{"id":80,"date":"2020-03-28T09:38:30","date_gmt":"2020-03-28T09:38:30","guid":{"rendered":"https:\/\/cc.acm.org\/2021\/?page_id=80"},"modified":"2024-03-20T12:21:43","modified_gmt":"2024-03-20T12:21:43","slug":"pictorials","status":"publish","type":"page","link":"https:\/\/cc.acm.org\/2024\/pictorials\/","title":{"rendered":"Pictorials"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"80\" class=\"elementor elementor-80\">\n\t\t\t\t\t\t<div class=\"elementor-inner\">\n\t\t\t\t<div class=\"elementor-section-wrap\">\n\t\t\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-2775e2e3 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"2775e2e3\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-71d05324\" data-id=\"71d05324\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-353cf24 elementor-widget elementor-widget-heading\" data-id=\"353cf24\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">2024 Call for Pictorials<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3b48a107 elementor-widget elementor-widget-text-editor\" data-id=\"3b48a107\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-text-editor elementor-clearfix\">\n\t\t\t\t<h3><b>Important Dates<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">Title and Abstract submission deadline: January 22, 2024 <\/span><span style=\"font-weight: 400;\">11:59 p.m.&nbsp;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Pictorials submission deadline: January 29, 2024 <\/span><span style=\"font-weight: 400;\">11:59 p.m.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Notifications: April 1, 2024 <\/span><span style=\"font-weight: 400;\">11:59 p.m.&nbsp;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Camera-ready completion deadline: April 22, 2024 <\/span><span style=\"font-weight: 400;\">11:59 p.m.&nbsp;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Deadlines specified as <\/span><a href=\"https:\/\/en.wikipedia.org\/wiki\/Anywhere_on_Earth\"><span style=\"font-weight: 400;\">Anywhere on Earth<\/span><\/a><span style=\"font-weight: 400;\"> time.<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>Pictorial Chairs<\/b><\/h3>\n<ul>\n<li><span style=\"font-weight: 400;\">Joep Frens, Eindhoven University of Technology<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Alwin de Rooij, Tilburg University &amp; Avans University of Applied Sciences<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">Contact: <\/span><a href=\"mailto:pictorials2024@cc.acm.org\"><span style=\"font-weight: 400;\">pictorials2024@cc.acm.org<\/span><\/a><span style=\"font-weight: 400;\">&nbsp;<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>Program Committee<\/b><\/h3>\n<ul>\n<li>\n<p><span style=\"font-weight: 400;\">Kelly Homan, Auburn University, United States<br><\/span><\/p>\n<\/li>\n<li>\n<p><span style=\"font-weight: 400;\">Daniel Rosenberg Munoz, Carnegie Mellon University, United States<br><\/span><\/p>\n<\/li>\n<li>\n<p><span style=\"font-weight: 400;\">Jan de Wit, Tilburg University, Netherlands<br><\/span><\/p>\n<\/li>\n<li>\n<p><span style=\"font-weight: 400;\">Patrick Lichty, Winona State University, United States<br><\/span><\/p>\n<\/li>\n<li>\n<p><span style=\"font-weight: 400;\">Gillian Russell, Simon Fraser University, Canada<br><\/span><\/p>\n<\/li>\n<li>\n<p><span style=\"font-weight: 400;\">Makayla Lewis, Kingston University London, United Kingdom<br><\/span><\/p>\n<\/li>\n<li>\n<p><span style=\"font-weight: 400;\">Supraja Sankaran,&nbsp;<span style=\"color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; background-color: var(--nv-site-bg);\">Tilburg University, Netherlands<\/span><br><\/span><\/p>\n<\/li>\n<li>\n<p><span style=\"font-weight: 400;\">Mafalda Gamboa, Chalmers University of Technology, University of Gothenburg, Sweden<br><\/span><\/p>\n<\/li>\n<li>\n<p><span style=\"font-weight: 400;\">Doroth\u00e9 Smit, University of Salzburg, Austria<br><\/span><\/p>\n<\/li>\n<li>\n<p><span style=\"font-weight: 400;\">Simone van den Broek, Avans University of Applied Sciences, Netherlands<br><\/span><\/p>\n<\/li>\n<li>\n<p><span style=\"font-weight: 400;\">Miguel Bruns,&nbsp;<span style=\"color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; background-color: var(--nv-site-bg);\">Eindhoven University of Technology, Netherlands<\/span><br><\/span><\/p>\n<\/li>\n<li>\n<p><span style=\"font-weight: 400;\">Bart Hengeveld, Eindhoven University of Technology, Netherlands<br><\/span><\/p>\n<\/li>\n<\/ul>\n<h3>&nbsp;<\/h3>\n<h3><b>Call Description<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">We are pleased to invite submissions for <\/span><i><span style=\"font-weight: 400;\">pictorials<\/span><\/i><span style=\"font-weight: 400;\"> to the ACM Creativity and Cognition 2024 conference. The visual nature of pictorials provides an excellent opportunity to address this year\u2019s overall conference theme of \u201cOrganic, Creative Spaces\u201d.&nbsp;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">We invite pictorial submissions that interpret this theme broadly, push the boundaries of the visual format, and exhibit professional quality in every detail.&nbsp;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">We also welcome submissions that relate more broadly to the C&amp;C research community, such as those that provide insight into aspects of creativity from artistic, design, cognitive, and socio-cultural perspectives.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Creativity &amp; Cognition 2024 will be an in-person conference held at the University of Illinois &#8211; <\/span><span style=\"font-weight: 400;\">Chicago. <\/span><span style=\"font-weight: 400;\">Accepted pictorials will be expected to have at least one author register, attend, and present the work at the conference in June 2024.&nbsp;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Accepted pictorials will be included in the Proceedings of Creativity and Cognition 2024, and will be made available in the ACM Digital Library.<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>A Very Brief History of Pictorials<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">Pictorials in the ACM digital library first appeared in the proceedings of DIS 2014 and have continued to appear annually since. Pictorials first appeared at C&amp;C in 2017 and have continued ever since. Importantly, pictorials have received the same standards of review as full paper submissions and are considered an archival contribution. At C&amp;C in particular, pictorials are presented and archived as equivalent to full papers. See acknowledgements below for a more detailed account of who has contributed and established the form.<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>Format<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">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 conference theme.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Pictorials must be submitted using the C&amp;C 2024 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\u2019s 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&amp;C community. Further written parts known from other conference formats such as Introduction, Conclusion, Discussion, Acknowledgements, and References are <\/span><i><span style=\"font-weight: 400;\">optional<\/span><\/i><span style=\"font-weight: 400;\">. 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 a variety of layout suggestions in order not to restrict authors\u2019 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.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">PCS allows file sizes up to about 100 MB, but we suggest that you keep reviewers in mind and experiment with lower resolution to make the submission considerably smaller.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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.<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><strong>The Templates for 2024<\/strong><\/h3>\n<p><a href=\"https:\/\/drive.google.com\/file\/d\/1mlzhsdKNUqHHcfxcVnJDyLeqWEXYdPFG\/view\"><span style=\"font-weight: 400;\">C&amp;C 2024 inDesign Template Package (.zip)<\/span>&nbsp;<\/a><\/p>\n<p><a href=\"https:\/\/cc.acm.org\/2024\/wp-content\/uploads\/2023\/10\/ACMCC_2024_Pictorials_WORD_Template.docx\"><span style=\"font-weight: 400;\">C&amp;C 2024 Word Template (.docx)<\/span><\/a><\/p>\n<p><a href=\"https:\/\/cc.acm.org\/2024\/wp-content\/uploads\/2023\/10\/ACMCC_2024_Pictorials_PowerPoint_Template.pptx\"><span style=\"font-weight: 400;\">C&amp;C 2024 PowerPoint Template (.pptx)<\/span><\/a><\/p>\n<p><span style=\"font-weight: 400;\">Many thanks to Sabrina Hauser for her work on these templates over the years.<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>Anonymization Policy<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">All pictorials must be anonymized for review. Author and affiliation sections and credits must be left blank. Authors of accepted submissions will add this information in preparation of the \u201ccamera-ready\u201d version. We are using the <\/span><a href=\"https:\/\/chi2022.acm.org\/for-authors\/presenting\/papers\/chi-anonymization-policy\/\"><span style=\"font-weight: 400;\">ACM CHI Anonymization Policy<\/span><\/a><span style=\"font-weight: 400;\"> of blind reviewing. We use a relaxed model that does not attempt to conceal all traces of identity from the body of the pictorial.&nbsp;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Authors are expected to remove author and institutional identities from the title and header areas of the pictorial, as noted in the submission instructions (Note: changing the text color of the author information is not sufficient). Make sure that no description that can easily reveal authors\u2019 names and\/or affiliations is included in the submission (e.g., too detailed descriptions of where user studies were conducted). Authors should also remove any information in the acknowledgements section that reveals authors or the institution (e.g., specific supporting grant information). Also, please make sure that identifying information does not appear in the document\u2019s meta-data (e.g., the \u2018Authors\u2019 field in your word processor\u2019s \u2018Save As\u2019 dialog box). In addition, we require that the acknowledgments section be left blank as it could also easily identify the authors and\/or their institution.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Further suppression of identity in the body of the pictorial is left to the authors\u2019 discretion. We do expect that authors do not anonymize citations to their previous work so that reviewers can ensure that all previous research has been taken into account by the authors. However, authors are required to cite their own work in the third person, e.g., avoid \u201cAs described in our previous work [10], \u2026 \u201d and use instead \u201cAs described by Jones et al. [10], \u2026\u201d<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>Important Notes on Format \u2013 Please Read Carefully<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">Pictorials must be submitted as camera ready as these will not be managed by the standard TAPS or other existing systems, and only minor changes (typos, postscript errors etc.) may be made after acceptance.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">For a pictorial submission, it is important to recognize that the image should be centered and celebrated: we are positioned to make the most of the visual image and its inherent storytelling. This is not to say that text is discouraged, but the primary aim of this format is to provide a venue for researchers and practitioners whose outputs may not fit the traditional \u201cmode\u201d of textual paper outputs. In essence \u2013 we are de-centering text.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">For your pictorial submission, please only use the three formats we offer here (InDesign, Word and Powerpoint) \u2013 otherwise your pictorial may not be considered. Other programs can make editing difficult and file size can become a problem (e.g. Figma). <\/span><b><i>If you have valid reasons why these formats are not possible, please contact the chairs in advance to discuss alternatives.<\/i><\/b><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>Important Note on Accessibility<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">Although the general instructions for ACM papers have changed over the years, 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 \u201cEnable Accessibility and Reflow with tagged Adobe PDF\u201d is checked when you create your PDF submissions file. Please be sure that all images have correct associated Alt Text. Please see:<\/span><\/p>\n<p><strong>Instructions for InDesign <\/strong><\/p>\n<p><span style=\"font-weight: 400;\">(<\/span><a href=\"https:\/\/www.adobe.com\/accessibility\/products\/indesign\/alt-text.html\"><span style=\"font-weight: 400;\">https:\/\/www.adobe.com\/accessibility\/products\/indesign\/alt-text.html<\/span><\/a><span style=\"font-weight: 400;\">)<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><strong>Instructions for Word or PowerPoint<\/strong><\/span><\/p>\n<p><span style=\"font-weight: 400;\">(<\/span><a href=\"https:\/\/support.microsoft.com\/en-us\/office\/add-alternative-text-to-a-shape-picture-chart-smartart-graphic-or-other-object-44989b2a-903c-4d9a-b742-6a75b451c669\"><span style=\"font-weight: 400;\">https:\/\/support.microsoft.com\/en-us\/office\/add-alternative-text-to-a-shape-picture-chart-smartart-graphic-or-other-object-44989b2a-903c-4d9a-b742-6a75b451c669<\/span><\/a><span style=\"font-weight: 400;\">)<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>Where to Submit<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">Please submit via the Precision Conference (PCS) website below:<\/span><\/p>\n<p><a href=\"https:\/\/new.precisionconference.com\/submissions\"><span style=\"font-weight: 400;\">https:\/\/new.precisionconference.com\/submissions<\/span><span style=\"font-weight: 400;\"><br><\/span><\/a><\/p>\n<p><span style=\"font-weight: 400;\">Once you have logged into the PCS website, select the following options (which will become available early next year) under \u201cSubmissions\u201d and click the Go button.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Society: SIGCHI<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Conference\/Journal: Creativity &amp; Cognition 2024<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Track: Creativity &amp; Cognition 2024 Pictorials<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>Review and Selection<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">Double blind-review submissions are juried by the C&amp;C Pictorials program committee, recruited from academia and industry by the chairs of the venue. Accepted C&amp;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.<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>Questions<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">pictorials2024@cc.acm.org<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>Additional Information<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">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.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Like full papers, the possibilities of content and approach for pictorials are broad. They may be a reporting of\u2014for example\u2014research through 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\u2014broadly defined\u2014to the field, rather than approach.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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 consists mostly of quotes from others, your pictorial must not rely too much 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.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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.<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>What to Submit<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">We welcome submissions related to understanding human creativity in its many manifestations as well as the conference theme of Creative Organic Spaces.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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.<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>Awards<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">This CFP is modeled after texts designed by previous Pictorials chairs, both specifically for C&amp;C 2017, 2019, 2021, and 2023, as well as more generally those used for DIS 2014, 2016, 2017, 2018, &amp; 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, 2021, and 2023.<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>Previous Creativity and Cognition Pictorials<\/b><\/h3>\n<p><strong><i>Pictorials from C&amp;C 2023 Examples:<\/i><\/strong><\/p>\n<p><span style=\"font-weight: 400;\">Kelly Homan, Robert Sproull, and David Smith. 2023. Organic Abstractions: An Exploration of Space Through Multiple Mediums. In Creativity and Cognition (C&amp;C &#8217;23). Association for Computing Machinery, New York, NY, USA, 429\u2013440. https:\/\/doi.org\/10.1145\/3591196.3593368<\/span><\/p>\n<p><span style=\"font-weight: 400;\">L\u00e9a Paymal and Sarah Fdili Alaoui. 2023. Physicalizing loops. In Creativity and Cognition (C&amp;C &#8217;23). Association for Computing Machinery, New York, NY, USA, 465\u2013477. https:\/\/doi.org\/10.1145\/3591196.3593365<\/span><\/p>\n<p><strong><i>Pictorials from C&amp;C 2022 Examples:<\/i><\/strong><\/p>\n<p><span style=\"font-weight: 400;\">Mafalda Gamboa. 2022. Conversations with Myself: Sketching Workshop Experiences in Design Epistemology. In Creativity and Cognition (C&amp;C &#8217;22). Association for Computing Machinery, New York, NY, USA, 71\u201382. https:\/\/doi.org\/10.1145\/3527927.3531450<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Gopinaath Kannabiran and Anuradha Venugopal Reddy. 2022. Exploring Kolam As An Ecofeminist Computational Art Practice. In Creativity and Cognition (C&amp;C &#8217;22). Association for Computing Machinery, New York, NY, USA, 336\u2013349. https:\/\/doi.org\/10.1145\/3527927.3531452<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Makayla Lewis, Mauro Toselli, Ruth Baker, Julia R\u00e9dei, and Claire Elisabeth Ohlenschlager. 2022. Portraying What is in Front of You: Virtual Tours and Online Whiteboards to Facilitate Art Practice during the COVID-19 Pandemic. In Creativity and Cognition (C&amp;C &#8217;22). Association for Computing Machinery, New York, NY, USA, 350\u2013363. https:\/\/doi.org\/10.1145\/3527927.3531455<\/span><\/p>\n<p><strong><i>Pictorials from C&amp;C 2021 Examples:<\/i><\/strong><\/p>\n<p><span style=\"font-weight: 400;\">Paulina Yurman. 2021. Fluid Speculations: Drawing Artefacts in Watercolour as Experimentation in Research Through Design. In Creativity and Cognition (C&amp;C \u201921). Association for Computing Machinery, New York, NY, USA, Article 38, 1. DOI: https:\/\/doi.org\/10.1145\/3450741.3466777<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Jie Qi, Natalie Freed, Tiffany Tseng, Fay Shaw, Barbara Liedahl, Becca Rose Glowacki, and Yoshihiro Kawahara. 2021. Exquisite Circuits: Collaborative Electronics Design through Drawing Games. In Creativity and Cognition (C&amp;C \u201921). Association for Computing Machinery, New York, NY, USA, Article 18, 1. DOI: https:\/\/doi.org\/10.1145\/3450741.3466776<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Miriam Sturdee, Makayla Lewis, Angelika Strohmayer, Katta Spiel, Nantia Koulidou, Sarah Fdili Alaoui, and Josh Urban Davis. 2021. A Plurality of Practices: Artistic Narratives in HCI Research. In Creativity and Cognition (C&amp;C \u201921). Association for Computing Machinery, New York, NY, USA, Article 35, 1. DOI: https:\/\/doi.org\/10.1145\/3450741.3466771<\/span><\/p>\n<p><strong><i>Pictorials from C&amp;C 2019 Examples:<\/i><\/strong><\/p>\n<p><span style=\"font-weight: 400;\">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&amp;C \u201919). Association for Computing Machinery, New York, NY, USA, 333\u2013345. DOI: https:\/\/doi.org\/10.1145\/3325480.3326569<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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&amp;C \u201919). Association for Computing Machinery, New York, NY, USA, 319\u2013332. DOI: https:\/\/doi.org\/10.1145\/3325480.3326570<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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&amp;C \u201919). Association for Computing Machinery, New York, NY, USA, 15\u201328. DOI: https:\/\/doi.org\/10.1145\/3325480.3326567<\/span><\/p>\n<p><strong><i>Pictorials from C&amp;C 2017 Examples:<\/i><\/strong><\/p>\n<p><span style=\"font-weight: 400;\">Eli Blevis. 2017. Qualities of Focus. In Proceedings of the 2017 ACM SIGCHI Conference on Creativity and Cognition (C&amp;C \u201817). ACM, New York, NY, USA, 309-322. DOI: https:\/\/doi.org\/10.1145\/3059454.3059485<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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&amp;C \u201817). ACM, New York, NY, USA, 323-335. DOI: https:\/\/doi.org\/10.1145\/3059454.3059488<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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&amp;C \u201817). ACM, New York, NY, USA, 2-14. DOI: https:\/\/doi.org\/10.1145\/3059454.3059487<\/span><\/p>\n<p><strong><i>Pictorials that have won Awards at any ACM venue examples:<\/i><\/strong><\/p>\n<p><span style=\"font-weight: 400;\">Eli Blevis. 2014. Stillness and motion, meaning and form. In Proceedings of the 2014 conference on Designing interactive systems (DIS \u201814). ACM, New York, NY, USA, 493-502. DOI: https:\/\/doi.org\/10.1145\/2598510.2602963<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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 \u201816). ACM, New York, NY, USA, 360-376. DOI: https:\/\/doi.org\/10.1145\/2901790.2901910<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Elvin Karana, Elisa Giaccardi, Niels Stamhuis, and Jasper Goossensen. 2016. The Tuning of Materials: A Designer\u2019s Journey. In Proceedings of the 2016 ACM Conference on Designing Interactive Systems (DIS \u201816). ACM, New York, NY, USA, 619-631. DOI: https:\/\/doi.org\/10.1145\/2901790.2901909<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Heather McKinnon. 2016. Finding Design Value in Modern Mundanity. In Proceedings of the 2016 ACM Conference on Designing Interactive Systems (DIS \u201816). ACM, New York, NY, USA, 1059-1071. DOI: https:\/\/doi.org\/10.1145\/2901790.2901906<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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 \u201816). ACM, New York, NY, USA, 334-346. DOI: https:\/\/doi.org\/10.1145\/2901790.2901904<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Pauline Gourlet and Thierry Dass\u00e9. 2017. Cairn: A Tangible Apparatus for Situated Data Collection, Visualization and Analysis. In Proceedings of the 2017 Conference on Designing Interactive Systems (DIS \u201817). ACM, New York, NY, USA, 247-258. DOI: https:\/\/doi.org\/10.1145\/3064663.3064794<\/span><\/p>\n<p><span style=\"font-weight: 400;\">James Pierce and Carl DiSalvo. 2017. Dark Clouds, Io&amp;#!+, and [Crystal Ball Emoji]: Projecting Network Anxieties with Alternative Design Metaphors. In Proceedings of the 2017 Conference on Designing Interactive Systems (DIS \u201817). ACM, New York, NY, USA, 1383-1393. DOI: https:\/\/doi.org\/10.1145\/3064663.3064795<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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 \u201918). ACM, New York, NY, USA, 459-471. DOI: https:\/\/doi.org\/10.1145\/3196709.3196745<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Cl\u00e1udia 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\u2019s Perceptions and Design Suggestions. In Proceedings of the 2019 on Creativity and Cognition (C&amp;C \u201919). Association for Computing Machinery, New York, NY, USA, 382\u2013395. DOI: https:\/\/doi.org\/10.1145\/3325480.3326568&nbsp;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Clement Zheng, HyunJoo Oh, Laura Devendorf, and Ellen Yi-Luen Do. 2019. Sensing Kirigami. In Proceedings of the 2019 on Designing<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Interactive Systems Conference (DIS \u201919). Association for Computing Machinery, New York, NY, USA, 921\u2013934. DOI: https:\/\/doi.org\/10.1145\/3322276.3323689<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Cl\u00e1udia Silva, Catia Prandi, Marta Ferreira, Valentina Nisi, and Nuno Jardim Nunes. 2019. See the World Through the Eyes of a Child: Learning from children\u2019s cognitive maps for the design of child-targeted locative systems. In Proceedings of the 2019 on Designing Interactive Systems Conference (DIS \u201919). Association for Computing Machinery, New York, NY, USA, 763\u2013776. DOI: https:\/\/doi.org\/10.1145\/3322276.3323700<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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 \u201919). Association for Computing Machinery, New York, NY, USA, 553\u2013565. DOI: https:\/\/doi.org\/10.1145\/3322276.3323692<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Vasiliki Tsaknaki, Madeline Balaam, Anna St\u00e5hl, Pedro Sanches, Charles Windlin, Pavel Karpashevich, and Kristina H\u00f6\u00f6k. 2019. Teaching Soma Design. In Proceedings of the 2019 on Designing Interactive Systems Conference (DIS \u201919). Association for Computing Machinery, New York, NY, USA, 1237\u20131249. DOI: https:\/\/doi.org\/10.1145\/3322276.3322327<\/span><\/p>\n<h3>A Historical Note and Acknowledgements<\/h3>\n<p><span style=\"font-weight: 400;\">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:<\/span><\/p>\n<p><span style=\"font-weight: 400;\">John Bowers. 2012. The logic of annotated portfolios: communicating the value of \u201cresearch through design.\u201d In Proceedings of<\/span><\/p>\n<p><span style=\"font-weight: 400;\">the Designing Interactive Systems Conference (DIS \u201912). Association for Computing Machinery, New York, NY, USA, 68\u201377. DOI: https:\/\/doi.org\/10.1145\/2317956.2317968<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Eli Blevis, Elizabeth Churchill, William Odom, James Pierce, David Roedl, and Ron Wakkary. 2012. Visual thinking &amp; digital imagery. In CHI \u201912 Extended Abstracts on Human Factors in Computing Systems (CHI EA \u201912). Association for Computing Machinery, New York, NY, USA, 2715\u20132718. DOI: https:\/\/doi.org\/10.1145\/2212776.2212703<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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\u201365. DOI: https:\/\/doi.org\/10.1145\/2008176.2008190<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Bill Gaver and John Bowers. 2012. Annotated portfolios. interactions 19, 4 (July 2012), 40\u201349. DOI: https:\/\/doi.org\/10.1145\/2212877.2212889<\/span><\/p>\n<p><span style=\"font-weight: 400;\">William Gaver. 2011. Making spaces: how design workbooks work. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (CHI \u201911). Association for Computing Machinery, New York, NY, USA, 1551\u20131560. DOI: https:\/\/doi.org\/10.1145\/1978942.1979169<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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 \u201912). Association for Computing Machinery, New York, NY, USA, 11\u201320. DOI: https:\/\/doi.org\/10.1145\/2399016.2399019<\/span><\/p>\n<h3><b>The early history of pictorials is documented in:<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">Eli Blevis, Sabrina Hauser, and William Odom. 2015. Sharing the hidden treasure in pictorials. interactions 22, 3 (April 2015), 32\u201343. DOI: https:\/\/doi.org\/10.1145\/2755534<\/span><\/p>\n<p><span style=\"font-weight: 400;\">We thank others who have co-chaired the pictorials track at Creativity and Cognition conferences, namely Eli Blevis (2020, 2021) 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).<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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:<\/span><\/p>\n<p><span style=\"font-weight: 400;\">C&amp;C 2017, 2019, 2021, 2022<\/span><\/p>\n<p><span style=\"font-weight: 400;\">DIS 2014 to 2019<\/span><\/p>\n<p><span style=\"font-weight: 400;\">TEI 2020<\/span><\/p>\n<h3>&nbsp;<\/h3>\n<h3><b>Publications Policy<\/b><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">By submitting your article to an ACM Publication, you are hereby acknowledging that you and your co-authors are subject to all ACM Publications Policies, including ACM&#8217;s new Publications Policy on Research Involving Human Participants and Subjects. Alleged violations of this policy or any ACM Publications Policy will be investigated by ACM and may result in a full retraction of your paper, in addition to other potential penalties, as per ACM Publications Policy. <\/span><a href=\"https:\/\/www.acm.org\/publications\/policies\/research-involving-human-participants-and-subjects\"><span style=\"font-weight: 400;\">https:\/\/www.acm.org\/publications\/policies\/research-involving-human-participants-and-subjects<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Please ensure that you and your co-authors obtain an <\/span><a href=\"https:\/\/orcid.org\/\"><span style=\"font-weight: 400;\">ORCID ID<\/span><\/a><span style=\"font-weight: 400;\">, so you can complete the publishing process for your accepted paper. ACM has been involved in ORCID from the start and we have recently made a commitment to collect ORCID IDs from all of our published authors. The collection process has started and will roll out as a requirement throughout 2022. We are committed to improve author discoverability, ensure proper attribution and contribute to ongoing community efforts around name normalization; your ORCID ID will help in these efforts.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">At least one author of an accepted pictorial must register for the conference and present the work at the conference. Otherwise, the pictorial will not be published in the ACM digital library.&nbsp;<\/span><\/li>\n<\/ul>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-d3f9175 elementor-widget elementor-widget-text-editor\" data-id=\"d3f9175\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-text-editor elementor-clearfix\">\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>2024 Call for Pictorials Important Dates Title and Abstract submission deadline: January 22, 2024 11:59 p.m.&nbsp; Pictorials submission deadline: January 29, 2024 11:59 p.m. Notifications: April 1, 2024 11:59 p.m.&nbsp; Camera-ready completion deadline: April 22, 2024 11:59 p.m.&nbsp; Deadlines specified as Anywhere on Earth time. &nbsp; Pictorial Chairs Joep Frens, Eindhoven University of Technology Alwin&hellip;&nbsp;<a href=\"https:\/\/cc.acm.org\/2024\/pictorials\/\" class=\"\" rel=\"bookmark\">Read More &raquo;<span class=\"screen-reader-text\">Pictorials<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"neve_meta_sidebar":"full-width","neve_meta_container":"","neve_meta_enable_content_width":"on","neve_meta_content_width":100,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","_themeisle_gutenberg_block_has_review":false,"_ti_tpc_template_sync":false,"_ti_tpc_template_id":""},"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/cc.acm.org\/2024\/wp-json\/wp\/v2\/pages\/80"}],"collection":[{"href":"https:\/\/cc.acm.org\/2024\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/cc.acm.org\/2024\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/cc.acm.org\/2024\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/cc.acm.org\/2024\/wp-json\/wp\/v2\/comments?post=80"}],"version-history":[{"count":229,"href":"https:\/\/cc.acm.org\/2024\/wp-json\/wp\/v2\/pages\/80\/revisions"}],"predecessor-version":[{"id":5705,"href":"https:\/\/cc.acm.org\/2024\/wp-json\/wp\/v2\/pages\/80\/revisions\/5705"}],"wp:attachment":[{"href":"https:\/\/cc.acm.org\/2024\/wp-json\/wp\/v2\/media?parent=80"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}