in supporting sustainable creative industries.

The conference aims to challenge conventional boundaries by bringing together artistic, cultural and industrial perspectives. It seeks to highlight the importance of sustainable making and craft in sustainable and regenerative development, and to foster new collaborations that will contribute to more resilient futures for communities, economies, and environments.

Please submit an extended abstract of 400-600 words. Authors of accepted abstracts will be invited to develop their work into a full paper for either a special issue of Crafts, Regenerative Craft and Circular Practice: Material, Technological, and Socio-Cultural Dimensions of Sustainable Making, or the Journal of Design and Craft Studies, or for inclusion in an edited book (publisher to be confirmed, either Springer or Routledge).

Download the abstract template here.

Please submit your abstact using the provided template by 10 March 2026 via the CMT submission portal: https://cmt3.research.microsoft.com/MS2026. To submit, you will first need to create an account on the CMT system.

Suggested themes and topics include, but are not limited to:

Sustainable materials and processes

Biodegradable, recyclable, and renewable materials in craft and design
Circular use of resources and material recovery systems
Low-impact, energy-efficient, and low-carbon production methods
Waste reduction, reuse, and remanufacturing strategies
Traditional vs. emerging sustainable material practices
Material innovation and biomaterials
Sustainable sourcing and ethical supply chains
Local materials and place-based making practices
Life cycle assessment (LCA) of materials in craft and design

Circular design and practices

Repair, reuse, remanufacturing and upcycling in craft and design
Design and make for disassembly, repair and recycling
Design and make for product longevity and emotional durability
Modular and adaptable design for extended product life
Integration of traditional repair and mending techniques in contemporary design
Zero-waste processes and cradle-to-cradle approaches
Crafts practices in the circular economy
Business models for circular and regenerative craft and design

Craft, technology and digitalisation

Craft knowledge in the digital age
Digital craftsmanship: translating tacit knowledge into digital forms
Prototyping, fabrication, and rapid manufacturing (3D printing, CNC, laser cutting)
Hybrid practices: combining hand-making with digital technologies
AI, robotics, and automation in craft and design
Digital platforms, virtual communities and creative economies (e-commerce, NFTs, social media)
Data-driven design and algorithmic aesthetics in craft practices
Wearable technology and the convergence of craft, design, and smart materials
Open-source tools, digital collaboration, and maker culture
Digital preservation and archiving of craft knowledge and heritage

Traditional practices: preservation, reinvention and innovation

Revitalising endangered and disappering craft traditions
Intergenerational knowledge transfer and community-based heritage practices
Blending traditional and contemporary craft and design methods
Localism, identity, and cultural sustainability in making practices
Intellectual property, ethics, and the safeguarding of traditional knowledge
The values embedded in craft: authenticity, meaning and care
Reinterpreting vernacular materials and techniques for modern contexts
Cross-cultural exchange and hybridisation of traditional practices
Innovation inspired by traditional aesthetics, rituals and philosophies

Craft, design and the built environment

Slow making, craft innovation, and localised production
Sustainable furniture, interiors, and architecture through craft approaches
Craft in urban and rural development and regeneration
Materials and methods for sustainable housing and infrastructures
Biophilic and nature-inspired design in architecture and public spaces
Craft in public art, placemaking and community engagement
Adaptive reuse of materials and buildings through craft-based methods
Handcrafted elements in contemporary architecture and construction
Integration of digital fabrication with craft processes in building design

Fashion, textiles and wearables

Slow fashion and sustainable textile practices
Craft-based approaches to clothing and accessories
Innovations in sustainable dyeing, weaving, knitting and textile finishing
Fashion as cultural storytelling and sustainability activism
Regenerative materials and bio-based textiles
Upcycling, mending, and zero-waste garment construction
Ethical production, fair trade and localised textile economies
Emotional durability and longevity of garments through attachment and care

Material agency and more-than-human crafts

Active role of materials in shaping design outcomes, processes and forms
Collaborative making with non-human agents (e.g., plants, fungi, minerals, living organisms)
Emergent properties, unpredictability and material autonomy in craft and design
Ecological interdependence and relational making practices
Rethinking authorship and creativity through human-non-human entanglements
Hybrid material practices expanding the scope of traditional craft
Biofabrication and living materials as collaborators in making
Philosophical and posthumanist perspectives on material vitality and creativity
Ethical and ecological implications of working with living or sentient materials
Cross-disciplinary collaborations bridging craft, biology, ecology and material science

Artistic, cultural and critical perspectives

Craft as an artistic, cultural, and philosophical practice
Aesthetics, values and ethics of making and material engagement
Symbolism, narrative, and meaning-making in craft and design
Critical craft and critical design theories, methods, and discourses
Craft, art and activism in sustainability transitions and social change
The politics of making: gender, labour, and representation in craft
Decolonising craft theory and practice in global contexts

Entrepreneurship, markets and creative economies

Sustainable business models for craft and design entrepreneurs
Local and global craft and design markets in a digital economy
Creative clusters, incubators and innovation hubs supporting makers
Social enterprises, cooperatives, and community-based economies
Branding, storytelling, and value creation in sustainable craft and design
Digital platforms, e-commerce, and new market opportunities for craft
Funding, investment, and financial resilience in creative entrepreneurship
The role of craft in regional development and cultural tourism

Policy, governance and institutional support

Policies for craft and design at local, national and international levels
The role of governments, NGOs, and international organisations in supporting craft and design
Trade, sustainability standards, and certification systems in creative industries
Craft and design within sustainability, innovation, and cultural policy frameworks
Cultural diplomacy and international cooperation through craft and design
Intellectual property rights and legal protection for craft knowledge and design innovation
Institutional infrastructures: museums, academies, and cultural heritage bodies
Governance models promoting equity, inclusion, and culutral diversity in creative sectors

Communities, social impact and inclusion

Craft as a tool for social innovation, empowerment, and transformation
Craft for social cohesion, cultural resilience, and inclusion
Gender, diversity, and equity in craft and design practices
Indigenous knowledge systems and decolonial approaches
Craft and well-being: mental health, care and healing practices
Localised craft economies and community-based production models
Co-creation and collaborative making as participatory design practice
Community repair cafes, maker spaces, and grassroots innovation
Disability, accessibility, and inclusive design in craft and making

Education, pedagogy and knowledge exchange

Teaching making and sustainability in higher and further education
Learning through making, experimentation, and prototyping
Thinking through making as a reflective and critical practice
Craft education for community development, empowerment and social inclusion
Digital platforms and online learning for craft and design education
Interdisciplinary and cross-sectoral learning between craft, design and technology
Apprenticeship, mentorship, and intergenerational knowledge transmission
Informal and non-formal craft learning environments (workshops, studios, maker spaces)
Curriculum development for sustainable and circular design and craft education
Collaborative learning, peer exchange, and knowledge co-creation
Documentation and dissemination of craft knowledge and pedagogical practices
Research-led teaching and academic-industry partnerships in craft and design education

The diversity of conference themes is a deliberate and strategic choice. Rather than diluting focus, this breadth is designed to unite researchers, practitioners, and educators whose work intersects around sustainability, innovation, and creative practice. It provides a shared platform for cross-disciplinary dialogue, revealing connections between design, craft, technology, policy, and culture that might otherwise remain siloed. Such an approach fosters meaningful knowledge exchange and opens pathways to new partnerships, funding bids, and collaborative publications. Addressing urgent global challenges such as climate change demands precisely this kind of interdisciplinary engagement. Thematically diverse yet conceptually aligned sessions will enable participants to situate their research in wider contexts, stimulate methodological innovation, and build enduring networks beyond the event itself.

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Call for Papers: Diseña Special Issue #30 – Minor Gestures

26 Apr 2026 (All Day) | https://www.revistadisena.uc.cl/index.php/Disena/announcement/view/500

Submissions due 26 April 2026. see more

Call for Papers: Diseña Special Issue #30 – Minor Gestures

This call for proposals invites examples, discussions, and outlines of minor gestures through a broad range of radical positions―in space, in place, in discourse, as much as in praxis―to continue shaping the world while changing the world.

GUEST EDITORS:

Danah Abdulla | University of the Arts London

Pedro J. S. Vieira de Oliveira | Universität der Künste Berlin

Submission deadline:

April 26, 2026

Expected publication date:

January 2027

https://www.revistadisena.uc.cl/index.php/Disena/announcement/view/500

Since the publication of the article ‘The Case for Minor Gestures’ in Diseña #22 in 2023, the expansion of crises and the illusion of insurmountability have escalated significantly. Design, as a future-thinking discipline, always appears unprepared for the future. The problem with the future is that it keeps us constantly thinking of times of crisis as something happening in the future rather than currently happening. Therefore, we design for what is to come rather than what already is. When the design arrives, the what has already destroyed what is to come, rendering the design irrelevant.

Our offering to think of minor gestures as a theory-in-the-making, in a constant state of incompleteness―not as a method or set of specific guidelines that can be turned into metrics and numbers, but as an arrangement of practices that renders provisionality its core characteristic―becomes an important device to enact the possibility of a future. Minor gestures are localized, subversive acts that can be performed to expand the limits of a given enclosed system. Minor gestures are also exercises in careful exclusion, for inclusion does not mean totality. Ultimately, they are spaces to ignite imagination: a way of enabling us to become critically informed citizens through the creation of spaces in which we can sense, view, and think about the world in order to transform it.

Examples of minor gestures are abundant: Ailton Krenak’s ‘parachutes’ (2020), which slow us down from the fall we are experiencing, are mechanisms for thinking and acting that allow for perspective, for strategizing, and ultimately, for change; the persistence of anti-genocide actions all over the world, including those from Palestinians in Gaza and the Occupied Territories―bearing witness and refusing to remain silent or complicit in the face of political, institutional, and algorithmic (therefore, designed) obscurations of violence. A minor gesture can also be an act of careful disassembly of a given system, such as Jota Mombaça’s (2021) call for an ‘ontological strike’―a need to stop and care for that which must decay and disappear, so that we survive.

Considered in this way, minor gestures are not about stark definitions but about movements towards provisional assemblages. They are about what is being done and can be done now, rather than speculations about major structural change disconnected from urgent everyday realities. Yet minor gestures unfold with the thought that it is only through collective, slow, subversive, and surreptitious motion and movement that major structural change can happen over time.

This call for proposals invites examples, discussions, and outlines of minor gestures through a broad range of radical positions―in space, in place, in discourse, as much as in praxis―to continue shaping the world while changing the world.

Topics of interest include (but are not limited to):

-Design as a space of possibilities, where strategies for problem-finding, rather than problem-solving, can be drawn.

-Para-curricular modes of studying and action within, without, and beyond the classroom.

-Minor acts of institutional disobedience enacted by (but not exclusively through) design projects.

-Subversive modes of studying and action within classrooms, universities, and institutions.

-Experiments, studies, and theories-in-the-making for new forms of political action and disruption.

-Design propositions for workers organizing against the grain of algorithmic governance.

-Project-disoriented, rather than project-oriented, design ideas and strategies.

Contributions can be theoretical, empirical, and/ or visual, and should not shy away from sharing provocative ideas that make readers think and question. We welcome contributions featuring perspectives from disciplines beyond design, and/ or those that recast design in a different light.

References

Abdulla, D., & Vieira de Oliveira, P. J. S. (2023). The Case for Minor Gestures. Diseña, (22), 6–6. https://doi.org/10.7764/disena.22.Article.6

Krenak, A. (2020). Ideas to Postpone the End of the World (A. Doyle, Trans.). House of Anansi Press Incorporated.

Mombaça, J. (2021). Não vão nos matar agora. Cobogó.

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The 17th International Conference on Computational Creativity (ICCC'26)

06 Mar 2026 (All Day) | https://computationalcreativity.net/iccc26/full-papers/

Abstracts due 27 February 2026. see more

The 17th International Conference on Computational Creativity (ICCC'26)
June 29 – July 3 2026, Coimbra, Portugal

Call for papers: full regular papers
https://computationalcreativity.net/iccc26/full-papers/
If you wish to receive more information about ICCC'26 subscribe here.

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Computational Creativity (CC) is a field rooted in scientific disciplines such as Artificial Intelligence, Cognitive Science, Engineering, Design, Psychology, and Philosophy, each of which explores the potential for computers to be creative – either in partnership with humans or as autonomous creators in their own right.

The 17th International Conference on Computational Creativity (ICCC’26) welcomes papers on different aspects of CC, such as principles, theories and models of creativity in computers, frameworks that offer conceptual insight and computational rigor for describing and analysing machine (and human) creativity, systems that exhibit creative autonomy or act as creative partners for human creators, methodologies for building or evaluating CC systems, as well as approaches to teaching CC in schools and universities or to promoting societal uptake of CC as a field and as a technology.

Important Dates

Abstracts due: Feb 27, 2026
Submissions due: Mar 6, 2026
Acceptance notification: April 20, 2026
Camera-ready copies due: May 27, 2026
Conference: June 29 – July 3, 2026 — Coimbra, Portugal

All deadlines given are 23:59 anywhere on Earth time.

Themes and Topics
Original research contributions are solicited in all areas related to Computational Creativity research and practice, including, but not limited to:

Foundations of Computational Creativity: theories, models, and principles of computational creativity.
Interdisciplinary Perspectives: perspectives on computational creativity which draw from philosophical and/or sociological studies in the context of creative AI systems.
Computational Paradigms: computational approaches for modelling cognitive aspects of creativity, such as heuristic search, analogical and meta-level reasoning, cognitive architectures, and re-representation.
Human-Machine Co-Creativity: systems, studies, frameworks, or methodologies related to co-creativity between humans and AI, with emphasis on systems in which the machine acts as a creative partner.
Social Models: computational models of social aspects of creativity, including: social creativity, the diffusion of ideas, collaboration, team dynamics, and creativity in social settings.
Psychological Factors: computational models of psychological factors that enhance creativity, including emotion, surprise (unexpectedness), reflection, conflict, diversity, motivation, knowledge, intuition, reward structures. Additionally, social or experiential factors related to novelty and originality, such as innovation, improvisation, and virtuosity.
Societal Impact: ethical considerations in the design, deployment or testing of creative AI systems, as well as studies that explore the societal impact of computational creativity and generative AI.
Computational Creativity Evaluation: metrics, frameworks, formalisms and methodologies for the evaluation of creativity in computational systems, or for the evaluation of how such systems are perceived/accepted in society.
Applications of Computational Creativity: computational applications of creativity in areas such as music, language (e.g, narrative, poetry, humor), games, visual arts, design, architecture, entertainment, education, mathematical invention, scientific discovery, programming. Applications should be evaluated for their creativity using methods of the CC field, and the papers should carry a message relevant for the CC community.
Data and Creativity: data science approaches to computational creativity: resource development and data gathering/knowledge curation for creative AI. There is a need for datasets and resources that are scalable, extensible and freely available/open-source.
Provocations: raising new issues not on this list that bring the foundations of the discipline into question or throw new light on seemingly settled debates.

A note on generative AI models: while the study of generative AI models is both welcomed and encouraged, such models and their application must be properly situated in the CC literature and evaluated according to acceptable practices in the field. Papers that fail to do this are unlikely to be reviewed favorably.

Paper Types
We welcome the submission of five different types of full papers. During your submission, please indicate the category in which your paper best fits:

Technical papers: these are papers posing and addressing hypotheses about aspects of creative behaviour in computational systems. The emphasis here is on using solid experimentation, computational models, formal proof, and/or argumentation that clearly demonstrates advancement in the state of the art or current thinking in CC research. Strong evaluation of approaches through comparative, statistical, social, or other means is essential.
System or Resource description papers: these are papers describing the building and deployment of a creative system or resource to produce artefacts of potential cultural value in one or more domains. The emphasis here is on presenting engineering achievement, technical difficulties encountered and overcome, techniques employed, reusable resources built, and general findings about how to get computational systems to produce valuable results. Presentation of results from the system or resource is expected. While full evaluation of the approaches employed is not essential if the technical achievement is very high, some evaluation is expected to show the contribution to CC of this work.
Study papers: these are papers which draw on allied fields such as psychology, philosophy, cognitive science, mathematics, humanities, the arts, and so on; or which appeal to broader areas of AI and Computer Science in general; or which appeal to studies of the field of CC as a whole. The emphasis here is on presenting enlightening novel perspectives related to the building, assessment, or deployment of systems ranging from autonomously creative systems to creativity support tools. Such perspectives can be presented through a variety of approaches including ethnographic studies, thought experiments, comparisons with studies of human creativity, and surveys. The contribution of the paper to CC should be made clear in every case.
Cultural application papers: these are papers presenting the use of creative software in a cultural setting, for example via art exhibitions/books, concerts/recordings/scores, poetry or story readings/anthologies, cookery nights/books, results for scientific journals or scientific practice, released games/game jam entries, and so on. The emphasis here is on a clear description of the role of the system in the given context, the results of the system in the setting, technical details of inclusion of the system, and evaluative feedback from the experience garnered from public audiences, critics, experts, stakeholders, and other interested parties.
Position papers: these are papers presenting an opinion on some aspect of the culture of CC research, including discussions of future directions, speculative explorations of the impact of state-of-the-art approaches, past triumphs or mistakes, and current issues. The emphasis here is on carefully arguing a position; highlighting or exposing previously hidden or misunderstood issues or ideas; and providing thought leadership for the field, either in a general fashion or in a specific setting. While opinions need not be substantiated through formalization or experimentation, any justification of a point of view will need to draw on a thorough knowledge of the field of CC and of overlapping areas, and provide relevant motivations and arguments.

ICCC is a conference that emphasises the empirical and theoretical evaluation of technical systems, results and outcomes, in an ethical and scientific fashion. Evaluation is expected in Technical papers (strong evaluation) and in System or Resource description papers. Although evaluation is not required in other types of papers, the contribution of the paper to CC should be made clear.

All submissions will be reviewed in terms of quality, impact, and relevance to the area of Computational Creativity.

Presentation
In order to ensure the highest level of quality, all submissions will be evaluated in terms of their scientific, technical, artistic, and/or cultural contribution, and therefore there will be only one format for submission. The program committee will decide the best format for presenting accepted manuscripts in the conference.

To be included in the proceedings, each paper must be presented at the conference by one of the authors. This implies that at least one author will have to register and will have to participate live in the session in which their paper is presented, including the designated question-and-answer period.

Submission instructions
The submission process has two stages: initial submission of a title and abstract, and subsequent submission of the full paper a week later. The abstracts are used to allocate reviewer workload. The abstract itself can be updated with the full paper submission deadline.

Recommended length for the abstract is 100–200 words.
Abstracts are to be submitted one week before the full paper deadline. Submit your abstract via the EasyChair system [here]. You are required to fill out author(s) information, a title, abstract and keywords.
The full paper page limit is 8 pages + up to 2 pages of references.
You are responsible for making your papers anonymous to allow for double-blind review. Remove all references to your home institution(s), refer to your past work in the third person, etc.
Papers must be submitted as a PDF document formatted according to ICCC style (which is similar to AAAI and IJCAI formats). You can download the ICCC LaTeX template [here] and Word template [here].
Submit your full paper by updating the abstract in EasyChair [here] and uploading your manuscript file. Abstract submissions that do not contain a manuscript will be automatically rejected at the beginning of the review time.
Double submissions policy: Work submitted to ICCC should not be under review in another scientific conference or journal at the time of submission.

Camera-Ready Submission Instructions
To submit the camera-ready version, log into the EasyChair platform [here], select your paper, click “update file” and upload the camera-ready version of your paper.
Please bear in mind that:

Papers should be no more than 8 page sides in length + 2 pages of references.
Papers must be submitted as a PDF document formatted according to ICCC style (which is similar to AAAI and IJCAI formats). You can download the ICCC LaTeX template [here] and Word template [here].
To be included in the proceedings, each paper must be presented in the conference by one of the authors.

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CfP: Design [Re]Thinking DEADLINE EXTENDED TO 30 JANUARY

30 Jan 2026 (All Day) | https://dtrs15.belasartes.ulisboa.pt/

Deadline for Short Papers and Pictorials: 30 January 2026. see more

Deadlines

Deadline for Short Paper and Pictoral: ~~12 January 2026~~ 30 January 2026

Notification of Acceptance: 27 February 2026

Final Submission Deadline for Short Paper and Pictoral: 6 April 2026

Conference dates 17, 18 and 19 June 2026

Final Submission Deadline for Springer full paper: 15 July 2026

In a time marked by technological disruptions, ecological collapse, and systemic inequalities, critically rethinking Design Thinking is not just timely — it is necessary. The Design Thinking Research Symposium invites researchers, practitioners, and educators to challenge the assumptions that have shaped this approach, exploring the plurality of practices, epistemologies, and impacts of design today. We welcome contributions that not only evolve the discourse, but interrogate it: what kinds of worlds has Design Thinking helped construct — and which ones has it silenced? What alternative ways of thinking and doing design might open paths toward more just, ethical, and interdependent futures? The following thematic tracks serve as entry points for this plural and collective reflection:

1. The Evolution (and Generations) of Design Thinking

This sub-theme invites a critical reassessment of Design Thinking, not as a linear progression, but as an arena of epistemic disputes, appropriations, and resistances. Across its history, different framings have emerged: from reflective practice (DT 1.0), to innovation method (DT 2.0), to systemic and sustainability-oriented approaches (DT 3.0), and now to a debated DT 4.0, where AI may act as a catalyst for new forms of co-design between human creativity and machine intelligence. We welcome contributions that interrogate these framings and their exclusions: How has Design Thinking reproduced extractivist logics, quick-fix solutions, or user-centred yet planet-disconnected approaches? What alternative genealogies, disciplinary, cultural, or geographic, might challenge or enrich the paradigm? We encourage both critical and imaginative perspectives, exploring neglected pasts and speculating on possible futures of Design Thinking.

2. The Role of AI and Ethics

The increasing presence of AI in design processes demands more than technical integration — it calls for ethical, epistemological, and ontological debate. This sub-theme shifts the focus from AI as tool to AI as co-agent: how does it reconfigure creativity, authorship, judgement, and care in design? What moral scripts are embedded in algorithmic systems, and how can designers resist an uncritical automation of decision-making? We invite reflections on limits of delegation, risks of opacity, and the potential for ethics of restraint, care, and coexistence. Contributions that situate AI within wider ecologies of power, inequality, and interdependence are especially welcome — questioning not just what we can create, but what we should, and with what consequences.

3. Sustainability and Value Creation

In a world facing climate collapse, the question is no longer “how to innovate,” but how to repair, regenerate, and redirect design towards sustaining life. This sub-theme challenges dominant models of value — centred on growth, efficiency, and profit — and proposes alternative matrices: use value, environmental justice, interspecies reciprocity, and the commons. What forms of Design Thinking are being reimagined in light of circular economies, regenerative systems, or non-Western cosmologies? How might design practices embrace ecological limits, redistribute power, and cultivate the art of enough? We invite work on situated, post-capitalist, or transition design practices that reposition design from a contributor to crisis to an ally of regeneration.

4. Education and Change

More than an instrumental skill, Design Thinking can be a transformative language — or a reductive pedagogy. This theme explores the role of education in (re)shaping how we learn, collaborate, and act in the world. How can we prepare designers to think critically, act responsibly, and imagine plural alternatives? What pedagogical approaches cultivate deep listening, radical empathy, systems thinking, and relational ethics? And what risks emerge from the uncritical generalisation of Design Thinking across disciplines? We invite perspectives from care pedagogies, transformative learning, participatory methods, or curricular decolonisation — opening space for education that not only develops competencies, but cultivates consciousness and commitment.

Submission type

For this conference, the short papers and pictorials will be accepted according to the templates, download below, and submitted by January 12th. Abstracts will not be accepted.

Templates links: https://drive.google.com/file/d/1E8wscvkMzuym0pT9a2ER8Dfm0Slr6CGK/view?usp=sharing

Publications

The conference has two separate publications: Proceedings and Springer publication.

The proceedings include short papers and pictorials. This publication consists of all the papers selected to be presented at the symposium.

Twenty articles will be selected for publication in the Springer edition. These will be transformed into full papers and formatted according to a template to be provided later.

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Call for Papers: Diseña Special Issue #30 – Minor Gestures

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