— 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.
===================
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/
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/
[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
--
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
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
[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
*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
**Please forward to anyone who might be interested**
Apologies for cross-posting
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CfP eNTERFACE'17 Workshop: International Summer Workshop on Multimodal Interfaces
http://artes.ucp.pt/enterface17/
Final project proposal submission deadline (10 February)
http://artes.ucp.pt/enterface17/authors-kit/eNTERFACE17_Authors_Kit.pdf
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eNTERFACE workshops aim at establishing a tradition of collaborative, localized research and development work by gathering, in a single place, a team of senior project leaders in multimodal interfaces, researchers, and (undergraduate) students, to work on a pre-specified list of challenges, for 4 weeks.
Following the success of the previous eNTERFACE workshops held in Mons (Belgium, 2005), Dubrovnik (Croatia, 2006), Istanbul (Turkey, 2007), Paris (France, 2008), Genova (Italy, 2009), Amsterdam (Netherlands, 2010), Plzen (Czech Republic, 2011), Metz (France, 2012), Lisbon (Portugal, 2013), Bilbao (Spain, 2014), Mons (Belgium, 2015), Twente (Netherlands 2016), the Digital Creativity Centre (CCD)<http://artes.ucp.pt/ccd>, Universidade Catolica Portuguesa, has the pleasure to host eNTERFACE’17<http://artes.ucp.pt/enterface17>, the 13th Summer Workshop on Multimodal Interfaces, to be held in Porto, Portugal from July 3rd to 28th, 2017.
The eNTERFACE'17 committee<http://artes.ucp.pt/enterface17/Committees_eNTERFACE17.html> now invites researchers to submit project proposals that will be evaluated by the scientific committee. All the information asked to submit a project is available on the website of the workshop. The proposals should contain a full description of the project's objectives, required hardwares/softwares and relevant literatures.
Participants are organized in teams, attached to specific projects, working on free software. Each week will typically consist of working sessions by the teams on their respective projects plus a tutorial given by an invited senior researcher and a presentation of the results achieved by each project group. The last week will be devoted to writing an article on the results obtained by the teams plus a big session where all the groups will present their achievements.
Proceedings are expected to be published by CITAR Journal. CITAR Journal was recently (July 2016) accepted for inclusion in a new index of the Web of Science (WoS) Core Collection: the Emerging Sources Citation Index (ESCI), and has also been accepted for indexing by Elsevier's Scopus.
TOPICS
Although not exhaustive, the submitted projects can cover one or several of the topics : Art and Technology, Affective Computing, Assistive and Rehabilitation Technologies, Assistive Technologies for Education and Social Inclusion, Augmented Reality, Conversational Embodied Agents, Human Behavior Analysis, Human Robot Interaction, Interactive Playgrounds, Innovative Musical Interfaces, Interactive Systems for Artistic Applications, Multimodal Interaction, Signal Analysis and Synthesis, Multimodal Spoken Dialog Systems, Search in Multimedia and Multilingual Documents, Smart Spaces and Environments, Social Signal Processing, Tangible and Gesture Interfaces, Teleoperation and Telerobotics, Wearable Technology, Virtual Reality
SUBMISSION PROCEDURE
The general procedure of the eNTERFACE workshop series is as follows. Researchers are invited to submit project proposals. The project proposals will be evaluated by the eNTERFACE steering committee. If accepted, the projects will be published and researchers and students are invited to apply for up to 3 projects they would like to be part of. After notifying the applicants, the project leaders can start building their teams. Final project proposals must be submitted by email (PDF) to enterface17(a)porto.ucp.pt<http://mailto:enterface17%40porto.ucp.pt%3cmailto%3Aenterface17@porto.ucp.p…>.
* Instructions for the final proposal: http://artes.ucp.pt/enterface17/authors-kit/eNTERFACE17_Authors_Kit.pdf
IMPORTANT DATES
* 20 January 2017: Notification of interest for a project proposal with a summary of project goals, work-packages and deliverables (1-page)
* 10 February 2017: Submission deadline: Final project proposal
* 20 February 2017: Notification of acceptance to project leaders
* 06 March 2017: Start Call for Participation, participants can apply for projects
* 21 April 2017: Call for Participation is closed
* 28 April 2017: Teams are built, notification of acceptance to participants
* 03 – 28 July 2017: eNTERFACE’17 Workshop
Scientific Committee
* Prof. Albert Ali Salah, University of Bogazici, Turkey
* Prof. Alvaro Barbosa, University of Saint Joseph, Macao, China
* Prof. Andrew Perkis, Norwegian University of Science and Technology, Norway
* Prof. Antonio Camurri, University of Genova, Italy
* Prof. Benoit Macq, Université Catholique de Louvain (UCL), Belgium
* Prof. Bruce Pennycook, University of Texas at Austin, USA
* Prof. Christophe d'Alessandro, CNRS-LIMSI, France
* Dr. Daniel Erro, Cirrus Logic, Spain
* Prof. Dirk Heylen, University of Twente, Netherlands
* Prof. Gualtiero Volpe, University of Genova, Italy
* Prof. Igor S. Pandžić, University of Zagreb, Croatia
* Prof. Inma Hernaez, University of the Basque Country, Spain
* Prof. Jean Vanderdonckt, Université Catholique de Louvain (UCL), Belgium
* Prof. Jorge C. S. Cardoso, University of Coimbra, Portugal
* Prof. Khiet Truong, University of Twente, Netherlands
* Prof. Kostas Karpouzis, National Technical University of Athens, Greece
* Prof. Ludger Brümmer, ZKM | Center for Art and Media Karlsruhey, Germany
* Prof. Luis Teixeira, Universidade Católica Portuguesa (UCP), Portugal
* Prof. Martin Kaltenbrunner, Kunstuniversität Linz, Austria
* Prof. Maureen Thomas, Cambridge University Moving Image Studio, UK
* Prof. Milos Zelezny, University of West Bohemia, Czech Republic
* Prof. Nuno Guimarães, Information Sciences, Technologies and Architecture Research Center (ISTAR-UL), Portugal
* Prof. Olivier Pietquin, University of Lille | Google DeepMind, France
* Prof. Sandra Pauletto, University of York, UK
* Prof. Stefania Serafin Professor, Aalborg University Copenhagen, Denmark
* Prof. Thierry Dutoit, University of Mons, Belgium
* Prof. Yves Rybarczyk, New University of Lisbon, Portugal
INFRASTRUCTURE
eNTERFACE’17 will be held in the Digital Creativity Centre located on the campus of the Catholic Portuguese University in the city of Porto, Portugal. The Digital Creativity Centre<http://artes.ucp.pt/ccd> is a center of competence and creative excellence with an infrastructure equipped with cutting edge technology in the areas of Digital and Interactive Arts, Computer Music, Sound Design, Audiovisual and Cinematic Arts, Computer Animation.
Facilities include experiment spaces, meeting rooms, as well as a Motion Capture (MoCap) Lab equipped with a Vicon Motion Capture System, a Digital and Interactive Arts (Yamaha Disklavier Grand Piano Robotic Performance System, a Notomoton Percussion Robot, two Reactable Live and one Reactable Media Bench Systems, various Microsoft Kinects, Nintendo Wiimotes, LeapMotion sensors, Webcameras, 3d-printers, Arduino and Raspberry Pi systems).
ORGANIZATION
eNTERFACE’17 will be organized and hosted by the Digital Creativity Centre, Universidade Catolica Portuguesa - School of Arts.
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