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ICCC&#39;21

ML Design for Creative Pursuits

magenta

generative models

#### Welcome to the 62nd IEEE International Reliability Physics Symposium (IRPS)! 
**The 2024 IEEE International Reliability Physics Symposium (IRPS) was held in Dallas, Texas from April 14 to 18, 2024.** 

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[![](https://assets.underline.io/uploads/markdown_image/1/image/acae953ba70ae2a57eed7b0250d6dd7d.png)](https://www.irps.org/)
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**[IRPS 2024 eGuide](https://drive.google.com/file/d/1DHxkWbafodK_D2HlDi7lwRK7KatgBgBD/view?usp=drive_link)** 
Please save the zip file locally and click the "start.pdf" to view the file. 
 
**IRPS 2024 General Chair Welcome Message**

On behalf of the Management Committee of the IEEE International Reliability Physics Symposium (IRPS) and the IRPS Board of Directors, it gives me great pleasure to extend a warm welcome to all who are planning to attend the IRPS 2024, scheduled to take place from April 14-18, 2024, in Dallas, TX. 
Over its 62-year history, IRPS has solidified its position as the premiere conference for engineers and scientists to present new and original work in the field of microelectronics reliability. Drawing participants from the United States, Europe, Asia, and other parts of the world, IRPS aims to deepen our understanding of reliability of semiconductor devices, integrated circuits, and microelectronic assemblies through an improved understanding of both the physics of failure as well as the application environment. IRPS offers diverse opportunities for attendees to enhance their knowledge and understanding of all aspects of microelectronics reliability. It is also an outstanding chance to meet and network with reliability colleagues from around the world.

The IRPS 2024 technical activities will begin with two days of a total of twenty tutorial sessions covering a broad spectrum of emerging reliability topics beyond CMOS device, circuit and system reliability. These sessions are devoted to both newcomers as well as experts. Three reliability Year in Review (YIR) talks focusing on neuromorphic computing, dielectric breakdown in leading edge devices, and GaN technology will be provided on Monday after the tutorials.

The IRPS 2024 technical program will feature four distinguished keynote talks in the plenary sessions delivered by Prof. Shinichi Takagi from The University of Tokyo and Dr. Su Jin Ahn from Samsung on Tuesday, Dr. Rajeev Malik from IBM on Wednesday, and Dr. Sameer Pendharkar from Texas Instruments on Thursday. The technical program, organized into three parallel tracks, consists of contributed and seventeen invited papers from leaders in industry and academia. Additionally, two invited talks by recipients of paper awards from our sister conferences, European Symposium on Reliability of Electron Device Failure Physics and Analysis (ESREF) 2023 and the International Integrated Reliability Workshop (IIRW) 2023, will be given in the technical program. 

Tuesday evening will host ten workshops, offering an opportunity for in-depth, face-to-face discussions on emerging reliability challenges, including the three IRPS 2024 focus topics. A poster session will be held in the Austin Ranch outside the symposium building on Wednesday evening. Both events are sure to be lively. The IRPS 2024 and the International ESD Workshop (IEW) will be co-hosted with IEW registrants participating in both IRPS and IEW programs.

The IRPS 2024 will adopt a hybrid conference style, allowing virtual access to live oral presentations hosted by the Underline. Real-time streaming of all technical events (excluding Workshops and Posters) will be available in the US Central Timezone, providing virtual attendees with Q&A opportunities. For those virtual attendees who cannot watch the live presentations, the material will be available on demand to all attendees after the symposium. All authors will be presenting in person.

Finally, I would like to extend my extreme gratitude to our patrons, exhibitors, and all participants for their invaluable support, which makes IRPS successful. 

Please enjoy the IRPS 2024!

Koji Eriguchi, General Chair 
of 2024 IRPS Management Committee
 
**About IRPS** 
The IEEE International Reliability Physics Symposium (IRPS) is the premiere conference for engineers and scientists to present new and original work in the area of microelectronics reliability. Drawing participants from the United States, Europe, Asia, and all parts of the world, IRPS seeks to understand the reliability of semiconductor devices, integrated circuits, and microelectronic assemblies through an improved understanding of both the physics of failure as well as the application environment. IRPS provides numerous opportunities for attendees to increase their knowledge and understanding of all aspects of microelectronics reliability, and to meet and network with reliability colleagues from around the world.

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IRPS 2024 Main Conference

The IEEE International Reliability Physics Symposium (IRPS) is the premiere conference for engineers and scientists to present new and original work in the area of microelectronics reliability. IRPS seeks to understand the reliability of semiconductor devices, integrated circuits, and microelectronic assemblies through an improved understanding of both the physics of failure as well as the application environment. 

technical paper

### **Welcome to the Twelfth International Conference on Computational Creativity, ICCC’21!**

<iframe width=1280 height=720 style="border:0;" scrolling="no" src="https://screencast-o-matic.com/player/crQbitV66dw?width=1280&height=720&ff=1&title=0" allowfullscreen="true"></iframe>

Computational creativity is an interdisciplinary endeavor that is located at the intersection of the fields of artificial intelligence, cognitive psychology, philosophy, social sciences and the arts. The goal of computational creativity is to model, simulate or replicate creativity using a computer, to achieve one of several ends:

* to construct a program or computer capable of showing some level of creativity
* to better understand human creativity and to formulate an algorithmic perspective on creative behavior in humans
* to design programs that can enhance human creativity without necessarily being creative themselves

 The ICCC conference series organized by the [**Association for Computational Creativity**](https://computationalcreativity.net/) since 2010 is the only scientific conference that focuses on computational creativity alone and also covers all aspects of it.

To access the Twelfth International Conference on Computational Creativity, ICCC’21, you need to register for the conference.  Instructions on how to access the event will be provided directly to attendees and included on the Twelfth International Conference on Computational Creativity, ICCC’21 conference website. 

[Register now](https://computationalcreativity.net/iccc21/registration/)

Register now

ICCC'21

Welcome to the Twelfth International Conference on Computational Creativity, ICCC’21!

In recent years computer simulations have proven to be useful in the study of the origin and evolution of com- munication. In this paper, we present a system that is able to evolve image-based communication protocols to transmit information. We trained an encoder and a de- coder in an architecture similar to a model of commu- nication where the generator transforms a message into an image and the decoder tries to reconstruct the origi- nal message. This way the two networks are stimulated to work together to establish some type of communica- tion. We used the GloVe word to vector dataset to generate images for concepts and took advantage of its linear properties to generate new concepts. We analyse the results by comparing images of similar concepts and demonstrated that our system is capable of creating sim- ilar images for related concepts, distancing itself from different concepts.

Towards a Visual Language Using Neural Networks

We present a Computational Creativity system based on Conceptual Blending theory. To obtain diverse output -- in the form of blend spaces -- it allows a trade-off in the optimisation process according to multiple criteria. It is handled by a high performance Multiple Objective Evolutionary Algorithm supporting a large Knowledge Base, large input spaces, a high number of mappings as well of frames, all in the range of millions of elements in their structures. Some of CB's Optimality Principles were adapted into objectives as well as new ideas we decided to investigate. Initial experiments allows us to conclude that the system exhibits a form of creativity and its output is capable of depict a simple drawing or a short story.

A Heavy Duty Computational Model of Conceptual Blending Using Multiple Objective Optimisation

Wölfflin Affective Generative Analysis (WAGA) as an approach to understand and analyze the progress of machine-generated artworks in contrast to real art and their connection to our human artistic heritage, and how they extend the shape of art history. Specifically, we studied the machine-generated art after integrating creativity losses in the state-of-the-art generative models e.g., StyleGAN v1 and v2. We denote these models as Style Creative Adversarial Networks v1 and v2; in short, StyleCAN v1 and v2. We contrasted the learned representation between real and generated artworks through correlation analysis between constructed emotion (collected through Amazon MTurk) and Heinrich Wölfflin (1846-1945)'s principles of art history. Analogous to the recent ArtEmis dataset, we collected constructed emotions and explanations on generated art instead of real art to study the contrast. To enable Wölfflin Affective Generative Analysis, we collected 45,000 annotations on 1800 artworks; 1000 real and 800 generated. Our analysis shows a correlation exists between the Wölfflin principles and the emotions.

Wölfflin's Affective Generative Analysis of Artworks

MuSyFI is a system that tries to model an inspirational computational creative process. It uses images as source of inspiration and begins by implementing a possible translation between visual and musical features. Three different musical artifacts are generated: an automatic version, a co-created version, and a genetic version. The automatic version maps features from the image into musical features nondeterministically; the co-created version adds harmony lines manually composed by us to the automatic version; finally, the genetic version applies a genetic algorithm to a mixed population of automatic and co-created artifacts. In this Demo, we present the three different versions for four of the six evaluated images in our surveys

MuSyFI - Music Synthesis From Images

SOVIA, an interactive system that endows Claude Monet’s art with responsive auditory experiences. SOVIA uses computer vision trained on Monet’s artwork to take the user ``into the painting.'' When the user interacts with a digital version of Monet's landscapes, their mouse positions are mapped to sounds that artistically represent the objects that the user is currently exploring in the art. These interactive musical journeys have the potential to make classical art more captivating for modern audiences.

SOVIA: Sonification of Visual Interactive Art

In this short paper, we reflect on the long quest for intelligence and creativity of computing machinery as well as the suitability for prevailing machine learning techniques to be used in creative tasks. We believe that modularization and multi-layered structures are among essential ingredients constituting creative minds and may greatly benefit machines on handling creative tasks. For proof of concept, we select musical composition, particularly, Species Counterpoint, as the task, adopt a recently proposed computational framework designed for investigating creativity and the creative process, and present an implementation capable of producing the outcomes that exhibit the desired effect.

In the Name of Creativity: En Route to Inspiring Machines

We present a proof-of-concept prototype aimed at providing a subjectivity touch to the production of creative artifacts. The underlying idea is to have a system in which the development of the artifact occurs concurrently with the dynamic formation of a personal identity, thus enriching the overall perception of creativity.

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