Call for Papers

Recent advances brought by AI-Generated Content (AIGC) have been an innovative engine for digital content generation, drawing more and more attention from both academia and industry. Across creative fields, AI has sparked new genres and experimentations in painting, music, film, storytelling, fashion and design. Researchers explore the concept of co-creation with AI systems as well as the ethical implications of AI generated images and texts. AI has been applied to art historical research and media studies. The aesthetic value of AI generated content and AI’s impact on art appreciation have also been a contended subject in recent scholarship. AI has not only exhibited creative potential, but also stimulated research from diverse perspectives of neuroscience, cognitive science, psychology, literature, art history, media and communication studies. Despite all these promising features of AI for Art, we still have to face the many challenges such as the biases in AI models, lack of transparency and explainability in algorithms, and copyright issues of training data and AI art works.

This is the 7^th AIART workshop to be held in conjunction with ICME 2025 in Nantes, France, and it aims to bring forward cutting-edge technologies and most recent advances in the area of AI art as well as perspectives from neuroscience, cognitive science, psychology, literature, art history, media and communication studies.

The theme topic of AIART 2025 will be AI and Human Co-creativity. We plan to invite 5 keynote speakers to present their insightful perspectives on AI art.

We sincerely invite high-quality papers presenting or addressing issues related to AI art, including but not limited to the following topics:

• Affective computing for AI Art
• AI in media studies
• AI, literature, and art
• AI and social justice
• Theory and practice of AI creativity
• Neuroscience, cognitive science and psychology for AI Art
• AI Art for metaverse
• AI for painting generation
• AI for 3D content generation
• AI for cultural heritage
• AI for sound synthesis, music composition, performance, and instrument design
• AI for poem composing and synthesis
• AI for typography and graphic design
• AI for fashion, makeup, and virtual hosting
• AI for multimodal and cross-modal art generation
• AI for art style transfer
• AI for aesthetics understanding, analysis, assessment and prediction
• Authentication and copyright issues of AI artworks

Additionally, Best Paper Award will be given.

AIART 2025 is also launching a demo track for artists to showcase their creative artworks in the form of in-person art gallery. The demo track will provide a great opportunity for people to experience interactive artworks and communicate creative ideas. The submission guideline for the demo track follows that of the main ICME conference: https://2025.ieeeicme.org/author-information-and-submission-instructions/.

Supplemental files larger than 10M should be sent to wangyin@aifc.ngo via WeTransfer.

Paper Submission

Authors should prepare their manuscript according to the Guide for Authors of ICME available at Author Information and Submission Instructions: https://2025.ieeeicme.org/author-information-and-submission-instructions/

Submission address: https://cmt3.research.microsoft.com/ICMEW2025

Keynotes (1/5)

Keynote 1

Keynotes (3/5)

Keynote 3

Keynotes (5/5)

Keynote 5

Technical Program Committee (Tentative)

• Ajay Kapur, California Institute of the Arts, USA
• Alan Chamberlain, University of Nottingham, UK
• Alexander Lerch, Georgia Institute of Technology, USA
• Alexander Pantelyat, Johns Hopkins University, USA
• Bahareh Nakisa, Deakin University, Australia
• Baoqiang Han, China Conservatory of Music, China
• Baoyang Chen, Central Academy of Fine Arts, China
• Bing Li, King Abdullah University of Science and Technology, Saudi Arabia
• Björn W. Schuller, Imperial College London, UK
• Bob Sturm, KTH Royal Institute of Technology, Sweden
• Borou Yu, Harvard University, USA
• Brian C. Lovell, The University of Queensland, Australia
• Carlos Castellanos, Rochester Institute of Technology, USA
• Changsheng Xu, Institute of Automation, Chinese Academy of Sciences, China
• Chunning Guo, Renmin University, China
• Cong Jin, Communication University of China, China
• Dong Liu, University of Science and Technology of China, China
• Dongmei Jiang, Northwestern Polytechnical University, China
• Emma Young, BBC, UK
• Gus Xia, New York University Shanghai, China & Mohamed bin Zayed University of Artificial Intelligence, United Arab Emirates
• Haifeng Li, Harbin Institute of Technology, China
• Haipeng Mi, Tsinghua University, China
• Han Zhang, University of Chinese Academy of Sciences, China
• Hanli Wang, Tongji University, China
• Haonan Chen, Communication University of China, China
• Honghai Liu, Harbin Institute of Technology, China
• Hongxun Yao, Harbin Institute of Technology, China
• Jesse Engel, Google, USA
• Jiafeng Liu, Central Conservatory of Music, China
• Jia Jia, Tsinghua University, China
• Jiajian Min, Harvard University, USA
• Jian Zhang, Peking University, China
• Jian Zhao, China Telecom, China
• Jianyu Fan, Microsoft, Canada
• Jing Huo, Nanjing University, China
• Jing Wang, Beijing Institute of Technology, China
• Jingjing Chen, Fudan University, China
• Jingting Li, Institute of Psychology of the Chinese Academy of Sciences, China
• Jingyuan Yang, Shenzhen University, China
• Jinshan Pan, Nanjing University of Science and Technology, China
• Joanna Zylinska, King’s College London, UK
• John See, Multimedia University, Malaysia
• Juan Huang, Johns Hopkins University, USA
• Jufeng Yang, Nankai University, China
• Junping Zhang, Fudan University, China
• Kang Zhang, Hong Kong University of Science and Technology (Guangzhou), China
• Kate Crawford, University of Southern California, USA
• Ke Lv, University of Chinese Academy of Sciences, China
• Kenneth Fields, Central Conservatory of Music, China
• Lai-Kuan Wong, Multimedia University, Malaysia
• Lamberto Coccioli, Royal Birmingham Conservatoire, UK
• Lamtharn Hanoi Hantrakul, ByteDance, USA
• Lei Xie, Northwestern Polytechnical University, China
• Leida Li, Xidian University, China
• Li Liu, Hong Kong University of Science and Technology (Guangzhou), China
• Li Song, Shanghai Jiao Tong University, China
• Li Zhou, China University of Geosciences (Wuhan), China
• Lianli Gao, University of Electronic Science and Technology of China, China
• Lin Gan, Tianjin University, China
• Long Ye, Communication University of China, China
• Maosong Sun, Tsinghua University, China
• Mei Han, Ping An Technology Art institute, USA
• Mengjie Qi, China Conservatory of Music, China
• Mengshi Qi, Beijing University of Posts and Telecommunications, China
• Mengyao Zhu, Huawei Technologies Co., Ltd, China
• Ming Zhang, Nanjing Art College, China
• Mohammad Naim Rastgoo, Queensland University of Technology, Australia
• Na Qi, Beijing University of Technology, China
• Nancy Katherine Hayles, University of California Los Angeles, USA
• Nick Bryan-Kinns, Queen Mary University of London, UK
• Nina Kraus, Northwestern University, USA
• Pengtao Xie, University of California, San Diego, USA
• Pengyun Li, Wuhan Conservatory of Music, China
• Philippe Pasquier, Simon Fraser University, Canada
• Qi Mao, Communication University of China, China
• Qin Jin, Renmin University, China
• Qiuqiang Kong, The Chinese University of Hong Kong, China
• Rebecca Fiebrink, University of the Arts London, UK
• Rick Taube, University of Illinois at Urbana-Champaign, USA
• Roger Dannenberg, Carnegie Mellon University, USA
• Rongfeng Li, Beijing University of Posts and Telecommunications, China
• Rui Wang, Institute of Information Engineering, Chinese Academy of Sciences, China
• Ruihua Song, Renmin University, China
• Sarah Wolozin, Massachusetts Institute of Technology, USA
• Shangfei Wang, University of Science and Technology of China, China
• Shasha Mao, Xidian University, China
• Shen Li, Henan University, China
• Shiguang Shan, Institute of Computing Technology, Chinese Academy of Sciences, China
• Shiqi Wang, City University of Hong Kong, China
• Shiqing Zhang, Taizhou University, China
• Shuai Yang, Peking University, China
• Shun Kuremoto, Uchida Yoko Co.,Ltd, Japan
• Si Liu, Beihang University, China
• Sicheng Zhao, Tsinghua University, China
• Simon Colton, Queen Mary University of London, UK
• Simon Lui, Huawei Technologies Co., Ltd, China
• Siwei Ma, Peking University, China
• Steve DiPaola, Simon Fraser University, Canada
• Tiange Zhou, NetEase Cloud Music, China
• Wei Chen, Zhejiang University, China
• Weibei Dou, Tsinghua University, China
• Weiming Dong, Institute of Automation, Chinese Academy of Sciences, China
• Wei-Ta Chu, National Chung Cheng University, Taiwan, China
• Wei Li, Fudan University, China
• Weiwei Zhang, Dalian Maritime University, China
• Wei Zhong, Communication University of China, China
• Wen-Huang Cheng, National Chiao Tung University, Taiwan, China
• Wenli Zhang, Beijing University of Technology, China
• Wenming Zheng, Southeast University, China
• Xi Shao, Nanjing University of Posts and Telecommunications, China
• Xi Yang, Beijing Academy of Artificial Intelligence, China
• Xiaohong Liu, Shanghai Jiao Tong University, China
• Xiaohua Sun, Tongji University, China
• Xiaolin Hu, Tsinghua University, China
• Xiaojing Liang, NetEase Cloud Music, China
• Xiaopeng Hong, Harbin Institute of Technology, China
• Xiaoyan Sun, University of Science and Technology of China, China
• Xiaoying Zhang, China Rehabilitation Research Center, China
• Xihong Wu, Peking University, China
• Xin Jin, Beijing Electronic Science and Technology Institute, China
• Xinfeng Zhang, University of Chinese Academy of Sciences, China
• Xinyuan Cai, Huazhong University of Science and Technology, China
• Xu Tan, Microsoft Research Asia, China
• Ya Li, Beijing University of Posts and Telecommunications, China
• Yan Yan, Xiamen University, China
• Yanchao Bi, Beijing Normal University, China
• Yi Jin, Beijing Jiaotong University, China
• Yi Qin, Shanghai Conservatory of Music, China
• Ying-Qing Xu, Tsinghua University, China
• Yirui Wu, Hohai University, China
• Yuan Yao, Beijing Jiaotong University, China
• Yuanchun Xu, Xiaoice, China
• Yuanyuan Liu, China University of Geosciences (Wuhan), China
• Yuanyuan Pu, Yunnan University, China
• Yun Wang, Beihang University, China
• Zhaoxin Yu, Shangdong University of Arts, China
• Zheng Lian, Institute of Automation of the Chinese Academy of Sciences, China
• Zhi Jin, Sun Yat-Sen University, China
• Zhiyao Duan, University of Rochester, USA
• Zichun Guo, Beijing University of Chemical Technology, China
• Zijin Li, Central Conservatory of Music, China

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