[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
**************************************************************************
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
**************************************************************************
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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MUME 2017 CONCERT -CALL FOR WORKS
Call for Works: The Musical Metacreation Concert at the Eighth
International Conference on Computational Creativity, Atlanta, Georgia, June
2017Key Dates
April 20th: submission deadline.
May 10th: notification.
June 18th: concert rehearsals.
June 19th: MuMe concert.
June 19th–23rd: International Conference on Computational Creativity.
(MuMe academic workshop is on June 19th and morning of 20th).
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 selection committee, musicians, concert venue and
available equipment will be made available soon; 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 PDF describing your work to Arne Eigenfeldt:
arne_e(a)sfu.ca.
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.
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 ofMonday 19th June.
--
Kıvanç Tatar
----------------------------------
PhD Student
Interactive Arts and Technology
Simon Fraser University, Vancouver, Canada
Email: kivanctatar(a)gmail.com
Website: https://kivanctatar.wordpress.com/
Dear Colleagues,
Please help us circulate the CFP of MOCO 2017 among your communities.
3rd Call for Papers and Practice Work MOCO 2017
———————————————————————————————————————
International Conference on Movement and Computing (MOCO17)
Intersecting Art, Meaning, Cognition, Technology
———————————————————————————————————————
28-30th June, London UK
Goldsmiths University of London
http://moco17.movementcomputing.org <http://moco17.movementcomputing.org/>
We would like to invite submissions for paper presentations, performances, workshops and more to the 4th International Conference on Movement and Computing (MOCO) which is to be held in London.
MOCO is an interdisciplinary conference that explores the use of computational technology to support and understand human movement practice (e.g. computational analysis) as well as movement as a means of interacting with computers (e.g. movement interfaces). This requires a wide range of computational tasks including modeling, representation, segmentation, recognition, classification, or generation of movement information but also an interdisciplinary understanding of movement that ranges from biomechanics to embodied cognition and the phenomenology of bodily experience. We therefore invite submissions from a wide range of disciplines including (but not limited to): Human-Computer Interaction, Psychology, Dance, Artificial Intelligence, Neuroscience, Sports Science, Machine Learning, Cognitive Science, Visual Arts, Robotics, Philosophy, Anthropology, Music, Affective Computing, Games, Healthcare and Animation.
MOCO is open to a wide range of ways of presenting your work. As well as papers for oral and poster presentations, we invite submission of a wide range of practice work such as demos, performances, games, artistic works and movement workshops (in which participants take part in a guided movement activity). We encourage submitters to be creative in proposals for practice sessions and are open to novel formats.
————————————
Suggested Topics
————————————
• Expressive movement-based interaction
• Movement analysis and analytics
• Machine learning for movement
• Movement representation
• Somatic practice and design
• Modeling movement qualities and expressive movement
• Mechatronics and creative robotics
• Design for movement in digital art
• Gesture Interaction
• Movement generation
• Movement and sound interaction
• Movement computation in ergonomics, sports, and health
• Sensori-motor learning with audio/visual feedback
• Embodied cognition and movement
• Visualizing and sonifying movement
• Modeling kinaesthetic empathy
• Embodied and whole body interaction
• Expressive movement analysis and synthesis
• Design for movement in digital art
• Semantic models for movement representation
• Movement Notation Systems (e.g. Laban or Eshkol-Wachman) and computation
• Dance and technology
• Biosensing, biocontrol and movement
• Movement expression in avatar, artificial agents, virtual humans or robots.
• Music and movement
• Philosophical perspectives and reflection on movement and computing
——————————
Submission
——————————
The conference is an opportunity to present a research or study or details of collaborative work. Participants will have the opportunity to offer a presentation of the results of their research on one of the themes of the symposium and to interact with their scientific/ artistic peers, in a friendly and constructive environment. We encourages submission of a wide range of formats, the submission categories are:
Long paper with oral presentation (8 pages maximum)
Short paper with oral presentation (4 pages maximum)
Extended abstract with poster presentation (6 pages maximum in the extended abstract format)
Extended abstract for practice work with presentation format to be suggested by the author for example demonstration, performance, art work, movement workshop, game or other practice presentation (2 pages maximum + Demo proposal form). - please note that we are an academic conference with a low fee which means we cannot pay for commissioned performances and art work. Also, we cannot guarantee facilities for all possible sessions, so please give full details of your needs in the proposal form so we can judge whether it is possible.
Doctoral papers with oral presentation at a doctoral symposium and poster (4 pages maximum)
All submissions should be in pdf format and should use the ACM proceedings format:
http://www.acm.org/publications/proceedings-template <http://www.acm.org/publications/proceedings-template>
It is possible for participating authors to submit a demonstration proposal in addition to their regular paper submission by completing the Demo proposal form and sending it along with their submission. Together with the demo proposal form, authors have to provide a link to a video about their work. The demo proposal form is mandatory for all demo submissions and must include details about technical set-up and space requirements.
Online submission: All submissions must be made through EasyChair
https://easychair.org/conferences/?conf=moco2017 <https://easychair.org/conferences/?conf=moco2017>
All submissions must be anonymous and will be peer-reviewed. The MOCO proceedings will be indexed and published in the ACM digital library.
————————————
Important Dates
————————————
NB There will be no other deadline extensions
Abstract and Meta-data Submission: 23 January 2017
Paper, Poster and Practice Work Submission: 8 February 2017
Doctoral Symposium Submission: 1 March 2017
Notification: 30 March 2017
Camera Ready: 30 April 2017
Symposium: 28-30 June 2017
————————————
Contact
————————————
If you have any questions please contact us on moco2017(a)easychair.org <mailto:moco2017@easychair.org>
————————————
Committee
————————————
Conference Chair
Marco Gillies, Goldsmiths
Organising Committee
Kirk Woolford, University of Surrey
Sarah Whatley, Coventry University
Frederic Fol Leymarie, Goldsmiths
Phoenix Perry, Goldsmiths
Adam Parkinson, Goldsmiths
Simon Katan, Goldsmiths
Perla Maiolino, Goldsmiths
Local organisers
Kiona Niehaus, Goldsmiths
Nicky Donald, Goldsmiths
Phoenix Fry, Goldsmiths
Steering Committee
Frédéric Bevilacqua, IRCAM
Sarah Fdili Alaoui, LRI-Université Paris-Sud 11
Jules Françoise, Simon Fraser University
Philippe Pasquier, Simon Fraser University
Thecla Schiphorst, Simon Fraser University
Best wishes,
Sarah Fdili Alaoui
Sarah Fdili Alaoui
Assistant Professor
LRI - University Paris-Sud11 / Paris Saclay
0169155769
http://saralaoui.com/ <http://saralaoui.com/>
@saralaoui
> On 2016-10-10, at 09:44, Sarah Fdili alaoui <saralaoui(a)lri.fr> wrote:
>
>
>
> —————————————————————————————————————
>
> Call for Papers MOCO 2017
>
> ———————————————————————————————————————
> International Conference on Movement and Computing (MOCO17)
> Intersecting Art, Meaning, Cognition, Technology
> ———————————————————————————————————————
>
> 28-30th June, London UK
> Goldsmiths University of London
>
> http://moco17.movementcomputing.org <http://moco17.movementcomputing.org/>
>
>
> We would like to invite submissions for paper presentations, performances, workshops and more to the 4th International Conference on Movement and Computing (MOCO) which is to be held in London.
>
> MOCO is an interdisciplinary conference that explores the use of computational technology to support and understand human movement practice (e.g. computational analysis) as well as movement as a means of interacting with computers (e.g. movement interfaces). This requires a wide range of computational tasks including modeling, representation, segmentation, recognition, classification, or generation of movement information but also an interdisciplinary understanding of movement that ranges from biomechanics to embodied cognition and the phenomenology of bodily experience. We therefore invite submissions from a wide range of disciplines including (but not limited to): Human-Computer Interaction, Psychology, Dance, Artificial Intelligence, Neuroscience, Sports Science, Machine Learning, Cognitive Science, Visual Arts, Robotics, Philosophy, Anthropology, Music, Affective Computing, Games, Healthcare and Animation.
>
> MOCO is open to a wide range of ways of presenting your work. As well as papers for oral and poster presentations, we invite submission of a wide range of practice work such as demos, performances, games, artistic works and movement workshops (in which participants take part in a guided movement activity). We encourage submitters to be creative in proposals for practice sessions and are open to novel formats.
>
>
> ————————————
> Suggested Topics
> ————————————
>
>
> • Expressive movement-based interaction
>
> • Movement analysis and analytics >
> • Machine learning for movement >
> • Movement representation >
> • Somatic practice and design >
> • Modeling movement qualities and expressive movement >
> • Mechatronics and creative robotics >
> • Design for movement in digital art >
> • Gesture Interaction >
> • Movement generation >
> • Movement and sound interaction >
> • Movement computation in ergonomics, sports, and health >
> • Sensori-motor learning with audio/visual feedback >
> • Embodied cognition and movement >
> • Visualizing and sonifying movement >
> • Modeling kinaesthetic empathy >
> • Embodied and whole body interaction >
> • Expressive movement analysis and synthesis >
> • Design for movement in digital art >
> • Semantic models for movement representation >
> • Movement Notation Systems (e.g. Laban or Eshkol-Wachman) and computation >
> • Dance and technology >
> • Biosensing, biocontrol and movement >
> • Movement expression in avatar, artificial agents, virtual humans or robots. >
> • Music and movement >
> • Philosophical perspectives and reflection on movement and computing >
>
> ——————————
> Submission
> ——————————
>
> The conference is an opportunity to present a research or study or details of collaborative work. Participants will have the opportunity to offer a presentation of the results of their research on one of the themes of the symposium and to interact with their scientific/ artistic peers, in a friendly and constructive environment. We encourages submission of a wide range of formats, the submission categories are:
>
> Long paper with oral presentation (8 pages maximum) >
>
> Short paper with oral presentation (4 pages maximum) >
>
> Extended abstract with poster presentation (6 pages maximum in the extended abstract format) >
>
> Extended abstract for practice work with presentation format to be suggested by the author for example demonstration, performance, art work, movement workshop, game or other practice presentation (2 pages maximum + Demo proposal form). - please note that we are an academic conference with a low fee which means we cannot pay for commissioned performances and art work. Also, we cannot guarantee facilities for all possible sessions, so please give full details of your needs in the proposal form so we can judge whether it is possible.
>
> Doctoral papers with oral presentation at a doctoral symposium and poster (4 pages maximum) >
>
> All submissions should be in pdf format and should use the ACM proceedings format:
>
> http://www.acm.org/publications/proceedings-template <http://www.acm.org/publications/proceedings-template>
>
> It is possible for participating authors to submit a demonstration proposal in addition to their regular paper submission by completing the Demo proposal form and sending it along with their submission. Together with the demo proposal form, authors have to provide a link to a video about their work. The demo proposal form is mandatory for all demo submissions and must include details about technical set-up and space requirements.
>
> Online submission: All submissions must be made through EasyChair
>
> https://easychair.org/conferences/?conf=moco2017 <https://easychair.org/conferences/?conf=moco2017>
>
> All submissions must be anonymous and will be peer-reviewed. The MOCO proceedings will be indexed and published in the ACM digital library.
>
> ————————————
> Important Dates
> ————————————
>
> Submission deadline: 23 January 2017
> Notification: 23 March 2017
> Camera ready papers: 30 April 2017
>
> ————————————
> Contact
> ————————————
>
> If you have any questions please contact us on moco2017(a)easychair.org <mailto:moco2017@easychair.org>
>
> ————————————
> Committee
> ————————————
>
> Conference Chair
>
> Marco Gillies, Goldsmiths
>
> Organising Committee
>
> Kirk Woolford, University of Surrey
> Sarah Whatley, Coventry University
> Frederic Fol Leymarie, Goldsmiths
> Phoenix Perry, Goldsmiths
> Simon Katan, Goldsmiths
> Perla Maiolino, Goldsmiths
>
> Local organisers
>
> Steph Horak, Goldsmiths
> Nicky Donald, Goldsmiths
> Phoenix Fry, Goldsmiths
>
> Steering Committee
>
> Frédéric Bevilacqua, IRCAM
> Sarah Fdili Alaoui, LRI-Université Paris-Sud 11
> Jules Françoise, Simon Fraser University
> Philippe Pasquier, Simon Fraser University
> Thecla Schiphorst, Simon Fraser University
>
======================
2nd CALL FOR SUBMISSIONS
======================
((( MUME 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
Notification date: April 20th, 2017
Camera-ready version: April 28th, 2017
Workshop dates: June 19-20, 2017
======================
MUME aims to bring together artists, practitioners, and researchers
interested in developing systems that autonomously (or interactively)
recognize, learn, represent, compose, generate, complete, accompany, or
interpret music. As such, we welcome contributions to the theory or
practice of generative music systems and their applications in new media,
digital art, and entertainment at large. We also welcome contributions
discussing advances in generative systems as well as their philosophical,
and societal implications.
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
The workshop is a one day and a half event that includes:
-Presentations of FULL TECHNICAL PAPERS (8 pages maximum)
-Presentations of POSITION PAPERS and WORK-IN-PROGRESS PAPERS (5 pages
maximum)
-Presentations of DEMONSTRATIONS (3 pages maximum).
All papers should be submitted as complete works. Demo systems should be
tested and working by the time of submission, rather than be speculative.
We encourage audio and video material to accompany and illustrate the
papers (especially for demos). We ask that authors arrange for their web
hosting of audio and video files, and give URL links to all such files
within the text of the submitted paper.
Submissions do not have to be anonymized, as we use single-blind reviewing.
Each submission will be reviewed by at least three program committee
members.
Workshop papers will be published as MUME 2017 Proceedings and will be
archived with an ISBN number. Please use the updated MuMe paper template to
format your paper. Also, please feel free to edit the licence entry (at the
bottom left of the first page of the new template). The MUME 2017 latex and
Word template is available at:
http://musicalmetacreation.org/buddydrive/file/mume2017_templates/
Submission should be uploaded using MUME 2017 EasyChair portal:
https://easychair.org/conferences/?conf=mume2017
For complete details on attendance, submissions and formatting, please
visit the workshop website: <http://www.musicalmetacreation.org>
http://musicalmetacreation.org
Questions & Requests
======================================
Please direct any inquiries/suggestions/special requests to the Workshop
Chair, Philippe Pasquier (pasquier(a)sfu.ca).
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 (MUME Administration and Publicity Assistant)
School of Interactive Arts and Technology,
Simon Fraser University, Vancouver, Canada.
----------------------
http://musicalmetacreation.org
======================
**Please forward to anyone who might be interested**
Apologies for cross-posting
********************************************************************
CfP eNTERFACE'17 Workshop: International Summer Workshop on Multimodal Interfaces
http://artes.ucp.pt/enterface17/
********************************************************************
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
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
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.
Notifications of interest and 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 1-page notification of interest: give the title, a short summary of the proposed research and project, and the names and affiliations of the main researchers.
* Instructions for the final proposal: please go to the website guidelines-for-authors-of-final-project-proposals for detailed instructions on how to submit your final project proposal.
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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[apologies for cross postings]
Georgia Tech is now accepting applications for the MS and PhD programs in music technology for matriculation in August 2017. All PhD students, and a limited number of MS students, receive graduate research assistantships that cover tuition and pay a competitive monthly stipend. The deadline for applications is January 10, 2017.
The MS in Music Technology is a two-year program that instills in students the theoretical foundation, technical skills, and creative aptitude to design the disruptive technologies that will enable new modes of music creation and consumption in a changing industry. Students take courses in areas such as music information retrieval, music perception and cognition, signal processing, interactive music, the history of electronic music, and technology ensemble. They also work closely with faculty on collaborative research projects and on their own MS project or thesis. Recent students in the program have worked and/or interned at companies such as Apple, Google, Avid, Dolby, Bose, Gracenote, Pandora, Sennheiser, Ableton, and Spotify, and gone on to PhD studies. Applicants are expected to have an undergraduate degree in music, computing, engineering, or a related discipline, and they should possess both strong musical and technical skills.
Students in the PhD program in Music Technology pursue individualized research agendas in close collaboration with faculty in areas such as interactive music, robotic musicianship, music information retrieval, digital signal processing, mobile music, network music, and music education, focusing on conducting and disseminating novel research with a broad impact. PhD students are also trained in research methods, teaching pedagogy, and an interdisciplinary minor field as they prepare for careers in academia, at industry research labs, or in their own startup companies. PhD applicants are expected to hold a Masters degree in music technology or from an allied field, such as computing, music, engineering, or media arts and sciences. All applicants must demonstrate mastery of core masters-level material covered in Music Technology, including music theory, performance, composition, and/or analysis; music information retrieval; digital signal processing and synthesis; interactive music systems design; and music cognition.
Both the MS and PhD programs are housed within the School of Music at Georgia Tech, in close collaboration with the Georgia Tech Center for Music Technology (GTCMT). The GTCMT is an international center for creative and technological research in music, focusing on the development and deployment of innovative musical technologies that transform the ways in which we create and experience music. Its mission is to provide a collaborative framework for committed students, faculty, and researchers from all across campus to apply their musical, technological, and scientific creativity to the development of innovative artistic and technological artifacts.
Core faculty in the music technology program include Gil Weinberg (robotic musicianship and sonification), Jason Freeman (participatory and collaborative systems, education, and composition), Alexander Lerch (music information retrieval and digital signal processing), Timothy Hsu (acoustics), Frank Clark (multimedia and network music), and Chris Moore (recording and production).
More information on the MS program is at: http://www.music.gatech.edu/academics/graduate/overview
More information on the PhD program is at: http://www.music.gatech.edu/academics/phd/overview
More information on the GTCMT is at: http://www.gtcmt.gatech.edu
To apply, please visit: http://www.gradadmiss.gatech.edu/apply/
To contact us, please visit: http://www.gtcmt.gatech.edu/contact-us
Hello,
I am happy to announce the release of PuREST JSON 1.4.2, code name:
Argo in shipyard.
This release is a minor update and contains changes to the build scripts
and documentation. This version also has a Mac OS X release available
via deken.
PuREST JSON is a library for working with RESTful HTTP webservices, and
JSON data.
Authentication and authorization for webservices are available with
basic HTTP auth, cookie authentication, and OAuth. As an example for
OAuth authenticated webservices, a Twitter client is included.
This release is available from deken for Windows, Linux i386, and Linux
x86_64 with the name "purest_json"
Changes since 1.4.1:
- Update of build scripts and documentation
- Usage of CI for build
See the full changelog at
https://github.com/residuum/PuRestJson/blob/master/Changelog.txt
Github repository:
https://github.com/residuum/PuRestJson
Source code packages:
https://github.com/residuum/PuRestJson/releases
Full documentation:
https://github.com/residuum/PuRestJson/wiki
Build instructions for all platforms:
https://github.com/residuum/PuRestJson/wiki/Compilation
Have fun,
Thomas
--
"I'm a white male, age 18 to 49. Everyone listens to me, no matter how
dumb my suggestions are."
(Homer Simpson in: Lisa vs. Malibu Stacy)
http://www.residuum.org/