Pictorials

2022 Call for Pictorials

Conference Special Theme: Creativity, Craft and Design

Pictorials Special Theme: Ways of Seeing and Ways of Knowing, Ways of Saying and Ways of Showing

 

Important Dates

Due to the high number of the received request, we have decided to extend the submission deadlines.

  • Pictorials Submission deadline: January 24th, 2022, 11:59 PM
  • Notifications: March 28th, 2022
  • Camera-ready completion deadline: May 2nd, 2022

Deadlines are specified as Anywhere on Earth time. The submissions site will open in December, 2021.

Pictorial Chairs

  • Miriam Sturdee, LancasterUniversity
  • Eli Blevis, Indiana University

Contact pictorials2022@cc.acm.org

Program Committee

  • Marianela Ciolfi Felice, KTH Royal Institute of Technology
  • Kayla DesPortes, New York University
  • Joep Frens, University of Technology Eindhoven (TU/e)
  • Nadya Peek, University of Washington
  • Jie Qi, University of Tokyo
  • Cláudia Silva, University of Lisbon (Instituto Superior Técnico)/ ITI-LARSyS
  • Omar Sosa-Tzec, San Francisco State University
  • Cesar Torres, University of Texas at Arlington
  • Huaxin Wei, Hong Kong Polytechnic University
  • Danielle Wilde, University of Southern Denmark

Venue, Overall Conference Theme, and Pictorials

This year, C&C takes place in Venice, a city well known for its plethora of craftsmen and fine artists. The visual nature of pictorials provides an excellent opportunity to address this year’s overall conference theme of Creativity, Craft and Design. Furthermore, the pictorial special theme described below aligns with the ways Venetian creators have used art and craft to explore new forms of perception.  For example, Tintoretto, one of the late Renaissance painters from the Venetian school, used light and shade to enable us to see the world in a different way. We encourage researchers to draw inspiration from these themes and the rich history of Venetian art and craft traditions in their submissions.

Pictorials Special Theme

The theme of the ACM C&C 2022 Pictorials track is Ways of Seeing and Ways of Knowing, Ways of Saying and Ways of Showing. The pictorials format challenges contributors to rethink the ways in which we create and report knowledge at the boundaries and intersections of creativity, cognition, and design.

By ways of seeing, we mean to prompt pictorial
contributions that demonstrate different forms of looking at things—including
observation, making, or other approaches. By ways of
knowing, we mean to prompt pictorial contributions that explain how the
knowledge they embody is evidenced, encoded, and shared. By ways of saying, we mean to prompt pictorial
contributions that share skillful and accessible narratives. By ways of showing, we mean to prompt pictorial
contributions that present compelling, professional quality, and possibly
novel, forms of presentation. In
particular we seek contributions that skillfully integrate and chunk texts,
typographies, and visual materials in a manner which is essential to the work.

We invite pictorial submissions that interpret this theme broadly, push the boundaries of the format, and exhibit professional quality in every detail.

A Very Brief History of Pictorials

Pictorials in the ACM digital library first appear in the proceedings of DIS 2014 and have continued to appear annually since. Pictorials first appeared at C&C 2017 and have appeared again in 2019 and continue now in 2021. TEI also now has a pictorials track. Importantly, pictorials have received the same standards of review as papers and are considered an archival contribution. At C&C in particular, pictorials are presented and archived as equivalent to full papers. The pictorials track at C&C operates like a subcommittee of the papers track at CHI. See acknowledgements below for a more detailed account of whom has contributed and established the form.

Format

In addition to the instructions below, we emphasize that authors must provide a clear statement of contribution. We recommend that the contribution statement addresses their work in relation to the special theme.

Pictorials must be submitted using the C&C 2022 Pictorials templates (below) and not exceed 12 pages, excluding references. On the first page of the submission please keep with the template and include the submission’s title, author(s) and their affiliation(s) (leave blank for double blind review), and a written abstract of no more than 150 words succinctly describing the background and context of the pictorial as well as its contribution to the C&C community. Further written parts known from other conference formats such as Introduction, Conclusion, Discussion, Acknowledgements, and References are optional. The main part of the submission should be an annotated visual composition and we encourage submissions to use the format creatively. The templates do not themselves include any example images nor variety of layout suggestions in order not to restrict authors’ imaginations in pushing at the boundaries of the form. The pictorial form requires that the visual materials are primary. Please see the lists of published pictorials below for a starting point.

PCS allows file sizes up to
about 150 MB, but we suggest that you keep reviewers in mind and experiment
with lower resolution to make the submission considerably smaller.

We strongly advise you to
use the InDesign template to compose your Pictorial. If you do not have access
to InDesign, please use the Word or PowerPoint templates.

Many thanks to Sabrina
Hauser for her work on these templates over years.

Important Note on
Accessibility

Although the general
instructions for ACM papers have changed this year, pictorials continue in the
landscape format that has been developed for them. The templates above are the
same as those introduced for DIS 2020 pictorials, except with the headers
changed. One of the primary reasons that ACM is moving to a new publications
workflow for papers is accessibility. Pictorials authors are required to be
sure that they produce accessible work. Please be sure that “Enable
Accessibility and Reflow with tagged Adobe PDF” is checked when you create your
PDF submissions file. Please be sure that all images have correct associated
Alt Text. Please see:

Where to submit

Please submit via the Precision Conference (PCS) website
below:
https://new.precisionconference.com/submissions

Once you have logged into the PCS website, select the
following options (which will become available early next year) under
“Submissions” and click the Go button.

  • Society: SIGCHI
  • Conference/Journal: Creativity & Cognition 2022
  • Track: Creativity & Cognition 2022 Pictorials

Review and selection

Double blind-review submissions are juried by the C&C Pictorials program committee, recruited from academia and industry by the chairs of the venue. Accepted C&C Pictorials will be distributed by the conference and in the ACM Digital Library where they will remain accessible to researchers and practitioners worldwide. Authors will be expected to attend the conference and will be assigned a time and location to present accepted submissions to conference attendees.

Questions

pictorials2022@cc.acm.org

Additional Information

Pictorials are papers
in which the visual components (e.g. annotated photographs, Art work, collages,
diagrams, field notes, illustrations, photographs, renderings, sketches) are
the primary means of conveying information with at least, if not more, importance
as the accompanying text.

Pictorials are part of
the technical program. Pictorials are equivalent contributions to Full Papers
in every way (e.g. production standards, archival qualities, reviewing
standards, presentation times, institutional reporting). The differences are in
the format.

Like full papers, the
possibilities of content and approach for pictorials are broad. They may be a
reporting of—for examples—research though design, or ethnography, or empirical
work, or theoretical work, or thoughtful essays on the role of creativity,
cognition, and design in the world. That is, the possible approaches to
pictorials are as varied as the possible approaches to full papers. Success is
a matter of quality and contribution of knowledge—broadly defined—to the field,
rather than approach.

Like full papers, the
content of your pictorial is expected to be your own original work for the most
part. While it is perfectly fine to include some visual materials created by
others with attributions and permissions, such materials must be clearly marked
as reference rather than main argument. Just as you would not write a
text-oriented paper that is mostly quotes to others, your pictorial must not
rely overly on visual materials created by others. On the other hand, your
pictorial is expected to reference and build on the work of others with the
same scholarly integrity as a full paper.

Pictorials differ from
full papers in form only. They are 12 pages not including references in a
purpose designed landscape format. Production values matter more. They should
be at most half text, and it is theoretically possible that a pictorial may
have no text at all outside of the front matter and references. A pictorial
that is more than half text is likely better submitted as a paper. Pictorials
are an opportunity to report and showcase primarily original visual forms and
insights with the same contribution potentials as other archival forms.

What to submit

We welcome submissions related to understanding human creativity in its many manifestations as well as the conference theme of Creativity, Craft, and Design.

We encourage authors to themselves be creative with their submissions and to compose highly visual submissions, which could consist of but are not limited to: annotated photographs, Artwork, collages, diagrams, field notes, illustrations, photographs, renderings, sketches.

 

Awards

This CFP is modeled
after texts designed by previous Pictorials chairs, both specifically for
C&C 2017 and C&C 2019,
as well as more generally those used for DIS 2014, 2016, 2017, 2018, & 2019. This year we will offer Best pictorial
awards and nominations for Best pictorials awards in proportion to the number
of submissions received, as we did in 2019.

Previous Creativity and Cognition Pictorials

Pictorials from C&C 2017 Complete listing

Eli Blevis. 2017. Qualities of Focus. In
Proceedings of the 2017 ACM SIGCHI Conference on Creativity and Cognition
(C&C ‘17). ACM, New York, NY, USA, 309-322. DOI: https://doi.org/10.1145/3059454.3059485

Zhide Loh, Jung-Joo Lee, and Kee Hong Song.
2017. Long Live the Sensor! Designing with Energy Harvesting. In Proceedings of
the 2017 ACM SIGCHI Conference on Creativity and Cognition (C&C ‘17). ACM,
New York, NY, USA, 323-335. DOI: https://doi.org/10.1145/3059454.3059488

Jenny Waycott and Hilary Davis. 2017. Sharing
the Housebound Experience through Visual Storytelling. In Proceedings of the
2017 ACM SIGCHI Conference on Creativity and Cognition (C&C ‘17). ACM, New
York, NY, USA, 2-14. DOI: https://doi.org/10.1145/3059454.3059487

Huaxin Wei and Betty Durango. 2017. Beyond Level
Blueprints: Visualizing the Progression of Emotion and Narrative Driven Games.
In Proceedings of the 2017 ACM SIGCHI Conference on Creativity and Cognition
(C&C ‘17). ACM, New York, NY, USA, 171-183. DOI: https://doi.org/10.1145/3059454.3059489

Andrew Quitmeyer. 2017. The First Hiking Hacks:
Exploring Mobile Making for Digital Naturalism. In Proceedings of the 2017 ACM
SIGCHI Conference on Creativity and Cognition (C&C ‘17). ACM, New York, NY,
USA, 197-208. DOI: https://doi.org/10.1145/3059454.3059486

Pictorials from C&C 2019 Complete Listing

Shunying An Blevis, Eli Blevis, and Bonnie
Nardi. 2019. All the Tea in China: Interaction Design Inspirations. In
Proceedings of the 2019 on Creativity and Cognition (C&C ’19). Association
for Computing Machinery, New York, NY, USA, 333–345. DOI: https://doi.org/10.1145/3325480.3326569

Dan Lockton, Devika Singh, Saloni Sabnis,
Michelle Chou, Sarah Foley, and Alejandro Pantoja. 2019. New Metaphors: A
Workshop Method for Generating Ideas and Reframing Problems in Design and
Beyond. In Proceedings of the 2019 on Creativity and Cognition (C&C ’19).
Association for Computing Machinery, New York, NY, USA, 319–332. DOI: https://doi.org/10.1145/3325480.3326570

William Odom, Ishac Bertran, Garnet Hertz, Henry
Lin, Amy Yo Sue Chen, Matt Harkness, and Ron Wakkary. 2019. Unpacking the
Thinking and Making Behind a Slow Technology Research Product with Slow Game.
In Proceedings of the 2019 on Creativity and Cognition (C&C ’19).
Association for Computing Machinery, New York, NY, USA, 15–28. DOI: https://doi.org/10.1145/3325480.3326567

Gabriela Sá,
Cristina Sylla, Vítor Martins, Ana Caruso, and Douglas
Menegazzi. 2019. Multiculturalism and Creativity in Storytelling – Visual
Development of a Digital Manipulative for Young Children. In Proceedings of the
2019 on Creativity and Cognition (C&C ’19). Association for Computing
Machinery, New York, NY, USA, 369–381. DOI: https://doi.org/10.1145/3325480.3326571

Cláudia Silva, Catia Prandi, Marta Ferreira, Valentina Nisi, and Nuno Jardim Nunes. 2019. Towards Locative Systems for, and by, Children: A Cognitive Map Study of Children’s Perceptions and Design Suggestions. In Proceedings of the 2019 on Creativity and Cognition (C&C ’19). Association for Computing Machinery, New York, NY, USA, 382–395. DOI: https://doi.org/10.1145/3325480.3326568  [2019 Best Pictorial Award].

Pictorials that have won Awards at any ACM venue (through 2019)

Eli Blevis. 2014.
Stillness and motion, meaning and form. In Proceedings of the 2014 conference
on Designing interactive systems (DIS ‘14). ACM, New York, NY, USA, 493-502.
DOI: https://doi.org/10.1145/2598510.2602963

Audrey Desjardins, Ron
Wakkary, and William Odom. 2016. Behind the Lens: A Visual Exploration of
Epistemological Commitments in HCI Research on the Home. In Proceedings of the
2016 ACM Conference on Designing Interactive Systems (DIS ‘16). ACM, New York,
NY, USA, 360-376. DOI: https://doi.org/10.1145/2901790.2901910

Elvin
Karana, Elisa Giaccardi, Niels Stamhuis, and Jasper Goossensen. 2016. The
Tuning of Materials: A Designer’s
Journey. In Proceedings of the 2016 ACM Conference on Designing Interactive
Systems (DIS ‘16). ACM, New York, NY, USA, 619-631. DOI: https://doi.org/10.1145/2901790.2901909

Heather McKinnon. 2016.
Finding Design Value in Modern Mundanity. In Proceedings of the 2016 ACM
Conference on Designing Interactive Systems (DIS ‘16). ACM, New York, NY, USA,
1059-1071. DOI: https://doi.org/10.1145/2901790.2901906

Thomas Dykes, Jayne
Wallace, Mark Blythe, and James Thomas. 2016. Paper Street View: A Guided Tour
of Design and Making Using Comics. In Proceedings of the 2016 ACM Conference on
Designing Interactive Systems (DIS ‘16). ACM, New York, NY, USA, 334-346. DOI: https://doi.org/10.1145/2901790.2901904

Pauline
Gourlet and Thierry Dassé. 2017.
Cairn: A Tangible Apparatus for Situated Data Collection, Visualization and
Analysis. In Proceedings of the 2017 Conference on Designing Interactive
Systems (DIS ‘17). ACM, New York, NY, USA, 247-258. DOI: https://doi.org/10.1145/3064663.3064794

James Pierce and Carl
DiSalvo. 2017. Dark Clouds, Io&#!+, and [Crystal Ball Emoji]: Projecting
Network Anxieties with Alternative Design Metaphors. In Proceedings of the 2017
Conference on Designing Interactive Systems (DIS ‘17). ACM, New York, NY, USA,
1383-1393. DOI: https://doi.org/10.1145/3064663.3064795

Sabrina Hauser, Doenja
Oogjes, Ron Wakkary, and Peter-Paul Verbeek. 2018. An Annotated Portfolio on
Doing Postphenomenology Through Research Products. In Proceedings of the 2018 Designing
Interactive Systems Conference

(DIS ’18). ACM, New York, NY, USA, 459-471. DOI: https://doi.org/10.1145/3196709.3196745

Cláudia Silva, Catia
Prandi, Marta Ferreira, Valentina Nisi, and Nuno Jardim Nunes. 2019. Towards
Locative Systems for, and by, Children: A Cognitive Map Study of Children’s
Perceptions and Design Suggestions. In Proceedings of the 2019 on Creativity
and Cognition (C&C ’19). Association for Computing Machinery, New York, NY,
USA, 382–395. DOI: https://doi.org/10.1145/3325480.3326568 

Clement Zheng, HyunJoo
Oh, Laura Devendorf, and Ellen Yi-Luen Do. 2019. Sensing Kirigami. In Proceedings of the 2019 on Designing
Interactive Systems Conference

(DIS ’19). Association for Computing Machinery, New York, NY,
USA, 921–934. DOI: https://doi.org/10.1145/3322276.3323689

Cláudia Silva, Catia
Prandi, Marta Ferreira, Valentina Nisi, and Nuno Jardim Nunes. 2019. See the
World Through the Eyes of a Child: Learning from children’s cognitive maps for
the design of child-targeted locative systems. In Proceedings of the 2019 on Designing Interactive
Systems Conference
(DIS ’19). Association for Computing Machinery, New York, NY,
USA, 763–776. DOI: https://doi.org/10.1145/3322276.3323700

Sarah Homewood, Harvey
Bewley, and Laurens Boer. 2019. Ovum: Designing for Fertility Tracking as a
Shared and Domestic Experience. In Proceedings of the 2019 on Designing Interactive Systems Conference (DIS ’19).
Association for Computing Machinery, New York, NY, USA, 553–565. DOI: https://doi.org/10.1145/3322276.3323692

Vasiliki Tsaknaki, Madeline Balaam, Anna Ståhl, Pedro Sanches, Charles Windlin, Pavel Karpashevich, and Kristina Höök. 2019. Teaching Soma Design. In Proceedings of the 2019 on Designing Interactive Systems Conference (DIS ’19). Association for Computing Machinery, New York, NY, USA, 1237–1249. DOI: https://doi.org/10.1145/3322276.3322327

An Historical Note and Acknowledgements

A pictorials track was first introduced at DIS
2014. The first pictorial co-chairs were David Cameron, Nadine Jarvis, Sabrina
Hauser, and Will Odom. The track was made possible by the support of conference
chairs Steve Harrison and Ron Wakkary. Jarvis, Cameron, and Boucher (2012)
listed below is arguably the first pictorial. In the original call for
pictorials, the pictorial co-chairs list the following work as influencers:

John Bowers. 2012. The
logic of annotated portfolios: communicating the value of “research through
design.” In Proceedings of
the Designing Interactive Systems Conference
(DIS ’12). Association for Computing Machinery, New
York, NY, USA, 68–77. DOI: https://doi.org/10.1145/2317956.2317968

Eli Blevis, Elizabeth
Churchill, William Odom, James Pierce, David Roedl, and Ron Wakkary. 2012.
Visual thinking & digital imagery. In CHI ’12 Extended Abstracts on Human Factors in
Computing Systems
(CHI EA ’12). Association for Computing Machinery, New York, NY,
USA, 2715–2718. DOI: https://doi.org/10.1145/2212776.2212703

Eli Blevis. 2011.
Digital imagery as meaning and form in HCI and design: an introduction to the
Visual Thinking Backpage Gallery. interactions 18, 5 (September 2011), 60–65. DOI: https://doi.org/10.1145/2008176.2008190

Bill Gaver and John Bowers.
2012. Annotated portfolios. interactions 19, 4 (July 2012), 40–49. DOI: https://doi.org/10.1145/2212877.2212889

William Gaver. 2011.
Making spaces: how design workbooks work. In Proceedings of the SIGCHI Conference on Human Factors
in Computing Systems
(CHI ’11). Association for Computing Machinery, New York, NY,
USA, 1551–1560. DOI: https://doi.org/10.1145/1978942.1979169

Nadine Jarvis, David
Cameron, and Andy Boucher. 2012. Attention to detail: annotations of a design
process. In Proceedings of
the 7th Nordic Conference on Human-Computer Interaction: Making Sense Through
Design
(NordiCHI ’12). Association for Computing Machinery, New York, NY,
USA, 11–20. DOI: https://doi.org/10.1145/2399016.2399019

The early history of pictorials is documented in:

Eli Blevis, Sabrina
Hauser, and William Odom. 2015. Sharing the hidden treasure in pictorials. interactions 22, 3 (April 2015), 32–43. DOI: https://doi.org/10.1145/2755534

We thank others who have co-chaired the
pictorials track at creativity and cognition conferences, namely Lee Jung Joo
(2017), Will Odom (2017), and Joep Frens (2019), and conference chairs Brian
Bailey (2017), Steven Dow (2019), Andruid Kerne (2019), Celine Latulipe (2019),
Mary Lou Maher (2019), Neil Maiden (2021), Corina Sas (2021), David Shamma
(2017), and Jude Yew (2017).

We also wish to acknowledge the many
contributors to pictorials over years, now too numerous to list. For the
complete lists, please use the following links:

Publications Policy

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