The 8th IEEE Workshop on
Artificial Intelligence for Art Creation


Bangkok, Thailand
July 5 - July 9, 2026
Jointly with ICME 2026

Call for Papers


Recent advances brought by Multimodal Large Language Model (MLLM), Multimodal Agents, and Embodied Intelligence have been powerful driving forces for art generation and understanding, drawing more and more attention from both academia and industry. Across creative fields, AI has already sparked new genres and experimentations in painting, music, film, storytelling, fashion and design. Researchers explore the human and AI co-creativity as well as the ethical implications of AI arts. AI has been applied to art historical research, cultural heritage revitalization, 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 interpretability in algorithms, and copyright issues of training data and AI Art works.

This is the 8th AIART workshop to be held in conjunction with ICME 2026 in Bangkok, Thailand, and it aims to bring forward cutting-edge technologies and most recent advances in the area of AI art as well as perspectives from related disciplines.

The theme topic of AIART 2026 will be Multimodal Agents for AI Art. 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:

Track 1: Theories for AI Art
  • Neuroscience
  • Cognitive science and Psychology
  • Aesthetics
  • Creativity
  • Arts (Fine Arts, Arts and Crafts, Performing Arts, Interdisciplinary Arts, Literature and Art)
Track 2: AI for Art Generation
  • AI for painting and calligraphy
  • AI for video and movie
  • AI for music and audio
  • AI for literature
  • AI for design
  • AI for videogame
  • Adaptive expression
Track 3: AI for Art Understanding
  • Affective computing
  • Aesthetic evaluation
  • Multimodal agents
  • Embodied intelligence
  • World foundation models
Track 4: AI Art in Extended Reality (XR)
  • AI-driven procedural generation for VR/AR worlds
  • Virtual humans and digital performers
  • AI choreography for volumetric video and motion capture
  • Physics-aware and interactable generative assets
Track 5: Human–AI Co-Creation & Interaction
  • Interactive AI tools for artists
  • Real-time co-creation systems
  • XR/VR/AR environments for human–AI creative expression
  • Human–AI agency and authorship models
  • Perception and UX research in creative tool design
Track 6: AI for Humanity and the Humanities
  • AI for cultural heritage
  • AI for media studies
  • AI for social justice
  • AI for accessibility
  • AI for empathy
  • AI for textual analysis
  • AI ethics and safety
  • Authentication and IPR issues of AI artworks
  • Deepfake detection for creative industries

The authors of selected high-quality papers will be invited to submit an extended version to the Machine Intelligence Research (MIR) journal published by Springer, and the Transactions on Artificial Intelligence (TAI) journal published by Scilight.

Additionally, Best Paper Award will be given.

AIART 2026 will continue to organize the 2nd AIART Gallery for artists to showcase their creative AI artworks in the form of in-person gallery. The AIART Gallery will provide a great opportunity for people to experience interactive artworks and communicate creative ideas.


Paper Submission

Authors should prepare their manuscript according to the Guide for Authors of ICME available at Author Information and Submission Instructions: https://2026.ieeeicme.org/author-information-and-submission-instructions/

Submission address: https://cmt3.research.microsoft.com/ICMEW2026


Submit link

Important Dates


Submissions due
March 25, 2026
Workshop date
TBD

Keynotes (1/5)


Keynote 1


Speaker:TBD

Keynote 2


Speaker:TBD

Keynotes (3/5)


Keynote 3


Speaker:TBD

Keynotes (4/5)


Keynote 4


Speaker:TBD

Keynotes (5/5)


Keynote 5


Speaker:TBD

Conference Program


TBD

Technical Program Committee (Tentative)


  • Ajay Kapur, California Institute of the Arts, USA
  • Alan Chamberlain, University of Nottingham, Nottingham
  • 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
  • Beici Liang, Tencent Music Entertainment Group, 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
  • Carlos Castellanos, Rochester Institute of Technology, USA
  • Changsheng Xu, Institute of Automation, Chinese Academy of Sciences, China
  • Dongmei Jiang, Northwestern Polytechnical University, China
  • Emma Young, BBC, UK
  • Gerui Wang, Stanford University, USA
  • 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
  • Hongxun Yao, Harbin Institute of Technology, China
  • Jesse Engel, Google, USA
  • Jia Jia, Tsinghua University, China
  • Jiajian Min, Harvard University, USA
  • Jianyu Fan, Microsoft, Canada
  • Jing Wang, Beijing Institute of Technology, China
  • John See, Multimedia University, Malaysia
  • Juan Huang, Johns Hopkins University, USA
  • Junping Zhang, Fudan University, China
  • Kejun Zhang, Zhejiang University, China
  • Ke Lv, University of Chinese Academy of Sciences, China
  • Kenneth Fields, Central Conservatory of Music, China
  • Lai-Kuan Wong, Multimedia University, Malaysia
  • Lamtharn Hanoi Hantrakul, ByteDance, USA
  • Lei Xie, Northwestern Polytechnical University, China
  • Li Zhou, China University of Geosciences (Wuhan), China
  • Lin Gan, Tianjin University, China
  • Long Ye, China University of Communication, China
  • Maosong Sun, Tsinghua University, China
  • Mei Han, Ping An Technology Art institute, USA
  • Mengjie Qi, China Conservatory of Music, China
  • Ming Zhang, Nanjing Art College, China
  • Mohammad Naim Rastgoo, Queensland University of Technology, Australia
  • Na Qi, Beijing University of Technology, China
  • Nick Bryan-Kinns, Queen Mary University of London, UK
  • Nina Kraus, Northwestern University, USA
  • Pengtao Xie, University of California, San Diego, USA
  • Philippe Pasquier, Simon Fraser University, Canada
  • Qin Jin, Renmin University, China
  • Qiuqiang Kong, ByteDance, China
  • Rebecca Fiebrink, University of 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
  • Shangfei Wang, University of Science and Technology of China, China
  • Shasha Mao, Xidian University, China
  • Shiguang Shan, Institute of Computing Technology, Chinese Academy of Sciences, China
  • Shiqi Wang, City University of Hong Kong, China
  • Shun Kuremoto, Uchida Yoko Co.,Ltd, Japan
  • Si Liu, Beihang University, China
  • Simon Lui, Huawei Technologies Co., Ltd, China
  • Tiange Zhou, NetEase Cloud Music, 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
  • Xi Shao, Nanjing University of Posts and Telecommunications, 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
  • Xinfeng Zhang, University of Chinese Academy of Sciences, China
  • Xu Tan, Microsoft Research Asia, China
  • Yanchao Bi, Beijing Normal University, China
  • Yi Qin, Shanghai Conservatory of Music, China
  • Ying-Qing Xu, Tsinghua University, China
  • Yirui Wu, Hohai University, China
  • Yuanchun Xu, Xiaoice, China
  • Zhiyao Duan, University of Rochester, USA

Organizing Team


Luntian Mou

Beijing University of Technology

Beijing, China

ltmou@bjut.edu.cn


Dr. Luntian Mou is an Associate Professor with the School of Information Science and Technology, Beijing Institute of Artificial Intelligence (BIAI), Beijing University of Technology. He received the Ph.D. degree in computer science from the University of Chinese Academy of Sciences, China in 2012. He served as a Postdoctoral Fellow at Peking University, from 2012 to 2014. And he was a Visiting Scholar with the University of California, Irvine, from 2019 to 2020. He initiated the IEEE Workshop on Artificial Intelligence for Art Creation (AIART) in 2019, and has organized the workshop annually ever since. His current research interests include artificial intelligence, machine learning, multimedia computing, affective computing, and brain-like computing. He is the recipient of Beijing Municipal Science and Technology Advancement Award, IEEE Outstanding Contribution to Standardization Award, and AVS Outstanding Contribution on 15th Anniversary Award. He serves as a guest editor for Machine Intelligence Research, and a reviewer for many important international journals and conferences such as TIP, TAFFC, TCSVT, TITS, AAAI, etc. And he serves as a Co-Chair of System subgroup in AVS workgroup. He is a Senior Member of IEEE and CCF, and a Member of ACM, CAAI, and CSIG, and an Expert of MPEG China.

Feng Gao

Peking University

Beijing, China

gaof@pku.edu.cn


Dr. Feng Gao is an Assistant Professor with the School of Arts, Peking University. He has long researched in the disciplinary fields of AI and art, especially in AI painting. He co-initiated the international workshop of AIART. Currently, he is also enthusiastic in virtual human. He has demonstrated his AI painting system, called Daozi, in several workshops and drawn much attention.

Kejun Zhang

Zhejiang University

Hangzhou, China

zhangkejun@zju.edu.cn


Dr. Kejun Zhang is a Professor with Zhejiang University, joint PhD supervisor on Design and Computer Science, Dean of Department of Industrial Design at College of Computer Science of Zhejiang University. He received his PhD degree from College of Computer Science and Technology, Zhejiang University in 2010. From 2008 to 2009, He was a visiting research scholar of University of Illinois at Urbana-Champaign, USA. In June 2013, he became a faculty of the College of Computer Science and Technology at Zhejiang University. His current research interests include Affective Computing, Design Science, Artificial Intelligence, Multimedia Computing and the understanding, modelling and innovation design of products and social management by computational means. He is now the PI of National Science Foundation of China, Co-PI of National Key Research and Development Program of China, and PIs of ten more other research programs. He has authored 4 books, more than 40 scientific papers.

Haonan Cheng

Communication University of China

Beijing, China

haonancheng@cuc.edu.cn


Dr. Haonan Cheng is a Professor with the State Key Laboratory of Media Convergence and Communication, Communication University of China, mainly focuses on audio information processing, audio-visual cross modal generation and forgery detection. She became the first technical expert in China to be awarded the Asia-Pacific Young Engineer Prize by ABU in 2024, and was selected for the Beijing National Governance and Young Talent Cultivation Program in 2025. In recent years, she has published more than 50 SCI/EI papers in IEEE TOG, TIFS, TASLP, SIGGRAPH, IEEE VR, IJCAI, AAAI, ACM MM, etc. She has been authorized 2 national invention patents, and won the Excellent Paper Award in the 5th CSIG China Media Forensics and Security Conference, and Best Poster Paper Award in the 20th International Forum on Digital Multimedia Communications. She was funded by more than 10 projects, including National Natural Science Foundation of China, National Key R&D Program, National Social Science Foundation of China, and Medium and Long-term Science and Technology Program for Radio, Television and Audiovisual Network, etc. She serves as a member of the Multimedia Specialized Committee of the Chinese Society of Image and Graphics, the Program Chair of the International Forum on Digital Multimedia Communications, the Forum Chair of the China Multimedia Conference, and the Session Chair of ACM MM and other international conferences.

Ambarish Natu

Australian Government

Australian Capital Territory, Australia

ambarish.natu@gmail.com


Dr. Ambarish Natu is with the Australian Government. After graduating from University of New South Wales, Sydney, Ambarish has held positions as a visiting researcher in Italy and Taiwan, worked for industry in United Kingdom and the United States of America and for the past ten years has been working in the Australian Government. For the past 17 years, Ambarish has led the development of five international standards under the auspices of the International Standards Organization (ISO) popularly known as JPEG (Joint Photographic Experts Group). He is the recipient of the ISO/IEC certificate for contributions to technology standards. Ambarish is highly active in the area of international standardization and voicing Australian concerns in the area of JPEG and MPEG (Motion Pictures Experts Group) standardization. He previously initiated an effort in the area of standardization relating to Privacy and Security in the Multimedia Context both within JPEG and MPEG standard bodies. In 2015, Ambarish was the recipient of the prestigious Neville Thiele Award and the Canberra Professional Engineer of the Year by Engineers Australia. Ambarish currently works as an ICT Specialist for the Australian Government. Ambarish is a Fellow of the Australian Computer Society and Engineers Australia. Ambarish also serves on the IVMSP TC and the Autonomous Systems Initiative of the IEEE Signal Processing Society. Ambarish has also been General Chair of DICTA 2018, ICME 2023 and TENSYMP 2023 in the past. Ambarish has keen interest in next generation data and analytics technologies that will change the course of the way we interact with in the world.

Gerui Wang

Stanford University

California, USA

grwang@stanford.edu


Dr. Gerui Wang is a Lecturer at Stanford University Center for East Asian Studies, where she teaches classes on contemporary art, AI and posthumanism. Her research interests span arts, public policy, environment, and emerging technologies. She is a member of the Alan Turing Institute AI&Arts Research Group. With her background in art history, she has published in the Journal of Chinese History and Newsletter for International China Studies. Gerui's book Sustaining Landscapes: Governance and Ecology in Chinese Visual Culture is forthcoming in 2025. Her research briefs on AI, robotics, media, and society are frequently featured in public venues including Forbes, Alan Turing Institute's AI and Art Forum, Asia Times, and South China Morning Post. Gerui holds a doctorate in art history from the University of Michigan.

Ling Fan

Tezign.com

Tongji University Design Artificial Intelligence Lab

Shanghai, China

lfan@tongji.edu.cn


Dr. Ling Fan is a Scholar and Entrepreneur to bridge machine intelligence with creativity. He is the founding chair and professor of Tongji University Design Artificial Intelligence Lab. Before, he held teaching position at the University of California at Berkeley and China Central Academy of Fine Arts. Dr. Fan co-founded Tezign.com, a leading technology start-up with the mission to build digital infrastructure for creative contents. Tezign is backed by top VCs like Sequoia Capital and Hearst Ventures. Dr. Fan is a World Economic Forum Young Global Leader, an Aspen Institute China Fellow, and Youth Committee member at the Future Forum. He is also a member of IEEE Global Council for Extended Intelligence. Dr. Fan received his doctoral degree from Harvard University and master's degree from Princeton University. He recently published From Universality of Computation to the Universality of Imagination, a book on how machine intelligence would influence human creativity.

Terence Broad

University of the Arts London

London, The United Kingdom

t.broad@arts.ac.uk


Dr. Terence Broad is an Artist and Researcher working in London. He is a Senior Lecturer at the UAL Creative Computing Institute and has recently completed a PhD at Goldsmiths in generative AI. His art and research have been presented internationally: at conferences and journals such as SIGGRAPH, Leonardo, NeurIPS, and ICCC; and museums such as The Whitney Museum of American Art, Garage Museum of Contemporary Art, Ars Electronica, The Barbican and The Whitechapel Gallery. In 2019 He won the Grand Prize in the ICCV Computer Vision Art Gallery. His work is in the city of Geneva’s contemporary art collection.

Partners


Partner1: Machine Intelligence Research
Machine Intelligence Research (IF:8.7, JCR Q1), published by Springer, and sponsored by Institute of Automation, Chinese Academy of Sciences, is formally released in 2022. The journal publishes high-quality papers on original theoretical and experimental research in artificial intelligence, targets special issues on emerging topics and specific subjects, and strives to bridge the gap between theoretical research and practical applications. The journal has been indexed by ESCI, EI, Scopus, CSCD, etc.
Topics of Machine Intelligence Research include: AI Fundamentals, Brain-Inspired Intelligence, Pattern Recognition & Machine Learning, Machine Vision, Speech and Language Processing, Embodied Intelligence and Robotics, Knowledge Management & Data Mining, and Applications of Machine Intelligence.
  • MIR Editor-in-Chief
    • Tan Tieniu, Institute of Automation, Chinese Academy of Sciences
  • MIR Associate Editors-in-Chief
    • Yike Guo, Hong Kong University of Science and Technology, China
    • Brian C. Lovell, The University of Queensland, Australia
    • Danilo P. Mandic, Imperial College London, UK
    • Liang Wang, Chinese Academy of Sciences, China
Machine Intelligence Research


Partner2: The Transactions on Artificial Intelligence
The Transactions on Artificial Intelligence (TAI) is a peer-reviewed, open-access journal dedicated to advancing trustworthy, explainable, and human-centered AI. The journal highlights emerging frontiers—including generative AI, autonomous systems, AI safety, and data-centric intelligence—while maintaining strong coverage of core AI theory and methodologies.

Sponsorship


TBD

Book


Artificial Intelligence for Art Creation and Understanding
Edited By Luntian Mou

eBook Published: 29 August 2024
Imprint: CRC Press
DOI: https://doi.org/10.1201/9781003406273


ABSTRACT

AI-Generated Content (AIGC) is a revolutionary engine for digital content generation. In the area of art, AI has achieved remarkable advancements. AI is capable of not only creating paintings or music comparable to human masterpieces, but it also understands and appreciates artwork. For professionals and amateurs, AI is an enabling tool and an opportunity to enjoy a new world of art.

This book aims to present the state-of-the-art AI technologies for art creation, understanding, and evaluation. The contents include a survey on cross-modal generation of visual and auditory content, explainable AI and music, AI-enabled robotic theater for Chinese folk art, AI for ancient Chinese music restoration and reproduction, AI for brainwave opera, artistic text style transfer, data-driven automatic choreography, Human-AI collaborative sketching, personalized music recommendation and generation based on emotion and memory (MemoMusic), understanding music and emotion from the brain, music question answering, emotional quality evaluation for generated music, and AI for image aesthetic evaluation.

The key features of the book are as follows:

  • AI for Art is a fascinating cross-disciplinary field for the academic community as well as the public.
  • Each chapter is an independent interesting topic, which provides an entry for corresponding readers.
  • It presents SOTA AI technologies for art creation and understanding.
  • The artistry and appreciation of the book is wide-ranging – for example, the combination of AI with traditional Chinese art.

This book is dedicated to the international cross-disciplinary AI Art community: professors, students, researchers, and engineers from AI (machine learning, computer vision, multimedia computing, affective computing, robotics, etc.), art (painting, music, dance, fashion, design, etc.), cognitive science, and psychology. General audiences can also benefit from this book.

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