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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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Announcing "Cyclone 0.3 alpha-1"
by Alexandre Torres Porres 21 Feb '17

21 Feb '17

Howdy, we (me, derek and matt) are really excited to finally announce the release of a first alpha version of cyclone 0.3 Cyclone: A set of Pure Data objects cloned from Max/MSP - Cyclone expands Pure Data with objects cloned from cycling74's Max/MSP. It thus provides some good level of compatibility between the two environments, helping users of both systems in the development of equivalent patches. In february 21st of 2016, active development for cyclone 0.2 was abandoned, so we started working on a 0.3 version release in our repository < https://github.com/porres/pd-cyclone>. Hence, we've been working on this release for exactly one year; and in this anniversary celebration, we're putting out a release! Pre alpha versions started popping up for download in our repository in late september of 2016, now we finally move on to another phase and get really close to a final release. The main focus of the currently development is on updating objects to newer versions of Max. We're also rewriting the documentation, fixing bugs and introducing new objects. So far, we have: - 60 updated objects; - 54 fixed objects (including objects that were and were not updated); - 46 new objects; - A newly written documentation, from scratch (fixing numerous issues) *About updating cyclone to the latest Max version:* Cyclone development started in april of 2002 (at the time of Max 4.0) with its original author Krzysztof Czaja, who abandoned it in 2005 at version 0.1alpha55, leaving a great and huge library, but still compliant to Max 4.0! Cyclone ended up incorporated to Pd-Extended, under the maintenance of Hans-Christoph Steiner, where it only a had a minor update in 2013 (0.1alpha56) - right before Cyclone and Pd Extended were abandoned altogether. Under a new maintenance phase, Fred Jan Kraan released "cyclone 0.2beta" in late 2015, still closely related to the latest 0.1alpha releases, meaning that only minor updates were made and that the library was still mostly outdated to Max 4.0. At the time of this release, Max is in version 7.3.2, and 64 objects in Cyclone needed updates in order to be compliant to this version. So far, 60 objects have already been updated and the only remaining 4 are: [zl], [table], [seq] and [comment] ([comment] is the only object that will not receive a full update, but only a partial update to Max 5). *About other stuff:* Besides updating the objects, we're also introducing new objects to the library, rewriting the whole documentation and fixing lots of bugs. There are 46 new objects (some still experimental, and 54 objects had bugs fixed (this includes about half of the objects that were also updated) - it's likely though that some "bugs" that were fixed in objects listed as not updated might have been feature additions and changes not specified in the documentation in more recent versions of max. For further beta and final releases of cyclone 0.3, we need to update the 4 remaining objects, work a bit more on some of newly introduced objects and revise once more the documentation (yet to include "meta" and related objects). We also have a fair list of bug fixes we hope to take care of as well. Hopefully this won't take another year or so :) A fully detailed changelog in comparison to "cyclone 0.2 beta", plus a list of things "To Do" and roadmaps for the future (cyclone 0.4) is presented here https://github.com/porres/pd-cyclone/wiki/cyclone-0.3-changlelog *Installing "Cyclone 0.3 alpha 1":* *Cyclone 0.3 alpha 1* has been tested with Pd Vanilla 0.47-1, not guaranteed to work in any other version or in other flavors such as Pd Extended / Pd-l2ork and Purr Data. We've uploaded to deken, so simply use the "find externals" option in the Help menu of Pd vanilla and you'll see it there for Linux, Windows and Mac OS... ("arm", coming soon) - you can also download it from https://github.com/porres/pd-cyclone/releases For more details, see https://github.com/porres/ pd-cyclone/wiki/How-To-Install *Final remarks:* Please check our repository, you will find more information and details about cyclone https://github.com/porres/pd-cyclone Please report any bug or issue you may run into here: https://github.com/porres/pd-cyclone/issues Taking care of Cyclone is a great deal of work, we could use some help... if you wanna collaborate with us, please get in touch! And for last, there's been some discussion here and there about possible conflicts between our repository/development and early repositories/versions of cyclone. We have answered and discussed that in our repository in an issue that is now resolved and closed, but I'm concerned if the discussion ended up constrained to only a few people. So I'm referring the issue here https://github.com/porres/pd-cyclone/issues/27 so more people may be aware of it - we're still available to discuss that or anything else if that's the case. cheers

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[OT] digital subtractive synthesis
by cyrille henry 13 Feb '17

13 Feb '17

hello, OK, the aim of this mail is to announce my new hardware synthesizer : http://nozoid.com/ocs-2 I already talked a bit about it on this list, but I did build a bunch of them and they are now for sale! But since we are on the pd list, let me talk about pd, synthesis and things I learned while building an high quality, analogue style, digital synthesizer. Here are 3 facts: 1) I often heard that pd sound badly 2) every user of the OCS-2 synth love its sound 3) I developed (and distribute) the equations use in this synth in pd before porting them to a hardware, so you can have the same sound in pd than in my synth. So, according to fact 3, why do we have fact 1? - Equations are not the only factor that "create" a sound. The way you control this equations is also very important. (see the "zipper" noise if you don't control the gain of an oscillator at audio rate). In pd, the data clock is by default SR/64, I.E less than 1KHz. The "line" object usually output a value at 50Hz. For my synth, data are computed at about 10HKz. This make a difference : LFO shapes are closer to the desired shape, and contain less aliasing artifact fast fader movement are more accurate ... Fortunately, this can be fixed in pd : [line] can output value at faster frequency, and data rate can be increase by reducing audio block size. Moreover, this can be done only where it's important, and you can keep default value where speed did not matter. - The precision of the control is also very important : in pd, fader precision are limited by screen resolution, and fader usually goes from 0 to 127. Shift clicking to increase resolution did not help if you want to move fast. from 20Hz to 20KHz, there is about 127 note, so don't expect micro-tonal resolution... A standard analogue system can easily have a S/N ration of 70dB, I.E a 12 bit resolution : more than 4K value from min to max It is also what the OCS fader provide. Unfortunately, it's not easy to have good/accurate control in pd. But that's not really a pd limitation... - The SR of the audio synthesis can also be important : the higher the SR, the more audio aliasing you can remove. And you don't need a 192K SR on your sound card, you can just oversample the part that need it in your patch, filter, and go back to a lower SR. But, better than trying to remove aliasing, it's better not to create it... - After few thread about band limited oscillator, I still see some people using the [phasor~] as an audio oscillator. No offenses, but let me be clear : [phasor~] is a very useful object, but it's not an audio oscillator. Use one of the BL oscillator abstraction if you are looking for a sawtooth signal. Using phasor~ as an audio oscillator only to hurt ears. So, if you know what you are doing and take few precaution, you should be able to make your patch to sound nice... Now that i tricked you to read this mail, please, go to http://nozoid.com and buy hundreds of synths to make me rich, or just dozen so that i can pay my bill (it cost a lot to build hardware). Well just sharing the website to your musician friend will help me. thanks and cheers, Cyrille

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Call for Papers: Algorithmic Electronic Dance Music
by Nikolai Collinsky 11 Feb '17

11 Feb '17

[apologies for cross posting] CFP: Algorithmic Electronic Dance Music Special edition of Dancecult: Journal of Electronic Dance Music Culture Guest Editors: Shelly Knotts and Nick Collins http://dj.dancecult.net/ Algorithms are at the heart of the virtual studio software applications underwriting so much contemporary dance music, but are normally the prior preserve of music engineering teams rather than musicians. This special issue, however, engages with algorithms as musical material, and especially with music which is inherently founded on computer programming technique. A recent manifestation of this is the algorave, an explicit site of live algorithmic electronic dance music (EDM), produced through such means as on stage computer programming (algorave.com). Creators of EDM have vast amounts of software at their disposal, including specific musical programming languages; modern digital audio workstations now often include the capacity to utilise a programming language, such as Python and Max/MSP embedded within Ableton Live, or Logic’s MIDI Scripter. The history of algorithmic techniques within mainstream and experimental fringe dance music predates the coining of the term algorave (Collins and McLean 2014). Powerful computer music coding environments have been co-opted for use in club contexts, by such well known figures as Autechre (Max/MSP), BT (Csound, Composer’s Desktop Project), Cylob, Aphex Twin (SuperCollider), and Holly Herndon (Chuck), amongst many others. Some artists have written their own software from scratch, such as the generative gabba-techno artists slub, or commissioned others to supply it, as with Coldcut and the VJamm and Coldcutter programs. Research in this area extends from the introduction of new algorithmic techniques for the production of dance music, to the computational analysis of existing EDM, via critical appraisal of algorithms in the wild. Live realtime systems, as well as offline studio software, have been developed. An increasingly algorithmically literate culture will see increasingly algorithmically literate music, and the rise of music-oriented computer programming has great implications for future directions within EDM. (2014) Nick Collins and Alex McLean “Algorave: live performance of algorithmic electronic dance music”. Proceedings of NIME 2014, London // SUGGESTED THEMES // Potential themes for articles include (but are not limited to): - Analysis of the work of algorithmic EDM artists - Computational analysis procedures for EDM - Surveying algorithmic techniques in EDM production - Algorithmic composition projects based on EDM styles - Live coding and EDM - Web browser based dance music systems (e.g., via Flash, HTML5, Web Audio API et al.) - Music Information Retrieval (MIR) systems and EDM content creation - The programming of interactive systems for EDM creation - Music pedagogy through coding of EDM (e.g., Sonic Pi, EarSketch et al.) - Gender, ethnicity and social trends at the crossover of computer music and club culture - Collaborating with and through algorithms; EDM groups of musical programmers - Algorithmic audiovisuals for club performance - Performance and audience reception of Algorithmic EDM // SUBMISSIONS // Feature Articles: Feature Articles will be peer-reviewed and are 6000–9000 words in length (including endnotes, captions and bibliography). For policies, see: https://dj.dancecult.net/index.php/dancecult/about/editorialPolicies#sectio… “From the Floor” Articles: This special edition will also include articles in From the Floor format (750–2500 words), which are very suitable for an artist to critically evaluate their own practice, or an academic to discuss new experiments. This format will be of particular interest to scholars and practitioners who wish to share some of the insights of their work, but are unable to devote the time necessary for a feature-length article. See guidelines at the Section Policies link above. Articles must adhere to all style and formatting rules stipulated in the Dancecult Style Guide (DSG). Download it here: https://dj.dancecult.net/public/journals/24/dancecult_styleguide.pdf Multimedia Submissions: Dancecult encourages authors to complement their written work with audio and visual material. See the DSG for style and formatting requirements. // DATES AND DEADLINES // This special edition is proposed for publication in Dancecult on 1 November 2018. If interested, send a 250-word abstract (along with a one hundred word maximum author biography) to Shelly Knotts (knotts.shelly(a)gmail.com) by 23rd March 2017. If your abstract is accepted, the deadline for submission of a full article draft to the guest editors for their comments is 1 October 2017. Beyond that, the deadline for online submission to Dancecult (for blind peer-review) is 1 February 2018. Please send enquiries and expressions of interest to Shelly Knotts: knotts.shelly(a)gmail.com A PDF version of this call, with live links and editor biographies, is available from: http://composerprogrammer.com/algoraveCFP.pdf

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Call For Works - Seoul International Computer Music Festival 2017
by Jonghyun Kim 07 Feb '17

07 Feb '17

*Call For Works - Seoul International Computer Music Festival 2017* * The submission deadline is extended to March 6. The Korea Electro-Acoustic Music Society is proud to announce the Seoul International Computer Music Festival (SICMF) 2017. This year we collaborate with Asia Culture Center (ACC), an international arts and cultural exchange organization located in Gwangju, Korea. It will be a 6 day festival in an awesome place in Gwangju and offer a unique event for you. Categories 1. Tape music 2. Electro-acoustic music(tape or live) with instruments (up to 4 players) 3. Live electro-acoustic music 4. Audio-visual media art Rules & Regulations 1. The submitted work has to be composed after 2014. 2. The duration has to be less than 12 minutes. 3. For the works of the category #2, the number of players is limited to 4. 4. For performances requiring non-standard or special instruments, composers are responsible for providing the instruments and the performers on location. 5. Channels for audio playback are limited to 8 channels. 6. Up to two works may be submitted, but they must belong to different categories. Submission Deadline Monday, 6 March 2017, 6 pm (UTC+9) How to Submit 1. Only online submissions are allowed. - Send an email to master(a)keams.org with the link to the files(refer to #2 and #3 described below) - Do not attach the files but send us the link. Use the web services such as dropbox.com, wetransfer.com, and copy.com. 2. Media Files - Audio file(s) must be in stereo (either mp3, AIFF, or WAV) - For the category #2 and #3: the recorded audio file and/or related files(patches, documents, programs, etc.) - For the category #2: the score (PDF) - For the category #4: the video file in any format (mpeg, mov, avi, etc.). Size of the file should, however, not be bigger than 1GB. (You may submit a YouTube or Vimeo link.) 3. Document (format should be either TEXT, RTF, or DOC, but NEVER PDF; PDF sometimes causes problems when copying text from it) that includes the following information: - Last Name - First Name - Male / Female - Nationality - Email - Homepage (if any) - Biography - Title of work - Duration - Category - Instruments (if any) - Number of Audio Output Channels - Program Notes - World premiere / Asia premiere / Korea premiere (if applied) - Special Requirements for the Performance (if any) 4. Additional Notes - If you get no response from us after your submission, please email us to this alternate address: trebari(a)gmail.com - If you wish to submit offline, please contact us via email as early as possible. Support Policy 1. We agree to pay all costs for performing selected works (performer fees, instrument rental, etc). 2. We offer lodging in Gwangju during the festival for the composers of the selected works. 3. In case a composer needs bring his/her own performer(s) for specific reasons, we agree to also offer lodging for the performer(s). * This policy may be subject to change. For Further Information, please email us. festival(a)keams.org http://computermusic.asia

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CIE Journal - Special Issue on Musical Metacreation
by Kıvanç Tatar 07 Feb '17

07 Feb '17

It is our pleasure to announce the double special issue on Musical Metacreation recently published the ACM journal Computer in Entertainment. The double issue begins with an introduction to Musical Metacreation that covers the basic for those who are not familiar with the use of generative systems to partially or completely automate musical tasks. The publications are available in the ACM Digital Library: -- Special Issue on Musical Metacreation, Part I: http://dl.acm.org/citation.cfm?id=3024062 -- Special Issue on Musical Metacreation, Part II: http://dl.acm.org/citation.cfm?id=3029374 Three further articles of the special issue are available for free on the following links: 1. https://cie.acm.org/articles/perceptual-and-affective-evaluation-affectivel… 2. https://cie.acm.org/articles/use-interactive-genetic-algorithms-sound-desig… 3. https://cie.acm.org/articles/darwintunes-20-evolving-music-within-breeding-… In addition, we would like to draw your attention to the International Workshop on Musical Metacreation and the MUME Concert series. This year, the workshop and concert will be held in conjunction with the Eighth International Conference on Computational Creativity, ICCC 2017 <http://computationalcreativity.net/iccc2017/>: -- The call for participation to the MUME 2017 Workshop is available here: http://musicalmetacreation.org/workshops/mume-2017/call-for-participation/ -- The call for works for the MUME 2017 Concert is available here: http://musicalmetacreation.org/mume-2017-concert-call-for-works/ -- 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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