Deadline for Submission of Papers, Posters, Music, and Installations EXTENDED to Sunday March 1st, 2015.
Please note that the deadline for Extended Abstracts will not be extended.
http://icad15.iem.at
The 21st International Conference on Auditory Display
July 6 - 7 Workshops and Student Think Tank
July 8 - 10 Conference
University of Music and Performing Arts and Technical University of Graz, Austria.
::::::::::::::::: KEY DATES :::::::::::::::::
01 March 2015 Submission of Papers, Posters, Music, and Installations
15 March 2015 Submission of Workshops
15 April 2015 Submission of Extended Abstracts
15 April 2015 Notification of acceptance for Workshops
01 May 2015 Notification of acceptance for Papers, Posters, Music, and Installations
15 May 2015 Notification of acceptance for Extended Abstracts
01 June 2015 Camera-Ready deadline
::::::::::::::::: AREAS OF INTEREST :::::::::::::::::
Relevant areas for ICAD include but are not limited to:
Auditory Display:
- Aesthetics, Culture, & Philosophy
- Design, Theory & Methods
- Technology: Tools & Applications
- Perceptual and Cognitive Aspects
- Usability & Evaluation
- Accessibility
Special Focus of ICAD15:
- Sonification:
- Exploration of Data through Sound
- Sonification as Art
- Sonic Interaction Design
- Interaction design
- Input technologies
- Auditory Information Design
- Spatial Audio
- Binaural virtual acoustics
- Loudspeaker-based sound field synthesis
Accepted papers will be included in the published proceedings and made publicly available in the Georgia Tech SMARTech system (http:// smartech.gatech.edu/). The types of submissions solicited for ICAD15 include:
::::::::::::::::: PAPERS AND POSTERS:::::::::::::::::
Paper and poster submissions will be 4-8 pages in length, including all figures and references. Typical paper contributions are between 6 - 8 pages, and typical poster contributions are 4 - 5 pages long. Full papers should describe work that offers a substantial contribution to the field of auditory display. Authors of accepted papers will be invited to give an oral presentation of their work, and at least one author must present the work at the conference for the paper to appear in the proceedings. Poster submissions should describe both finished work and work in late stages of progress. Work that is complete enough that meaningful conclusions can be drawn at the time of submission are encouraged. Authors of accepted submissions will be invited to participate in a poster and/or demonstration session, and at least one author must present the work at the conference for the paper to appear in the published proceedings. When weighing the decision to submit to poster and demonstration sessions, we encourage authors to consider their work in relation to the potential positive benefits (both to authors and their audiences) afforded by the personal interactions that occur in this type of session.
Authors of selected full papers will be invited to submit an extended version (up to 12 pages) of their papers for publication in a Special Issue of the Journal on Multimodal User Interfaces (JMUI): Auditory Display.
(http:// www.springer.com/computer/hci/journal/12193)
::::::::::::::::: EXTENDED ABSTRACTS :::::::::::::::::
Extended abstracts include, but are not limited to late-breaking results, works in early stages of progress, novel methodologies, unique or controversial theoretical positions, and discussions of unsuccessful research or null findings. Submissions for extended abstracts require a proceedings paper of up to 2 pages in length. Authors of accepted abstracts will be invited to give a short presentation of their work, and at least one author must present the work at the conference for the abstract to appear in the published proceedings. The deadline of the extended abstracts is later to allow very recent contributions in the field.
Papers Co-Chairs
Visda Goudarzi and Areti Andreopoulou
papers.icad15(a)iem.at
::::::::::::::::: MUSIC AND INSTALLATIONS:::::::::::::::::
We invite submissions of music and sound installations. Sonification should be a constitutive element of the proposed works. Priority will be given to works employing space and interaction as additional dimensions to an artistic data exploration. We therefore especially encourage the submission of multichannel electroacoustic or acousmatic pieces and interactive sound installations.
The works will be reviewed by an international panel of sound and sonification experts. Preference will be given to submissions that are technically feasible and have a clear documentation of the setup. At least one of the authors who wish to have their works presented at ICAD15 must register and attend to the conference. As we would like to extend the presentation of these works beyond the time limits of the conference, authors of accepted works are encouraged to present their work also online using the Research Catalogue (http://www.researchcatalogue.net), an international database for artistic research. The conference page will provide a portal to these presentations.
Music Co-Chairs
Johannes Zmölnig, Ypatios Grigoriadis, and Gerhard Eckel
music.icad15(a)iem.at
We will provide child care during the conference and workshops. If you travel with a kid/ kids please drop us an email ahead of time.
For more information on submission in different categories please refer to the conference website: http://icad15.iem.at
Conference Co-Chairs: Katharina Vogt and Ypatios Grigoriadis
chair.icad15(a)iem.at
The Journal of Comparative Media Arts (CMA Journal) is an open-access, student-run peer-reviewed journal, taking up discussions and investigations within the creative, critical and cultural communities. Our goal is to publish the best of graduate, postgraduate and recent graduate essays and dissertations, presenting the pluralism of research within arts and culture and a forum for scholarly discourse. Engaging a transdisciplinary perspective, the CMA Journal encompasses contemporary concerns with a focus on visual arts and art history, cinema and moving-image studies, performance studies, and studies of computer-based arts. Promoting open-minded thinking the CMA Journal aims to generate a fruitful environment for critical, historical, and theoretical analysis across arts forms and practice. We welcome experimental and creative writing, works-in-progress, collaborations and lively debates that are critically engaged in the ever-shifting range and scope of the fields of critical and cultural studies.
ISSUE ONE: FAILURE
The discourse of failure, while commonly perceived as the antithesis of success, can be understood to engender experimentation and potentiality. Making mistakes becomes an important moment, necessary in the pursuit of progress and discovery. Failure obliges time to reflect on what has taken place; retracing steps in order to analyze, learn and understand outcomes; taking advantage of and recognizing the happy accidents. Within creative practices, error becomes the device for re-investigating, re-evaluating and re-making an event, a moment or a work to implement something different. Pop culture and cybernetic space is rife with memes of failure and reveals the provocative humour in our mistakes. By turning failure on its head, emergent and alternative paths open up to experience and possibility. The process of becoming calls for expanded perspectives and the assimilation of new knowledge. As scholar, artist, critic and keen observer, how might failure be transformed into a pretext to create? Is it possible to engage a perspective in which failure, and therefore the mistake or the error, might be seen as a fundamental moment in the creative and pedagogical process? When is being wrong right? How might a non-judgmental context be recognized as incentive to go beyond limitations and expectations of success? As we launch the first issue of the Journal of Comparative Media Arts, we are optimistic of a rousing success on the provocative theme of failure.
SUBTHEMES
SOUND: Dissonance and cognitive conflict; the disharmony of sound; vibrations and noise; the medium of air and water; reception and perception; manipulation, mixing, and reproduction; environmental, psychological and social sounds; unstable intervals, an argument or disagreement, contradictory beliefs.
PERFORMANCE: Failure to perform, bodily and cognitive stress, dis-ability; a misstep, a fall, injury, non-performance; the rehearsal and the understudy; development of style, finding your voice, forgetting lines and the reverberations of silence; subjectivities and experience; unachievable goals and perilous adventures; wandering, exploring and getting lost.
BODY & EMBODIMENT: Corporeal, social and communicative decay; the carcass, the corpse and the abject; the detritus of human existence; sustainability, waste and apocalyptic events; misunderstanding and losses in translation; cake-eating, revolt and evolution;
POLITICAL & SOCIAL: Ideological, political, civil, or institutional dis-obedience; rioting, challenging authority, breaking promises, accountability; perversions, subcultures and underground movements; marginalization; colonization and the white-washing of culture; language, history and story-telling; migration, moving in, settling and inhabiting; strategy and tactics;
TECHNOLOGY: Glitches, skipping or noise both visual and aural; disconnections and dropped communication; sharing of information, the viral form, the re-evaluation of time; extension and adaptation, the uncanny and the threat/potential of AI; undesirable outcomes and dangerous progress.
CALL FOR SUBMISSIONS
This is the Journal of Comparative Media Arts CFP for long papers, short papers, photo essays and artworks. The inaugural publication of the CMA Journal invites submissions that consider the theme of FAILURE. Every submission relevant to study of contemporary, forward-thinking investigations in visual culture and the arts will be reviewed and considered.
Submissions will be accepted until March 15 2015, 23:59 PST.
ART OR RESEARCH LONG PAPER: This type of submission is best suited for scholarly work and reports on completed research or artworks. Each submission will be carefully reviewed by three independent reviewers and ranked based on quality of presentation, relevance to the community, originality, and importance of the contribution. Submissions in this category can be between 5000-7500 words, including abstract, footnotes, bibliography, author bio(s);
ART OR RESEARCH SHORT PAPERS: This type of submission is best suited for scholarly work and reports on ongoing research or artwork, as well as position papers raising original and provocative theoretical or practical discourses and questions. Each submission will be carefully reviewed by three independent reviewers and ranked based on quality of presentation, relevance to the community, originality, and importance of the contribution. Submissions in this category can be between 2500-3000 words, including abstract, footnotes, bibliography, author bio(s);
PHOTO ESSAYS: This type of submission is best suited for the dissemination of artistic research and its methodologies, from all arts disciplines. This format allows for text to be woven together with image, audio and video. This format also invites critical reviews of exhibitions, artist studio visits, artist profiles and experimental content. All images, audio and video elements must be the property of the artist or meet copyright approval and is the responsibility of the author. Each submission will be carefully reviewed by three independent reviewers and ranked based on quality of presentation, relevance to the community, originality, and importance of the contribution. Submissions in the Photo Essay category can be between 1000-2000 words, including abstract, footnotes, bibliography, and author bio(s). Please include low resolution copies of images/supplements to be included in the essay with copyright permissions where applicable.
ARTWORKS: We accept submissions of individual artworks, including any media, audio and video, to be published as a featured image for each publication. Please provide a 300-500 word artist statement, including how the work fits within the theme of FAILURE.
SUBMISSION FORMAT
All submissions need to be the full length version of the paper. Please submit Word documents (.doc or .docx) or PDFs to the attention of the Peer Review Committee via email: submissions(a)cmajournal.ca
Submissions will be accepted until March 15 2015, 23:59 PST. Accepted submission will be published online May 2015.
QUESTIONS?
Contact the Editorial Committee via email: info(a)cmajournal.ca, or through our online contact form.
Or visit our website: http://cmajournal.ca/call-for-submissions/
Hello,
Since Pd and its user base are prominent and integral parts of the computer music community, I would like to re-post this announcement to encourage musicians, artists, researchers and developers to submit your recent artistic works and computer music research to this year's ICMC. Hope to see many of you there in person.
-Richard
Richard Dudas
Hanyang University College of Music, Seoul, Korea
---------
This is just a reminder that the ICMC2015 deadline for music and paper submissions is fast approaching.
Deadline for submissions: February 8th, 2015
The Center for Experimental Music and Intermedia (CEMI) at the University of North Texas will host the 41st International Computer Music Conference (ICMC) 2015 in Denton from September 25 to October 1, 2015.
Important Dates
Open for Submissions: January 11th, 2015
Deadline for music and paper submissions: February 8th, 2015 (UTC -7)
Acceptance notification: April 19th, 2015
Final deadlines for all performance material and ‘Camera-Ready’ paper: May 10th, 2015
Registration deadline: June 14th, 2015
Submissions can be made through the conference management system:
http://icmc2015.unt.edu/call-for-music/http://icmc2015.unt.edu/call-for-papers/
We welcome short or long paper submissions for oral, poster or demo presentation as well as studio reports in the (non-exclusive) list of topics:
3D Printing
Acoustics of Music
Aesthetics, Theory, and Philosophy
Algorithmic Composition
Analysis of Electroacoustic Music
Analysis/Synthesis
Artificial Intelligence and Music
Big Data
Composition Systems and Techniques
Computational Musicology
Computer Systems in Music Education
Digital Audio Signal Processing and Audio Effects
Digital Communities
Futurism
History of Electroacoustic Music
Interaction and Improvisation
Intermedia
Languages for Computer Music
Live Coding
Mathematical Music Theory
Mobile Music Computing
Music Information Retrieval
New Interfaces for Musical Expression
New Media
Perception and Cognition of Sound and Music
Physical Modeling and Instrumental Acoustics
Representation and Models for Computer Music
Robotics
Software and Hardware Systems
Spatialisation Techniques
Studio Reports
Telematic Music
Virtual Reality
We welcome music submissions for fixed media, live performance, or installations in the following (non-exclusive) categories:
solo instrument + electronics
ensemble (2-10 musicians) + electronics
laptop improvisation and live coding
video and music
acousmatic music
new interfaces for musical expression
inter-media performance
piece + paper (including computer-aided acoustic composition)
networked performance
installation
club electro (jazz/pop/dj/idm influenced electronic music)
large ensembles + electronics (special category)
- Chamber Choir 16-voice SATB + electronics
- Trombone Choir + electronics
- Jazz Ensemble + electronics
- String Orchestra (4/4/3/2/1) + electronics
- Wind Ensemble + electronics
miscellaneous
For more information, please visit our website:
http://icmc2015.unt.edu/
You can also join the conference’s Facebook Group for announcements and updates:
https://www.facebook.com/icmc2015
Please forward this call to interested parties and accept our apologies for the cross-posting
Looking forward to your contributions!
Conference Chair: Panayiotis Kokoras (University of North Texas)
Music Chair: Jon Nelson (University of North Texas)
Paper Chair: Richard Dudas (Hanyang University, Seoul, Korea)
Technical Director: Andrew May (University of North Texas)
[Sorry for cross-posting, please distribute.]
The Linux Audio Conference submissions deadline has been extended for
another week! Please note the new deadline:
Sunday, Feb 8th, 2015 (23:59 HAST)
So, if you were considering to submit a paper but couldn't make up your
mind yet, here is your chance to become active! Never forget that this
conference lives through the people participating in it.
February 8th is the new deadline for all submission types: papers,
music, installations, workshop proposals.
Check out the link below for more info:
http://lac.linuxaudio.org/2015/participation
Note that as usual we have created two different OpenConf instances: one
for the submission of regular papers, lightning talks and poster
sessions, and a second one for music, installations and workshop
proposals. For the latter, please also check the detailed instructions
at http://lac.linuxaudio.org/2015/download/lac2015-call-for-miw.pdf.
If you have any questions concerning your submission, please don't
hesitate to contact us at lac(a)linuxaudio.org, or through our #lac2015
IRC channel on freenode.net.
Please spread this information to anyone who might be interested.
We look forward to your submissions and hope to meet you in Mainz in
April!
Sincerely,
The LAC 2015 Organizing Team
--
Dr. Albert Gr"af
Computer Music Research Group, JGU Mainz, Germany
Email: aggraef(a)gmail.com
WWW: https://plus.google.com/+AlbertGraef
FYI
==================================
International Call for Scores 2015 - Schallfeld goes electronic
Ensemble Schallfeld in cooperation with "Kulturzentrum bei den Minoriten"
invites composers from all nationalities born in or after 1974 to send in
pieces for ensemble and electronics.
Since 2013 Schallfeld has been active in Graz and Austria as a young ensemble and
platform for the promotion of contemporary music by international composers,
mostly of the younger generation. Beyond being a "traditional ensemble",
Schallfeld is active as a free artists' collective, consisting of musicians
with different backgrounds and interests. This leads to the great diversity of
Schallfeld's activities, ranging from music theatre to sound art, chamber music,
improvisation and educational activities.
Deadline: 2015-04-01, for detailled terms see
http://schallfeld.weblog.mur.at/en/call-for-scores/http://schallfeldensemble.com
==================================
Regards
Daniel Mayer
-----------------------------
www.daniel-mayer.at
-----------------------------
Dear all,
(With apologies for cross posting, please distribute!)
This is a reminder that the call for participation for ICAD15 is currently open. http://icad15.iem.at
Call for Papers, Posters, Extended Abstracts, Music, Installations, and Workshops - ICAD 2015
“ICAD in Space: Interactive Spatial Sonification”
The 21st International Conference on Auditory Display
July 6 - 7 Workshops and Student Think Tank
July 8 - 10 Conference
University of Music and Performing Arts and Technical University of Graz, Austria.
The conference is organised by the Institute of Electronic Music and Acoustics (IEM). IEM is one of the leading institutions in the field of audio engineering and computer music. As part of the University of Music and Performing Arts Graz, IEM is a multidisciplinary institution, whose general mission is to bridge the gap between science and the arts. As a unique characteristic, IEM focuses on sonification as part of its research in computer music. IEM facilities include laboratories and performance spaces such as CUBE, which are equipped with spatial audio and motion tracking systems. Since 2014, IEM hosts the Sonic Interaction Design (SID) lab, in which interactive sound systems are designed and evaluated.
ICAD is a highly interdisciplinary conference with relevance to researchers, practitioners, artists, and graduate students working with sound to convey and explore information. The conference is unique in its specific focus on auditory displays and the range of interdisciplinary issues related to their use. Like its predecessors, ICAD15 will be a single-track conference, open to all, with no membership or affiliation requirements. In addition to ICAD's core interests, we would like to take the opportunity of the conference being held at IEM to highlight this yearʼs theme ICAD in Space: Sonification, Sonic Interaction Design, and Spatial Audio.
::::::::::::::::: KEY DATES :::::::::::::::::
15 February 2015 Submission of Papers, Posters, Music, and Installations
15 March 2015 Submission of Workshops
15 April 2015 Submission of Extended Abstracts
15 April 2015 Notification of acceptance for Workshops
01 May 2015 Notification of acceptance for Papers, Posters, Music, and Installations
15 May 2015 Notification of acceptance for Extended Abstracts
01 June 2015 Camera-Ready deadline
::::::::::::::::: AREAS OF INTEREST :::::::::::::::::
Relevant areas for ICAD include but are not limited to:
Auditory Display:
- Aesthetics, Culture, & Philosophy
- Design, Theory & Methods
- Technology: Tools & Applications
- Perceptual and Cognitive Aspects
- Usability & Evaluation
- Accessibility
Special Focus of ICAD15:
- Sonification:
- Exploration of Data through Sound
- Sonification as Art
- Sonic Interaction Design
- Interaction design
- Input technologies
- Auditory Information Design
- Spatial Audio
- Binaural virtual acoustics
- Loudspeaker-based sound field synthesis
Accepted papers will be included in the published proceedings and made publicly available in the Georgia Tech SMARTech system (http:// smartech.gatech.edu/). The types of submissions solicited for ICAD15 include:
::::::::::::::::: PAPERS AND POSTERS:::::::::::::::::
Paper and poster submissions will be 4-8 pages in length, including all figures and references. Typical paper contributions are between 6 - 8 pages, and typical poster contributions are 4 - 5 pages long. Full papers should describe work that offers a substantial contribution to the field of auditory display. Authors of accepted papers will be invited to give an oral presentation of their work, and at least one author must present the work at the conference for the paper to appear in the proceedings. Poster submissions should describe both finished work and work in late stages of progress. Work that is complete enough that meaningful conclusions can be drawn at the time of submission are encouraged. Authors of accepted submissions will be invited to participate in a poster and/or demonstration session, and at least one author must present the work at the conference for the paper to appear in the published proceedings. When weighing the decision to submit to poster and demonstration sessions, we encourage authors to consider their work in relation to the potential positive benefits (both to authors and their audiences) afforded by the personal interactions that occur in this type of session.
Authors of selected full papers will be invited to submit an extended version (up to 12 pages) of their papers for publication in a Special Issue of the Journal on Multimodal User Interfaces (JMUI): Auditory Display.
(http:// www.springer.com/computer/hci/journal/12193)
::::::::::::::::: EXTENDED ABSTRACTS :::::::::::::::::
Extended abstracts include, but are not limited to late-breaking results, works in early stages of progress, novel methodologies, unique or controversial theoretical positions, and discussions of unsuccessful research or null findings. Submissions for extended abstracts require a proceedings paper of up to 2 pages in length. Authors of accepted abstracts will be invited to give a short presentation of their work, and at least one author must present the work at the conference for the abstract to appear in the published proceedings. The deadline of the extended abstracts is later to allow very recent contributions in the field.
Papers Co-Chairs
Visda Goudarzi and Areti Andreopoulou
papers.icad15(a)iem.at
::::::::::::::::: MUSIC AND INSTALLATIONS:::::::::::::::::
We invite submissions of music and sound installations. Sonification should be a constitutive element of the proposed works. Priority will be given to works employing space and interaction as additional dimensions to an artistic data exploration. We therefore especially encourage the submission of multichannel electroacoustic or acousmatic pieces and interactive sound installations.
The works will be reviewed by an international panel of sound and sonification experts. Preference will be given to submissions that are technically feasible and have a clear documentation of the setup. At least one of the authors who wish to have their works presented at ICAD15 must register and attend to the conference. As we would like to extend the presentation of these works beyond the time limits of the conference, authors of accepted works are encouraged to present their work also online using the Research Catalogue (http://www.researchcatalogue.net), an international database for artistic research. The conference page will provide a portal to these presentations.
Music Co-Chairs
Johannes Zmölnig and Gerhard Eckel
music.icad15(a)iem.at
::::::::::::::::: WORKSHOPS ::::::::::::::::
ICAD workshops and tutorials provide in-depth opportunities for conference attendees to discuss and explore important topics in the field of auditory display with like-minded researchers and practitioners. Please submit concepts for “hands-on” workshops or discussion platforms, possibly allowing participants to contribute, but no paper sessions on their own. Focus areas can range from applications and programming methodologies to interdisciplinary research skills, emerging concepts, and challenge problems.
Space, facilities, technical support, and the number of sessions that can be accepted are limited, so early submission of proposals is encouraged. Workshop and tutorial organizers are expected to collaborate with the conference committee, issue calls for participation, gather and review contributed materials (if appropriate), and decide upon the final program for their session.
Workshop Co-Chairs
Franz Zotter and Derek Brock
workshop.icad15(a)iem.at
::::::::::::::::: SONIFICATION CONTEST ::::::::::::::::
The call for the Sonification Contest will be released in early 2015.
::::::::::::::::: STUDENT THINK TANK ::::::::::::::::
The call for the Student Think Tank will be released in early 2015.
We will provide child care during the conference and workshops. If you travel with a kid/ kids please drop us an email ahead of time.
For more information on submission in different categories please refer to the conference website: http://icad15.iem.at
Conference Co-Chairs
Katharina Vogt and Ypatios Grigoriadis
chair.icad15(a)iem.at
Hi all,
The Irish Sound, Science and Technology Association announced a call for submissions for its 2015 Convocation, held in Limerick, Ireland, August 12-13.
It has four tracks: music, workshops, art and papers/posters. It's open to all nationalities, ages, etc.
The theme is "Resonance and Recapitulation: Echo of a Renaissance," tied very closely to the past year of events in Limerick City, but we are accepting submissions outside the theme, as usual. More information is available at the link below.
Miller Puckette (whom you all know) is our keynote this year, and we're very excited to have him.
So please submit. All instructions, information, explanation of the theme, etc., can be found here: http://issta.ie/index.php/call-2015/ and the deadline is March 1.
Thanks,
Kerry
www.kerrylhagan.netwww.spade.ul.iewww.dmarc.iewww.issta.ie