Pd-announce January 2014

pd-announce@lists.iem.at

9 participants
10 discussions

Dancing with Laptops
by eldad tsabary 28 Jan '14

28 Jan '14

Dancing with Laptops is a conversation between sonic gestures (generated on laptops) and physical movement. It is a performance where dancers don’t just dance to the music, but drive it like a passionate orchestra conductor. Who: Concordia Laptop Orchestra (CLOrk) & Le Collab'Art de Stéph B Location: Concordia's John Molson building, 1450 Guy Street, 7th floor, room MB 7.265 (BlackBox) Date: January 30th, 2014 (Chinese New Year) Time: 8PM Admission: Free, volunteers are welcome https://www.facebook.com/events/610658695650590/ This collaboration between Concordia Laptop Orchestra (CLOrk) and Collab'Art de Stéph B is part of a research/creation project designed to discover ways for creating an improvisatory dialogue between art forms. Le Collab'Art will be presenting an evening-long performance May 16th and 17th, at Théatre Aux Écuries. Artists: Dancers: Stéphanie Bernard, Claudine Dubé, Émilie Morin Concordia Laptop Orchestra, Marcus Aterman, Aidan Charlton, Kevin Cogen, Mariana Costa De Hutten Czapski, Daniel Dixon, Malcolm Duncan, Matthew Hills, Simon Lacelle, David Macri, Andrew McConnell, Patrick McDowall, Wesley Moran, Perrin Moss, Joseph Najm, Keith Odell, Michael Palumbo, David Russell, Evan Stepanian, Stephen Trepanier, Simon White, Vanessa Zaurrini, Peter van Haaften, Eldad Tsabary Light designer: Josée Fontaine Rubis Audio and logistics: Regy Guzman Video: Alex Metcalfe and Jamie Woollard Special thanks to Michael Montanaro & the Contemporary Dance Department for their support. Eldad

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Immersive biophysical concert - ICT & ART Connect London
by Marco Donnarumma 18 Jan '14

18 Jan '14

Hi all, tonight I'll be performing the piece Ominous, an incarnated sound sculpture for the Xth Sense biophysical technology. The piece immerses the audience in a circular quadraphonic setup for 4 subwoofers and light. http://marcodonnarumma.com/works/ominous/ The performance is organised in occasion of the ICT & Art Connect West London event. Among the other artists Stanza, Kate Sicchio and Jason Singh. Below info about this EU-funded event. Let me know if you're around tonight. The event goes tomorrow as well, with a interesting initiatives. http://www.ict-art-connect.eu/event/ict-art-connect-london-west/ "ICT & ART Connect sets out to bring together artists and technologists to explore new ways of working. Collaborative acts of co-creation, together with an open and multidisciplinary discussion, will foster the bringing together of art and technology. The initiative stems from the EU FP7 funded support action FET-ART, addressing the FET (Future Emerging Technologies) objective of the FP7 ICT Theme. The project partnership includes Sigma Orionis (coordinator), Brunel University, Stichting Waag Society, Stromatolite and BCC." best wishes, -- Marco Donnarumma New Media + Sonic Arts Practitioner, Performer, Teacher, Director. Embodied Audio-Visual Interaction Research Team. Department of Computing, Goldsmiths University of London ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Portfolio: http://marcodonnarumma.com Research: http://res.marcodonnarumma.com Director: http://www.liveperformersmeeting.net

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Talks at Argos Brussels + Oxford Museum of Natural History
by Rorschach Audio 15 Jan '14

15 Jan '14

[image: Inline image 1] 7.30pm - Thurs 13 Feb 2014 Argos [centre for art and media] Werfstraat 13 rue du Chantier 1000 Brussels Belgium http://tinyurl.com/nk74kaw + http://tinyurl.com/lrvp8bp 7.00pm - Tues 8 April 2014 Café Scientifique Oxford University Museum of Natural History Parks Road Oxford OX1 3PW http://tinyurl.com/ld854fm Author and sound artist Joe Banks argues in his book "Rorschach Audio - Art & Illusion for Sound" that "the earliest form of sound recording technology was not a machine but was written language". The "Rorschach Audio" presentation explores relationships between recording techniques and mechanisms of aural and visual perception, demonstrating fascinating and sometimes bizarre psychoacoustic and optical illusions. The lecture proposes a critique of allegedly supernatural Electronic Voice Phenomena (ghost-voice) research in context of contemporary sonic art, tracing the illusions involved as far back as the artist generally recognised as the most important figure in the history of Western art, and emphasising the role that relatively little-known wartime intelligence work with sound had on what is arguably the most important work of visual arts theory ever published.

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application deadline approaching: the MS and PhD degrees in music technology at Georgia Tech
by Jason Freeman 15 Jan '14

15 Jan '14

[apologies for cross postings] Georgia Tech is now accepting applications for the MS and PhD programs in music technology for matriculation in August 2014. All PhD students, and a limited number of MS students, receive graduate research assistantships that cover tuition and pay a competitive monthly stipend. The deadline for applications is January 31, 2014. The MS in Music Technology is a two-year program that instills in students the theoretical foundation, technical skills, and creative aptitude to design the disruptive technologies that will enable new modes of music creation and consumption in a changing industry. Students take courses in areas such as music information retrieval, music perception and cognition, signal processing, interactive music, the history of electronic music, and technology ensemble. They also work closely with faculty on collaborative research projects and on their own MS project or thesis. Recent students in the program have worked and/or interned at companies such as Apple, Avid, Dolby, Bose, Gracenote, Rdio, Sennheiser, Ableton, Echo Nest, and Smule, and gone on to PhD studies. Applicants are expected to have an undergraduate degree in music, computing, engineering, or a related discipline, and they should possess both strong musical and technical skills. Students in the PhD program in Music Technology pursue individualized research agendas in close collaboration with faculty in areas such as interactive music, robotic musicianship, music information retrieval, digital signal processing, mobile music, network music, and music education, focusing on conducting and disseminating novel research with a broad impact. PhD students are also trained in research methods, teaching pedagogy, and an interdisciplinary minor field as they prepare for careers in academia, at industry research labs, or in their own startup companies. PhD applicants are expected to hold a Masters degree in music technology or from an allied field, such as computing, music, engineering, or media arts and sciences. All applicants must demonstrate mastery of core masters-level material covered in Music Technology, including music theory, performance, composition, and/or analysis; music information retrieval; digital signal processing and synthesis; interactive music systems design; and music cognition. Both the MS and PhD programs are housed within the School of Music at Georgia Tech, in close collaboration with the Georgia Tech Center for Music Technology (GTCMT). The GTCMT is an international center for creative and technological research in music, focusing on the development and deployment of innovative musical technologies that transform the ways in which we create and experience music. Its mission is to provide a collaborative framework for committed students, faculty, and researchers from all across campus to apply their musical, technological, and scientific creativity to the development of innovative artistic and technological artifacts. Core faculty in the music technology program include Gil Weinberg (robotic musicianship, mobile music, and sonification), Jason Freeman (participatory and collaborative systems, education, and composition), Alexander Lerch (music information retrieval and digital signal processing), Timothy Hsu (acoustics), Frank Clark (multimedia and network music), and Chris Moore (recording and production). More information on the MS program is at: http://www.music.gatech.edu/academics/graduate/overview More information on the PhD program is at: http://www.music.gatech.edu/academics/phd/overview More information on the GTCMT is at: http://www.gtcmt.gatech.edu To apply, please visit: http://www.gradadmiss.gatech.edu/apply/ To contact us, please visit: http://www.gtcmt.gatech.edu/contact_us

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2nd CfP, NIME 2014, International Conference on New Interfaces for Musical Expression June 30 - July 3, 2014
by Koray Tahiroğlu 14 Jan '14

14 Jan '14

Apologies for cross-postings, please distribute. Happy New Year! ******************************************************************************************* 14th International Conference on New Interfaces for Musical Expression (NIME) June 30 - July 3, 2014 Goldsmiths University of London London, UK web: www.nime2014.org facebook: https://www.facebook.com/NIME2014 twitter: #nime2014 ******************************************************************************************** 2nd CALL FOR PARTICIPATION On behalf of the NIME 2014 Committee, we would like to invite you to be part of the 14th international conference on New Interfaces for Musical Expression. We invite submission of new works in the following categories: • Papers and Posters • Workshops and Tutorials • Demonstrations Important dates • Scientific programme: Papers, Posters, Workshops, Tutorials and Demonstrations: Draft submission (mandatory): January 31, 2014 Final submission: February 7, 2014 Review notification: March 28, 2014 Camera-ready paper deadline: April 18, 2014 Links: - Paper templates and online submission system - Any request concerning your submissions, write to nime2014papers(a)goldsmithsdigital.com Note that only papers and demos submitted to NIME 2014 must be anonymized: authors are expected to remove author and institutional identities from the paper. If you are submitting a Workshop or Tutorial, proposals DO NOT need to be anonymized. N.B. Please note the new system in the scientific programme for mandatory draft submission followed by full submission. We have implemented this new system to address the perennial deadline extensions. This year, we will not offer extensions. The Draft Submission deadline corresponds to previous years’ submission deadline. On this date, the author must be registered on the online submission system and have submitted a full draft manuscript of their paper. You will then have one week (the time of prior years’ extensions) to make minor edits to your manuscript. SCIENTIFIC PROGRAMME CALL FOR PAPERS We welcome submissions of original research on scientific and artistic use of new interfaces for musical expression. A non-exhaustive list of NIME related topics is found below. This list is inclusive, and indicative. The thematic focus of this year’s edition is Liveness, and is described in the introduction above. We also encourage submissions that extend, stretch, or challenge the NIME topics and themes. Acceptance criteria: The paper under consideration must propose an original contribution to NIME research; it must cite prior related work and should demonstrate rigorous research methodology. There are three different paper submission categories: • Full paper (up to 6 pages in proceedings, longer oral presentation, optional demo) • Short paper/poster (up to 4 pages in proceedings, shorter oral presentation or poster, optional demo) • Demo paper (up to 2 pages in proceedings, demonstration) Submitted papers will be subject to a peer review process by an international expert committee. All accepted papers will be published in the conference proceedings, under an ISSN/ISBN reference, and will be archived online after the conference to be tracked by citation tools. A manuscript submitted for review cannot be already under review for publication elsewhere, or be submitted for a second review elsewhere while under review for NIME 2014. Authors of both full and short papers are greatly encouraged to submit a video in support of their paper. A video is mandatory for demonstration submission. Review process detailed here http://www.nime.org/nime2014#reviewprocesspapers A best paper award will be presented to the individual(s) judged by the scientific committee to have written the best paper appearing in the conference proceedings. CALL FOR WORKSHOPS We invite submissions for half-day (3 hours) or full-day (6 hours) workshops and tutorials. These can be targeted towards specialist techniques, platforms, hardware, software or pedagogical topics for the advancement of fellow NIME-ers and people with experience related to the topic. They can also be targeted towards visitors to the NIME community, novices/newbies, interested student participants, people from other fields, and members of the public getting to know the potential of NIME. Tutorial proposals should clearly indicate the audience and assumed knowledge of their intended participants to help us market to the appropriate audience. Workshops and tutorials can relate to, but are not limited to, the topics of the conference. This is a good opportunity to explore a specialized interest or interdisciplinary topic in depth with greater time for discourse, debate, and collaboration. TOPICS Core topics central to NIME include the following. In addition to submissions that address specific themes of this year’s edition of the conference, original contributions are encouraged in, but not limited to, the following topics: - Novel controllers and interfaces for musical expression - Novel musical instruments - Augmented/hyper instruments - Novel controllers for collaborative performance - Sensor and actuator technologies - Haptic and force feedback devices - Motion, gesture and music - Interfaces for dance and physical expression - Multimodal expressive interfaces - Interfaces for musical expression for hearing or visually impaired people - Interactive game music - NIME intersecting with game design - Robotic music - Mobile music technology and performance paradigms - Biological and bio-inspired systems - Musical mapping strategies - Interactive sound and multimedia installations - Musical human-computer interaction - Interaction design and software tools - Interface protocols and data formats - Sonic interaction design - Perceptual and cognitive issues - Performance analysis - Performance rendering and generative algorithms - Machine learning in musical performance - Experiences with novel interfaces in live performance and composition - Surveys of past work and stimulating ideas for future research - Historical studies in twentieth-century instrument design - Artistic, cultural, and social impact of NIME technology - Novel interfaces in music education and entertainment - Reports on student projects in the framework of NIME related courses - Practice-based research approaches/methodologies/criticism - User studies/evaluations of NIME - Language and state in live interaction - Musicianship of new musical interfaces ORGANIZING COMMITTEE General co-chairs Atau Tanaka (Goldsmiths) Rebecca Fiebrink (Goldsmiths) Scientific co-chairs Baptiste Caramiaux (Goldsmiths) Koray Tahiroğlu (Aalto University, Helsinki) Artistic co-chairs Sarah Nicolls (Brunel University) Adam Parkinson (Goldsmiths) Posters and demos co-chairs Marco Donnarumma (Goldsmiths) Alessandro Altavilla (Goldsmiths) Special Sessions co-chairs Marco Gillies (Goldsmiths) Alex McLean (University of Leeds) Jean-Baptiste Thiebaut (ROLI/Music Hackspace) Student Volunteer Coordinators Peter Mackenzie (Goldsmiths) Anna Weisling (Goldsmiths) Conference Producer Stephanie Horak (Goldsmiths) ------------------------------------- M.Koray Tahiroğlu Department of Media, Aalto University School of Arts, Design and Architecture http://sopi.media.taik.fi/ http://mlab.taik.fi/~korayt tel. +358 50 4088441

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[Call for Proposals] KEAMSAC2014 & Computer Music Journal Emille Vol. 12
by PyoungRyang Ko 13 Jan '14

13 Jan '14

Dear Sir and Madam, I would be very grateful to you if you could circulate the following announcement to all who may be interested. Please visit the following website for further information: http://keams.org/emille/ Sincerely yours, PyoungRyang Ko –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– [Call for Proposals] Korean Electro-Acoustic Music Society's 2014 Annual Conference & its Computer Music Journal, Emille Vol. 12 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– The Korean Electro-Acoustic Music Society's 2014 Annual Conference & its Computer Music Journal, Emille, present: Call for Proposals The Korean Electro-Acoustic Music Society (KEAMS) is pleased to announce a call for proposals for the 2014 KEAMS annual Conference and its journal Emille. KEAMS was formed to promote active research and discussion on electro-acoustic and computer music, and will hold the this year's conference during the Seoul International Computer Music Festival (SICMF 2014: http://www.computermusic.or.kr/) from October 6th to 9th, 2014. Selected papers from the conference will be published in Emille Vol. 12 (December, 2014). If you want your paper or workshop idea to be considered for the 2014 KEAMS Conference, please send an abstract or proposal (maximum of 2,000-characters including spaces) and curriculum vitae as PDF documents to <emille[at]keams.org>. Conference Language English Category of Topics For the KEAMS conference, the following topics are encouraged: a) Creative Encounters between Music and Science b) Multidisciplinary or Interdisciplinary Research (co-authors acceptable) c) Systematic Musicology (Computational Musicology, Computational Music Theory) d) Analysis of Electronic and Computer-based Music e) Sound Synthesis f) Music Psychology g) Instrumentation h) Development of electronically-extended Musical Instruments i) Music Software Engineering j) Artificial Musical Intelligence k) Computer-aided Composition/Analysis l) Automatic Composition m) Aesthetics etc. Important Dates - Deadline for Proposal Submission: February 5, 2014 - Notification of Acceptance of the Proposal: March 1, 2014 - Deadline for Paper Submission before Conference: August 31, 2014 - Conference: October 8-9, 2014 - Notification of Selected Paper for the Journal Emille: October 15, 2014 - Deadline for Final Paper Submission: November 10, 2014 SESSION FORMATS Each session will consist of up to four presentations. Each paper will be presented in person for about 25 minutes followed by ca. 5 minutes of discussion. If you want to give a keynote presentation, you will be given about 50 minutes to present, followed by ca. 10 minutes of discussion. Please include the word keynote in your submission if you are planning on applying for a keynote presentation. The length ofeach workshop will be about 90 minutes. Video conferencing over the Internet is also available. Your ideas are critical in making the conference and Emille enriching, important and substantial. We look forward to reviewing everyone's entry. As demonstrated by the following examples, participants may submit more than two proposals, making a whole presentation session or an additional workshop session: Example 1: Presentation Session Plan * Session Sample topic: Spatialization (4 x 30 min. = 25 min. presentation + 5 min. Q&A) Presentation 1 Spatialization methods using less than 8 channels Presentation 2 An overview of the design of a Loudspeaker Orchestra Presentation 3 Applications of Ambisonics and Spherical Acoustics Presentation 4 A proposal of multi-3D audio reproduction system for the multi-functional concert hall * You may submit several proposals without a session plan. Example 2: Workshop Session Plan ** Session Sample topic: Using controllers for composition and acoustic installations (3 X 90 min.) Workshop 1 Controllers using various sensors and Arduino Workshop 2 Use of Smartphones and Tablet PCs as controllers Workshop 3 Inter-application uses of Controllers (Using Processing to Control Csound, MaxMSP, PD and SuperCollider) ** You may submit a single proposal for a workshop. You also may submit multiple proposals for individual workshops without a session plan. Fees Thanks to funding from the Korean Arts Council, the registration fee and publication fee will be waived. It is also possible for students and non-experts in the fields mentioned above to submit proposals for the conference and the journal, Emille. All proposals will be screened by the program committee and selected solely based on the quality of the research and topic. Your ideas are critical in making the conference and Emille enriching, important and substantial. We look forward to reviewing everyone's entry. Emille, the Journal of the Korean Electro-Acoustic Music Society http://www.keams.org/emille/ Editorial Information Committee Chair / Editor in Chief Lymn, Young-Mee Lecturer of Computer Music and Music Theory at Hanyang University etc. Committee / Editor Ko, PyoungRyang Lecturer of Computer Music and Music Theory at Sookmyung Women's University and Kwangwoon University Committee / Editorial Board Breitenfeld, Roland Professor of Composition and Computer Music at Seoul National University Chang, Jaeho Professor of Music Technology at Korea National University of Arts Cho, Jinok Lecturer of Music Theory and Computer Music at Seoul National University, Chung-Ang University etc. Cho, Youngmi Lecturer of Computer Music & Music Theory at Pyeongtaek University etc. Dudas, Richard Professor of Composition and Computer Music at Hanyang University Eckert, Gerald Professor of Composition at Chung-Ang University Kang, Joong Hoon Lecturer of Composition and Computer Music at Yonsei University etc. Kim, Han Shin Lecturer of Computer Music at Seoul Institute of the Arts Kim, Jin-Ho Professor of Composition, Computer Music and Musicology at Andong National University Kim, Jun Professor of Musical Arts and Technology, Dongguk University Lee, Byung-moo Lecturer of Composition, Music Theory & Computer Music at Chugye University for the Arts etc. Lee, Gi Nyoung Professor of Composition at Dong-eui University Lee, Kyogu (2011-2012) Professor of Music Information Retrieval, Music DSP at Seoul National University Moon, Seong-Joon Professor of Composition and Computer Music at Chugye University for the Arts Nam, Unjung Professor of Computer Music at Baekseok Arts University Park, Joo Won Community College of Philadelphia Park, Tae Hong New York University Parks, Kevin Professor of Composition and Computer Music at the Catholic University of Daegu Shin, Seongah Professor of Composition at Keimyung University Sigman, Alexander Professor of Composition at Keimyung University Yeo, Woon Seung (2011-2013) Professor of Audio visual art, New Musical Interface, Mobile Orchestra and Music DSP at Korea Advanced Institute of Science and Technology (KAIST) Committee / Editorial Advisory Board Ahn, Doo-jin Professor of Composition at Hanseo University Hwang, Sung Ho Professor of Composition at Korea National University of Arts Lee, Donoung Professor of Composition at Seoul National University Cho, Wonhyong Linguist (Former Researcher at the National Institute of the Korean Language)

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CFP: International Workshop on Movement and Computing (MOCO14)
by Miles Thorogood 13 Jan '14

13 Jan '14

==================================================================== International Workshop on Movement and Computing (MOCO14) = Intersecting Art, Meaning, Cognition, and Technology June 16-17 2014, Paris, France Ircam - Centre Pompidou http://moco.ircam.fr ==================================================================== MOCO is the first International Workshop on movement and computing. MOCO aims to gather academics and practitioners interested in the computational study, modeling, representation, segmentation, recognition, classification, or generation of movement information. We welcome research that models movement, technology and computation, and is positioned within emerging interdisciplinary domains between art & science. We invite participants interested in exploring how movement experience can contribute to computational knowledge through movement modeling and representation. The workshop references the challenge of representing embodied movement knowledge within computational models, yet it also celebrates the inherent expression available within movement as a language. While human movement itself focuses on bodily experience, developing computational models for movement requires abstraction and representation of lived embodied cognition. Selecting appropriate models between movement and its rich personal and cultural meanings remains a challenge in movement interaction research. Many fields, including Interaction Design, HCI, Education and Machine Learning have been inspired by recent developments within Neuroscience validating the primacy of movement in cognitive development and human intelligence. This has spawned a growing interest in experiential principles of movement awareness and mindfulness, while simultaneously fueling the need for developing computational models that can describe movement intelligence with greater rigor. This conference seeks to explore an equal and richly nuanced epistemological partnership between movement experience and movement cognition and computational representation. MOCO will bring together people working in interdisciplinary intersections of Human Computer Interaction, Computer Graphics, Machine Learning, Artificial Intelligence, Robotics, Affective Computing, Cognitive Science, Neuroscience, Psychology, and Artists from Media Art, Choreography, Composition, Dance and Design. The workshop aims at promoting scientific and artistic collaborations within this inter-disciplinary boundary. It will offer opportunities to disseminate emerging research works through presentations, demonstrations, and group discussions. = Keynote Speakers ======================================= * David Kirsh, Professor at University of California San Diego * Norman Badler, Professor at University of Pennsylvania = Suggested Topics ======================================= * Expressive movement-based interaction * Machine learning for movement * Modeling movement qualities * Gestural control * Movement generation * Movement and sound interaction * Sensori-motor learning with audio/visual feedback * Embodied cognition and movement * Visualizing movement * Modeling kinaesthetic empathy * Somatic practice and design * Whole-body interaction * Expressive movement analysis and synthesis * Design for movement in digital art * Semantic models for movement representation * Laban Movement Studies and computation * Dance and neuroscience * Biosensing and movement * Movement expression in avatar, artificial agents, virtual humans or robots. * Music and movement = Participation to the workshop ======================================= The workshop is an opportunity to present a research or a collaborative work. Participants will have the possibility to make a presentation of the results of their research on one of the themes of the workshop, and to interact with their scientific, artistic peers, in a friendly and constructive environment. If you are interested in an oral presentation of your work with an optional demonstration, please submit a paper. = Submission date and format ======================================= Technical papers with optional demo deadline, 4 to 6 pages: 15th February 2014. Notification of acceptance: 16 March 2014. All submission will be peer-reviewed. Please use the ACM template (alternate style) for submissions: http://www.acm.org/sigs/publications/proceedings-templates All submissions must be done through EasyChair: https://www.easychair.org/conferences/?conf=moco14 = Venue ======================================= Ircam - Centre Pompidou, 1 Place Igor Stravinsky, 75004 Paris, France, http://www.ircam.fr MOCO14 will be co-located with the Manifeste Festival (http://manifeste2013.ircam.fr, 2014 website under construction) = Workshop Chairs ======================================= * Frederic Bevilacqua, Ircam, Paris, France * Sarah Fdili Alaoui, SIAT, SFU, Vancouver, Canada * Thecla Schiphorst, SIAT, SFU, Vancouver, Canada * Philippe Pasquier, SIAT, SFU, Vancouver, Canada * Jules FranÃ§oise, Ircam, Paris, France Contact email: moco14(a)easychair.org = Local Organization Commitee ======================================= Ircam - STMS joint research unit with CNRS and UniversitÃ© Pierre et Marie Curie - Paris * Sylvie Benoit, Ircam, Paris, France * Frederic Bevilacqua, Ircam, Paris, France * Eric Boyer, Ircam, Paris, France * Emmanuel FlÃ©ty, Ircam, Paris, France * Jules FranÃ§oise, Ircam, Paris, France * Norbert Schnell, Ircam, Paris, France * Diemo Schwarz, Ircam, Paris, France * Hugues Vinet, Ircam, Paris, France Displaying moco_cfp_txt.txt. ====

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fwd: en gros - en détail | snim open call for compositions | submission deadline Feb 21, 2014
by Michael Zacherl 10 Jan '14

10 Jan '14

snim – the spontaneous network for improvised music – is calling for new compositions for the festival `das kleine symposion`. The festival's 7th edition will take place at echoraum, Vienna, comprising three concerts in October 2014. For further details PLS see the attached PDF. Please forward to wherever you think it is appropriate! ** In case of questions PLS contact gabriele.drab(at)gmx.at **

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MSc, and PhD offers in generative audio/video art @ SFU
by Miles Thorogood 03 Jan '14

03 Jan '14

================================ Subject: MSc, and PhD offers in generative audio/video art @ SFU. == MSc, and PhD offers in generative audio/video art @ SFU. The Advanced Media Research Group (AMRG) at the School of Interactive Arts and Technology (SIAT) at Simon Fraser University (SFU) in Canada has up to 4 graduate fellowships available for masters and/or doctoral students with one or more of the following interests and expertise: Film and new media theory and practice Interactive narrative systems (design and analysis) Generative systems for music, sound and video Video and audio digital signal processing and multimedia programming Besides being familiar with computer music tools, 3 and 4 assume a background in Computer Science, Machine Learning, and DSP. The Advanced Media Research Group is an interdisciplinary research group including members from the fields of humanities, computer science, music and cognitive science whose work focuses on video art, new media theory and analysis, artificial intelligence, computer graphics, meta-creation, computational systems for creative applications, music composition, and soundscape design. AMRG has embarked on an ambitious research-creation project funded by SSHRC to investigate and design systems to generate real-time audio/video experiences that demonstrate artistic value and increasing semantic coherence. The video functionality relies upon a “recombinant” generative design (tagging and shuffling of existing video clips). The senior research team for the project includes: Jim Bizzocchi [http://www.sfu.ca/siat/people/faculty/jim-bizzocchi.html] Tom Calvert [http://www.sfu.ca/siat/people/faculty/tom-calvert.html] Arne Eigenfeldt [http://www.sfu.ca/~eigenfel/arne/main.html] Philippe Pasquier [http://www.sfu.ca/siat/people/faculty/philippe-pasquier.html] We invite those interested to submit applications to the graduate program at SIAT (MA, MS, PhD). The application deadline is January 30th, 2014 (for entry September 2014). Full information about the application requirements and process can be found at: http://www.sfu.ca/siat/grad/admissions.html Indicate in the cover letter to your application that you are interested in working with the Advanced Media Research Group. Questions about the Advanced Media Research Group or the research-creation project can be directed to Justine Bizzocchi (Justine(a)sfu.ca) Regards, -- Philippe Pasquier ------------------------------------------------------------ Associate Professor, Graduate Program Chair, School of Interactive Arts and Technology, Email: pasquier(a)sfu.ca | Skype: pasquierphilippe http://www.sfu.ca/pasquier | http://www.metacreation.net --------------------------------------------------------------- ==============================================

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PuREST JSON 1.0.0 and 1.0.0-json-c-0.10 released
by Thomas Mayer 03 Jan '14

03 Jan '14

Hello, I am happy to announce the release of PuREST JSON 1.0.0, code name: Pendulum, as well as the version 1.0.0-json-c-0.10, code name: Ye Olde Pendulum. PuREST JSON is a library for working with RESTful HTTP webservices, and JSON data. Authentication and authorization for webservices are available with basic HTTP auth, cookie authentication, and OAuth. As an example for OAuth authenticated webservices, a Twitter client is included. Changes since 0.15.0: - Info for users while loading object - Two releases for different versions of json-c - Bug fixes in [json-encode]: -- array handling -- number handling Github repository: https://github.com/residuum/PuRestJson Source code packages: https://github.com/residuum/PuRestJson/releases Full documentation: https://github.com/residuum/PuRestJson/wiki Binaries for Windows and Debian i386 and amd64: http://ix.residuum.org/pd/purest_json.html Build instructions for all platforms: https://github.com/residuum/PuRestJson/wiki/Compilation Have fun, Thomas -- "Ich komme aus dem Staunen nicht heraus." "Dann bleib halt drin, du Seppel" (Dietmar Dath - Die Abschaffung der Arten) http://www.residuum.org/

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Pd-announce January 2014