Pd-announce October 2016

pd-announce@lists.iem.at

5 participants
5 discussions

2017 Guthman Call for Submissions DEADLINE EXTENDED!
by Jason Freeman 20 Oct '16

20 Oct '16

[please forward and apologies for cross postings] View this email in your browser <http://us1.campaign-archive1.com/?u=04b200ded3d9fea3c916281c3&id=126a03ac93…> <http://www.guthman.gatech.edu/submissions?mc_cid=126a03ac93&mc_eid=[UNIQID]> 2017 Call for Submissions DEADLINE EXTENDED!!! Due to popular demand, the deadline for the Guthman Competition Submission has been extended to: November 1st, 2016 The Guthman Competition will take place March 8-9, 2017, at Georgia Tech's Ferst Center for the Arts, in Atlanta, Georgia. Approximately twenty semi-finalists will be invited to demonstrate, discuss, and perform with their instruments as they compete for $10,000 in cash prizes. Submit Your Instrument Here! <http://www.guthman.gatech.edu/2017submissions?mc_cid=126a03ac93&mc_eid=[UNI…> /////////////////////////////////////////////////// :::: This Year's Judges :::: Moog CEO MIKE ADAMS Professor ELAINE CHEW Performer DAEDELUS /////////////////////////////////////////////////// To learn more about the competition, visit guthman.gatech.edu <http://www.guthman.gatech.edu/?mc_cid=126a03ac93&mc_eid=[UNIQID]> or our Facebook page <https://www.facebook.com/guthmancompetition?mc_cid=126a03ac93&mc_eid=[UNIQI…>. We’d love to hear your comments! <https://www.facebook.com/guthmancompetition?mc_cid=126a03ac93&mc_eid=[UNIQI…> <http://www.guthman.gatech.edu/?mc_cid=126a03ac93&mc_eid=[UNIQID]> Copyright © 2016 GT Architecture, All rights reserved. You are receiving this email because you asked to be kept up to date on the events for Georgia Tech Music. Our mailing address is: GT Architecture 245 Fourth Street, Room 217 Atlanta, GA 30332-0155 Add us to your address book <http://gatech.us1.list-manage1.com/vcard?u=04b200ded3d9fea3c916281c3&id=276…> -- Regards, Tyler M. White Graduate Research Assistant of Music Technology Georgia Institute of Technology Email: tylermwhite2(a)gmail.com <mailto:tylermwhite2@gmail.com> / twhite35(a)gatech.edu <mailto:twhite35@gatech.edu> Mobile: 770-722-7964

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abl_link~ --- Ableton Link external for desktop Pd
by Peter Brinkmann 19 Oct '16

19 Oct '16

Hi everybody, I'm happy to announce the release of an Ableton Link external for desktop Pd. The new external is patch compatible with the previously released iOS version. It is available from deken; just search for abl_link~. Any feedback would be appreciated, especially about the accuracy of the external. The Ableton Link API expects latency information that is not readily available to externals on the desktop. For the initial release I basically just eyeballed it. It works well on my Mac, but results on other platforms may differ. I'm hoping to improve this in response to user feedback. The source code of both the desktop and the iOS version are now part of the pd-for-ios repository: https://github.com/libpd/pd-for-ios Many thanks to Matt Black, Ed Kelly, Chris Rice, and especially Antoine Rousseau for invaluable help and feedback! Cheers, Peter

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Sounding Out The Space Conference
by Kerry Hagan 18 Oct '16

18 Oct '16

SOUNDING OUT THE SPACE: AN INTERNATIONAL CONFERENCE ON THE SPATIALITY OF SOUND Date: 2–4 November 2017 Location: Dublin School of Creative Arts, DIT Grangegorman Campus Organisers: DIT Conservatory of Music and Drama, Dublin School of Creative Arts, GradCAM Partners: Contemporary Music Centre, Irish Sound Science and Technology Association, Lewis Glucksman Gallery, Society for Musicology in Ireland, Solstice Gallery, Spatial Music Collective Conference website: soundingout2017.com <http://soundingout2017.com/> Keynote Speakers: Brandon LaBelle – artist, writer and theorist (Bergan Academy of Art and Design) Bill Fontana – American artist and composer Sound is an inherently spatial phenomenon. No matter what its point of origin, be it a musical instrument, a voice, an audio speaker, or another sound-producing entity, sound must navigate space before reaching our ears. On this journey it enters into a complex relational dynamic with the surrounding environment: it may be amplified, distorted, reverberated, dissipated and subject to a multitude of transformations which modify it in different ways. While this dynamic is an intrinsic part of any sonic event, certain artistic endeavours have sought to exploit this spatial aspect of sound as a distinct parameter in its own right. Though spatial experiments have a long history in western music stretching back centuries, the search for novel means of expression in the twentieth century led to an unprecedented investigation into the spatiality of sound as an integral component of the work. From Edgard Varèse’s Poème électronique to Karlheinz Stockhausen’s Helicopter String Quartet, such concerns have been at the centre of some of the canonic works of musical modernism. In the discipline of sound art, auditory dialogues with the surrounding space have been the defining feature of sound installations by Max Neuhaus, Bernhard Leitner, Maryanne Amacher and others, who have sought to locate sound in relation to architecture. While such work grew out of developments in the wider field of art installation, increasingly the practices of both sound and art installation have converged in the work of artists such as Janet Cardiff and Zimoun forming multi-sensory experiences. Expanding outwards, the multi-site sound installations of Bill Fontana have developed the notion of spatiality across geographical locations while recent innovations in communication and digital technologies have created virtual networks, redefining our conception of space and presenting new possibilities for music, sound art and visual art. Although substantial research on the spatiality of sound has been carried out within the disciplines of musicology, sound art, and visual art studies, much of this work has remained separate, enclosed within these specialised fields of research. This conference aims to address this imbalance, acknowledging the fluid exchange of ideas between these spheres in actual practice and fostering an interdisciplinary spirit amongst researchers and practitioners. The conference committee thus invites presentations from sound artists, visual artists, composers, academics, and post-graduate researchers which consider the spatiality of sound in all its diverse forms. While the conference remit is broad, the committee especially encourages contributions which address (but need not be limited by) the following three strands: • Sound and Visual Art ‒Contributions from Sound Artists/Visual Artists ‒Convergences between Sound and Visual Art ‒Historical Perspectives ‒Installation ‒Modes of Listening ‒Sound Architectures • Spatial Music ‒Analytical Accounts ‒Attempts at Definition/Theorisation ‒Composer Perspectives ‒History of Spatial Music ‒Listener Perception ‒Performance Challenges ‒The Role of Sound Technologies • Geographic and Virtual Spaces ‒Digital Networks and Communications Technologies ‒Live Streaming and Web-cast ‒Interactivity and Participation Proposals are invited in the following formats: •Individual Papers (20 mins duration plus 10 mins discussion) •Joint Papers (max 2 speakers, same format as above) •Themed Sessions (3 papers totalling 90 mins or 4 papers totalling 120 mins) •Panel and Roundtable Discussions (90 mins, max 6 speakers) Proposals for individual and joint papers must be in the form of an abstract not exceeding 250 words. Proposals for themed sessions, panels and roundtable discussions should not be more than 800 words and should indicate the number and title of each individual paper with its abstract. Abstracts may be submitted in either a Microsoft Word document or via a PDF attachment. All proposals should include the name, contact details, institutional affiliation (if any), technical requirements, as well as a short biographical note of not more than 100 words of each speaker. The conference language is English. Proposals should be submitted to soundingout2017(a)gmail.com <mailto:soundingout2017@gmail.com> All proposals will be subject to a double-blind review process by the conference’s scientific committee which is comprised of specialists from the disciplines of sound art, visual art and musicology. Applicants will receive notification as to whether their proposal has been accepted by early May 2017. The deadline for submissions is 31 March 2017 Conference Committee Dr Adrian Smith (Conference Chair) Dr Brian Fay (Acting Head of School, Dublin School of Creative Arts, DIT) Dr Mark Fitzgerald (Senior Lecturer, DIT Conservatory of Music and Drama) Dr Noel Fitzpatrick (Head of Research, College of Arts and Tourism, DIT) Dr Kerry Houston (Head of Academic Studies, DIT Conservatory of Music and Drama) Martin McCabe (Centre for Transcultural Research and Media Practice, DIT) Jonathan Nangle (Composer and Senior Lecturer, Royal Irish Academy of Music) Scientific Committee Dr Enda Bates (Composer and founding member of the Spatial Music Collective) Dr Brian Bridges (Ulster University) Jennie Guy (Independent Curator) Dr Kerry Hagan (Digital Media and Arts Research Centre, University of Limerick) Fiona Kearney (Director, Glucksman Gallery, Cork) Dr Victor Lazzarini (National University of Ireland, Maynooth) Dr Linda O’Keefe (University of Lancaster) Dr Karen Power (University College Cork) Belinda Quirke (Director, Solstice Arts Gallery, Navan) Prof Pedro Rebelo (Sonic Arts Research Centre, Queen's University Belfast) For further details please email: soundingout2017(a)gmail.com <mailto:soundingout2017@gmail.com> www.kerrylhagan.net www.spade.ul.ie www.dmarc.ie www.issta.ie

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Call for Papers MOCO 2017
by Sarah Fdili alaoui 10 Oct '16

10 Oct '16

Dear Colleagues, Please help us circulate the CFP of MOCO 2017 among your communities. Best wishes, Sarah Fdili Alaoui Sarah Fdili Alaoui Assistant Professor LRI - University Paris-Sud11 / Paris Saclay 0169155769 http://saralaoui.com/ <http://saralaoui.com/> @saralaoui ————————————————————————————————————— Call for Papers MOCO 2017 ——————————————————————————————————————— International Conference on Movement and Computing (MOCO17) Intersecting Art, Meaning, Cognition, Technology ——————————————————————————————————————— 28-30th June, London UK Goldsmiths University of London http://moco17.movementcomputing.org <http://moco17.movementcomputing.org/> We would like to invite submissions for paper presentations, performances, workshops and more to the 4th International Conference on Movement and Computing (MOCO) which is to be held in London. MOCO is an interdisciplinary conference that explores the use of computational technology to support and understand human movement practice (e.g. computational analysis) as well as movement as a means of interacting with computers (e.g. movement interfaces). This requires a wide range of computational tasks including modeling, representation, segmentation, recognition, classification, or generation of movement information but also an interdisciplinary understanding of movement that ranges from biomechanics to embodied cognition and the phenomenology of bodily experience. We therefore invite submissions from a wide range of disciplines including (but not limited to): Human-Computer Interaction, Psychology, Dance, Artificial Intelligence, Neuroscience, Sports Science, Machine Learning, Cognitive Science, Visual Arts, Robotics, Philosophy, Anthropology, Music, Affective Computing, Games, Healthcare and Animation. MOCO is open to a wide range of ways of presenting your work. As well as papers for oral and poster presentations, we invite submission of a wide range of practice work such as demos, performances, games, artistic works and movement workshops (in which participants take part in a guided movement activity). We encourage submitters to be creative in proposals for practice sessions and are open to novel formats. ———————————— Suggested Topics ———————————— • Expressive movement-based interaction • Movement analysis and analytics  • Machine learning for movement  • Movement representation  • Somatic practice and design  • Modeling movement qualities and expressive movement  • Mechatronics and creative robotics  • Design for movement in digital art  • Gesture Interaction  • Movement generation  • Movement and sound interaction  • Movement computation in ergonomics, sports, and health  • Sensori-motor learning with audio/visual feedback  • Embodied cognition and movement  • Visualizing and sonifying movement  • Modeling kinaesthetic empathy  • Embodied and whole body interaction  • Expressive movement analysis and synthesis  • Design for movement in digital art  • Semantic models for movement representation  • Movement Notation Systems (e.g. Laban or Eshkol-Wachman) and computation  • Dance and technology  • Biosensing, biocontrol and movement  • Movement expression in avatar, artificial agents, virtual humans or robots.  • Music and movement  • Philosophical perspectives and reflection on movement and computing  —————————— Submission —————————— The conference is an opportunity to present a research or study or details of collaborative work. Participants will have the opportunity to offer a presentation of the results of their research on one of the themes of the symposium and to interact with their scientific/ artistic peers, in a friendly and constructive environment. We encourages submission of a wide range of formats, the submission categories are: Long paper with oral presentation (8 pages maximum)  Short paper with oral presentation (4 pages maximum)  Extended abstract with poster presentation (6 pages maximum in the extended abstract format)  Extended abstract for practice work with presentation format to be suggested by the author for example demonstration, performance, art work, movement workshop, game or other practice presentation (2 pages maximum + Demo proposal form). - please note that we are an academic conference with a low fee which means we cannot pay for commissioned performances and art work. Also, we cannot guarantee facilities for all possible sessions, so please give full details of your needs in the proposal form so we can judge whether it is possible. Doctoral papers with oral presentation at a doctoral symposium and poster (4 pages maximum)  All submissions should be in pdf format and should use the ACM proceedings format: http://www.acm.org/publications/proceedings-template <http://www.acm.org/publications/proceedings-template> It is possible for participating authors to submit a demonstration proposal in addition to their regular paper submission by completing the Demo proposal form and sending it along with their submission. Together with the demo proposal form, authors have to provide a link to a video about their work. The demo proposal form is mandatory for all demo submissions and must include details about technical set-up and space requirements. Online submission: All submissions must be made through EasyChair https://easychair.org/conferences/?conf=moco2017 <https://easychair.org/conferences/?conf=moco2017> All submissions must be anonymous and will be peer-reviewed. The MOCO proceedings will be indexed and published in the ACM digital library. ———————————— Important Dates ———————————— Submission deadline: 23 January 2017 Notification: 23 March 2017 Camera ready papers: 30 April 2017 ———————————— Contact ———————————— If you have any questions please contact us on moco2017(a)easychair.org <mailto:moco2017@easychair.org> ———————————— Committee ———————————— Conference Chair Marco Gillies, Goldsmiths Organising Committee Kirk Woolford, University of Surrey Sarah Whatley, Coventry University Frederic Fol Leymarie, Goldsmiths Phoenix Perry, Goldsmiths Simon Katan, Goldsmiths Perla Maiolino, Goldsmiths Local organisers Steph Horak, Goldsmiths Nicky Donald, Goldsmiths Phoenix Fry, Goldsmiths Steering Committee Frédéric Bevilacqua, IRCAM Sarah Fdili Alaoui, LRI-Université Paris-Sud 11 Jules Françoise, Simon Fraser University Philippe Pasquier, Simon Fraser University Thecla Schiphorst, Simon Fraser University

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Virginia Tech School of Performing Arts Director Position
by Ivica Ico Bukvic 09 Oct '16

09 Oct '16

Please excuse x-posting, Virginia Tech’s School of Performing Arts (SOPA) is inviting applications and nominations for its next director. Over the past decade Virginia Tech has undergone a major transformation and is currently investing over $300M into University-wide transdisciplinary initiatives, including the Creativity and Innovation District. SOPA (http://www.performingarts.vt.edu/) is the home of Digital Interactive Sound & Intermedia Studio (DISIS, http://disis.music.vt.edu) and Linux Laptop Orchestra (L2Ork, http://l2ork.music.vt.edu) and the school is about to introduce a new Creative Technologies in Music undergraduate program. SOPA also offers a rich, diverse, and vibrant community of over 60 faculty in music, theatre, and cinema, and staff, and works closely with the Institute for Creativity, Arts, and Technology (ICAT, http://www.icat.vt.edu), and the Moss Arts Center (https://www.artscenter.vt.edu), both of which are housed in a new $100M building, including the cutting-edge infrastructure, like the 140+ loudspeaker Cube with comprehensive motion capture and most recently the Cyclorama, a 360-degree 3D collaborative visual display. To find out more: https://listings.jobs.vt.edu/postings/69650 Please do not hesitate to contact me should you have any questions regarding the vacancy. Best, -- Ivica Ico Bukvic, D.M.A. Associate Professor Creative Technologies in Music ICAT Senior Fellow Director -- DISIS, L2Ork Virginia Tech School of Performing Arts – 0141 Blacksburg, VA 24061 (540) 231-6139 www.performingarts.vt.edu disis.music.vt.edu l2ork.music.vt.edu ico.bukvic.net

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Pd-announce October 2016