Pd-announce March 2017

pd-announce@lists.iem.at

5 participants
6 discussions

ICMC submission deadline extended!
by Richard Dudas 26 Mar '17

26 Mar '17

The deadline for submissions for the 2017 ICMC in Shanghai has been extended to March 31st! I am sure there are a lot of you out there in the Pd community who have fantastic music to submit, and/or interesting projects to write up a papers! Please feel free to diffuse this information to other computer music mailing lists! Hoping to see many of you in Shanghai! -Richard ============================= Call for Submissions, ICMC/EMW 2017 The 43rd International Computer Music Conference (ICMC 2017) and 6th Electronic Music Week (EMW) will be held in Shanghai, China, organized by the Shanghai Conservatory of Music. The event will take place from October 16th to 20th. Conference Theme Hearing the Self There is an ancient Chinese saying (by Lao Zi):大音希声，大象无形Dà yīn xī shēng,dà xiàng wú xíng (The best music and art lay in silence and abstraction)!We think: in silence, we hear the real sound within ourselves. However, in a modern world of unceasing innovation, we continue to open ourselves to new music and images within and beyond our senses, searching for "the Sound of the Self." At the ICMC/EMW 2017 in Shanghai, we welcome you and look forward to hearing you in your work about "the Sound of the Self." -Qiangbin Chen, Chair of ICMC 2017 Under two major categories of open calls - Call for Paper and Call for Music, we offer vast varieties of research topics and creative practices. We also proudly to feature the open calls for: Special Paper Edition-Mandarin language based music and music technology research paper and The EMW Young Talents Commission Program. Please join us in Shanghai at ICMC/EMW 2017. For submission details, please visit our official website: www.icmc2017.com <http://www.icmc2017.com/> Important Dates Submission Deadline March 31, 2017 Acceptance Notification June 16, 2017 Registrations Open June 16, 2017 ICMC October 16-20, 2017 Contact Website: http://www.icmc2017.com <http://www.icmc2017.com/> Email: info(a)icmc2017.com <mailto:info@icmc2017.com>

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pduino 0.6 released
by Roman Haefeli 19 Mar '17

19 Mar '17

Hey all I just deken'ized a new version (v0.6) of the pduino library. Changelog since the last release (v0.5): * Made it more self-sufficient, reduced number of dependencies, only comport is left (obviously) * Extended Firmata protocol support by adding new methods: - 'capability': query capability for all pins - 'analogMapping': query mapping of analog pin numbers to digital pins - 'pinState': query current mode and status of given pin * re-worked documentation * GOP version: [arduino-gui] - graphic faksimile of an Arduino board (NG, Duemilanove, Diecimila, UNO, Leonardo or similar) - reflects current state of pins - always shows correct pin numbering (differs with different Firmata versions) - shows supported modes for each pin - easy-to-use - does automatically the "right thing" - records any interaction to a message box Have fun! Roman

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Call for Applications - Algorithms that Matter - Artistic Research Residency
by IOhannes m zmoelnig 13 Mar '17

13 Mar '17

— Apologies for cross-postings, please distribute — __Algorithms that Matter__ Artistic Research Residency - Call for Applications https://almat.iem.at/call Algorithms that Matter (Almat) is an artistic research project funded by the Austrian Science Fund FWF, PEEK AR 403-GBL, and based at the Institute of Electronic Music and Acoustics (IEM) in Graz, Austria. Almat is happy to announce a call for three artistic residencies to take place in 2017/18! __What__ Algorithms that Matter is an artistic research project by Hanns Holger Rutz and David Pirrò. It aims at understanding the increasing influence of algorithms, translating them into aesthetic positions in sound, building a new perspective on algorithm agency by subjecting the realm of algorithms to experimentation. Almat is grounded in the idea that algorithms are agents that co-determine the boundary between an artistic machine or “apparatus” and the object produced through this machine. The central question is: How do algorithmic processes emerge and structure the praxis of experimental computer music? The hypothesis is that these processes, instead of being separated from the composer—as generators and transformers of infinite shapes—exhibit a specific force that retroacts and changes the very praxis of composition and performance. A series of systematic experiments is carried out by the project team together with the artists in residence. Over defined periods of time, artists develop series of interrelated sound pieces that interrogate specific aspects of algorithmicity. The work process is observed and transcribed into complementary forms of presentation and discourse, including concerts and exhibitions, an online public “continuous exposition”, and gatherings that connect artists-researchers across various institutions in Europe. The project not only aims at extending the praxis of experimental computer music using algorithmic processes, but also at contributing to the scope and methodology of artistic research. __Who__ This call is directed at experienced practitioners in sound art and experimental computer music, for whom algorithmic and computational strategies represent a central element in their work. Applicants should be able to demonstrate this through their past work. They are capable and interested in exposing and reflecting their process and work through writing, discussion and other forms of discourse. During the project, they are expected to either engage with software frameworks that the project team has developed, or with software they have developed in open source environments. __Residencies__ The project offers three residencies in the period from October 2017 to December 2018 (see possible periods listed in the application form). The project is conceived in such way, that applicants will work collaboratively with the project team. Each residency will be preceded by an online preparatory process in cooperation with the project team (this will begin at latest two months before the start of the actual residency). The applicants are then expected to spend the two months of the residency in situ. The residency's aim is to carry out algorithmic experimentation (in the form of compositions, installations, etc.) in an iterative setting, with focus on process and specific constraints. Applicants are expected to work both independently and collaboratively during the residency. An additional researcher will observe and document the work process and contribute to the public exposition of the traces. The tangible outcomes will be presented locally and internationally by the project team, and the artists are invited to attend events related to the project. We want to emphasise that research is the prime focus of the residency, but that we intend to provide opportunities for public presentation of the works and artefacts created through the process. __Application__ The applicants are commended to carefully read through the summary, research questions and methodology provided on the project's website: https://almat.iem.at Please fill out the form provided at https://almat.iem.at/call.html and send it to almat(a)iem.at along with the required accompanying documents. We aim at a balance of gender and background of the applicants, asserting the diversity of the project. __Conditions__ - Duration of residency: 2 months - Start date (in situ): October 2017 (select time slots in form) - Remuneration: c. 5,000 EUR total (contract for work; subject to taxation where applicable). This sum is meant to cover all expenses, such as travelling, living costs and accommodation. __Application deadline:__ 16 April 2017 (e-mail reception, 24:00 CET) If you have further questions, please do not hesitate to contact us at almat(a)iem.at. __Additional Information__ The Institute of Electronic Music and Acoustics is a department of the University of Music and Performing Arts Graz, founded in 1965. It is a leading institution in its field, with more than 25 staff members of researchers and artists. IEM offers education to students in composition and computer music, sound engineering, contemporary music performance and musicology. What we offer: - 24/7 access to the facilities of the IEM (http://iem.kug.ac.at/en). - A desk in a shared office space for the entire period and access to studios including the CUBE which has a 24-channel loudspeaker system and motion tracking, according to availability. What we cannot offer: - We can not provide any housing, although we will try to help with finding accommodation.

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MUME 2017 - EXTENDED DEADLINE: MARCH 19, 2017
by Kıvanç Tatar 11 Mar '17

11 Mar '17

=================== MUME 2017 - EXTENDED DEADLINE: MARCH 19, 2017 =================== 5th International Workshop on Musical Metacreation http://musicalmetacreation.org June 19-20, 2017, Georgia Tech, Atlanta, USA. MUME 2017 is to be held at Georgia Institute of Technology in conjunction with the Eighth International Conference on Computational Creativity, ICCC 2017. http://computationalcreativity.net/iccc2017/ === Important Dates === Workshop submission deadline: March 10, 2017 EXTENDED DEADLINE MARCH 19, 2017 Notification date: April 20th, 2017 Camera-ready version: April 28th, 2017 Workshop dates: June 19-20, 2017 ====================== Topics =========================== We encourage paper and demo submissions on MUME-related topics, including the following: -- Models, Representation and Algorithms for MUME -- Systems and Applications of MUME -- Evaluation of MUME Submission Format and Requirements ================================= Please make submissions via the EasyChair system at: https://easychair.org/conferences/?conf=mume2017 Workshop Organizers =================== Pr. Philippe Pasquier (Workshop Chair) School of Interactive Arts and Technology (SIAT) Simon Fraser University, Canada http://metacreation.net/ https://www.kadenze.com/programs/generative-art-and-computational-creativity Pr. Arne Eigenfeldt School for the Contemporary Arts Simon Fraser University, Canada Dr. Oliver Bown Design Lab, Faculty of Architecture, Design and Planning The University of Sydney, Australia Kıvanç Tatar School of Interactive Arts and Technology, Simon Fraser University, Vancouver, Canada. ---------------------- http://musicalmetacreation.org -- Kıvanç Tatar ---------------------------------- PhD Student Interactive Arts and Technology Simon Fraser University, Vancouver, Canada Email: kivanctatar(a)gmail.com Website: https://kivanctatar.wordpress.com/

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MUME 2017 Concert - 2nd Call for Works
by Kıvanç Tatar 09 Mar '17

09 Mar '17

Call for Works: The Musical Metacreation Concert at the Eighth International Conference on Computational Creativity, Atlanta, Georgia, June 2017 Key Dates April 20th - submission deadline. May 10th - notification. June 18th - concert rehearsals. June 19th - MuMe concert. http://musicalmetacreation.org/mume-2017-concert/ June 19th-20th - MuMe Workshop http://musicalmetacreation.org/mume-2017 June 19th-23rd - International Conference on Computational Creativity. Overview Creators of musically metacreative systems are invited to submit works for a concert of musical metacreation, as part of the Eighth International Conference on Computational Creativity, at the Georgia Institute of Technology, Atlanta. Submitted works can be of any musical style but must involve a performative element and must involve the use of computational creativity techniques in the creation of the work. Examples from previous MuMe concerts include, but are not limited to: reproduction of musical style using machine learning; the evolution of musical structures using interactive genetic algorithms; rule-based systems; systems based on emergence or self-organisation; systems that perform music data mining to create remixes, and so on. Information on the link for submission, selection committee, musicians, concert venue and available equipment will be made available in a follow-up call for works and all up-to-date information can be found here <http://musicalmetacreation.org/mume-2017-concert/>. Types of Work Any work related to MuMe that can be presented in a performance context will be considered. This includes: - Improvising agents that perform alongside live musicians. - Automated composition systems that generate music in realtime or pre-compose music for performers, as well as automated DJ systems. - Systems that use AI methods for other creative objectives, such as harmonising, intelligent looping, or finding suitable matches for a target phrase. - Systems that generate lyrics. - Music that uses evolution, emergence or ecosystemic concepts. We are also interested in submissions of musebots <http://metacreation.net/musebots/> and other types of interactive installation works relevant to MuMe. Submission Process Please submit a one page A4-portrait PDF describing your work before the submission deadline. Your submission should: - Describe the work. - Explain how the work relates to the MuMe theme. - Give a relatively detailed technical description of the system*. - Give detailed performance requirements. As necessary, this may include a stage plan, equipment needs, technical support needs, and performing musicians (you can use additional PDF pages for any supporting items). - A link to any additional documentary material such as audio or video recordings, or online software (highly recommended). - Credits and biography (name, affiliation, short biography up to 150 words). * It is common to receive submissions that are highly ambiguous about what the proposed system actually does. Works will be rejected if this is the case. The description does not need to be highly technically detailed but it should remove any fundamental ambiguity. Selection Process Submissions should not be anonymised. All submissions will be reviewed by three independent members of the selection committee. Once these reviews have been completed the reviewers and the chairs will discuss these works and reviews. The chairs will provide a meta-review, the three original reviews, and a final decision. Reviewers will be anonymous to the authors, but not to each other. The final decision lies with the chairs, in consultation with the committee. Selection Committee, - Andrew Brown, Griffith University - Michael Casey, Dartmouth College - Nick Collins, Durham University - Roger Dannenberg, Carnegie Mellon University - Alice Eldridge, University of Sussex - Jason Freeman, Georgia Institute of Technology - Caleb Herron, Artistic Director, Chamber Cartel - Cat Hope, Sir Zelman Cowen School of Music - Anna Jordanous, University of Kent - Alex McLean, University of Leeds - James Maxwell, independent artist - Robert Rowe, NYU Steinhardt School of Culture, Education, and Human Development - Margaret Schedel, Stony Brook University - Gil Weinberg, Georgia Tech Center for Music Technology Venue The Mammal Gallery <http://mammalgallery.com/> 91 Broad St SW, Atlanta, GA 30303 14 minutes by metro from Georgia Tech; 40 minutes on foot. Mammal has a two channel club sound system, with limited microphones. http://mammalgallery.com/ MusiciansMembers of Chamber Cartel <http://www.chambercartel.com/>Upon Acceptance Artists are required to be in attendance and set up their own equipment. At least one artist must register for the ICCC conference and MuMe workshop. A schedule for performances, rehearsals and soundchecks will be made available in the week before the concert. Rehearsals will be on the Sunday 18th June unless otherwise arranged. Soundchecks will be prior to the concert on the afternoon of Monday 19th June. Workshop Organizers Pr. Arne Eigenfeldt School for the Contemporary Arts Simon Fraser University, Canada Dr. Oliver Bown Design Lab, Faculty of Architecture, Design and Planning The University of Sydney, Australia Pr. Philippe Pasquier School of Interactive Arts and Technology (SIAT) Simon Fraser University, Canada http://metacreation.net/ https://www.kadenze.com/programs/generative-art-and-computational-creativity Kıvanç Tatar School of Interactive Arts and Technology, Simon Fraser University, Vancouver, Canada. —————————— MUME 2017 Workshop In parallel with the MUME 2017 Concert, we also organise the MUME 2017 Workshop. Details are available at: http://musicalmetacreation.org/mume-2017/ -- Kıvanç Tatar ---------------------------------- PhD Student Interactive Arts and Technology Simon Fraser University, Vancouver, Canada Email: kivanctatar(a)gmail.com Website: https://kivanctatar.wordpress.com/

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Call for participants - XTH Sense Biophysical Music Workshop 18-19 March - Berlin
by Marco Donnarumma 07 Mar '17

07 Mar '17

[excuse any x-post] In occasion of the exhibition Dark Bodies Dark Identities, curated by Alfredo Ciannameo, Spektrum Berlin presents a workshop by Marco Donnarumma on the XTH Sense, an award-winning biophysical musical instrument made completely in Pure Data. *When: 18-19 March 2017 (9am to 4:30pm) *Where: Spektrum, Bürknerstraße 12, 12047 Berlin *Cost: 100 euro + 20 euro materials *Registration and more info: http://spektrumberlin.de/events/detail/xth-sense-biophysical-music.html This weekend course offers hands-on experience and theoretical training in the performance of biophysical music and visuals with the XTH Sense. Biophysical music is an emerging form of live art based on a combination of physiological technology, markedly physical performance, and music computing. Workshop participants will build from scratch their own wearable bioacoustic sensors; learn how to analyze and map the data from their muscle and body movements to generate music and visuals; and experiment with live processing of the sounds from their own bodies. Attention will also be paid to aesthetic considerations when using the XTH Sense in artistic contexts. At the end of the workshop, participants will take home the XTH Sense they built, as well as the related software for their own continued creative use. *Topics covered in the workshop include: - Theoretical background on the state of art of gestural control of music - Introduction to the XTH Sense framework (technical overview, capabilities) - Building the boiacoustic sensor - An introduction to the open source artistic programming language PureData, tips and tricks - Explorations of bioacoustic sound design capabilities - Building audio modules and signal processing chains - Aesthetics of bioacoustic sensor-based performance - Mapping muscle energy to control Ableton, Renoise, Bitwig, video software - Designing an aesthetic vocabulary for body-sensor performance *About the instructor: Marco Donnarumma is an artist and scholar. He distinguishes himself by his use of emerging technology to deliver body performances that are at once intimate and powerful, oneiric and uncompromising, sensual and confrontational. Working with biotechnology, biophysical sensing, and more recently artificial intelligence and neurorobotics, Donnarumma expresses the chimerical nature of the body with a new and unsettling intensity. He has won several awards and performed in over 60 countries worldwide. His writings are published by MIT Press, Springer and Oxford University, among others. Currently, Donnarumma is a Research Fellow at Berlin University of the Arts in partnership with the Neurorobotics Research Laboratory at Beuth U. Berlin. -- Marco Donnarumma, Ph.D *Performing bodies, sound and machines**Universität der Künste Berlin* http://marcodonnarumma.com 4w33534643646 --

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Pd-announce March 2017