=========================
*Subject:*PhD Positions in AI / Computational Models for Movement
Recognition and Generation at Simon Fraser University.
Application deadline: March 1^st 2014
We are pleased to announce a PhD position in AI / Computational Models
for Movement at the School of Interactive Arts and Technology at Simon
Fraser University (Surrey, British Columbia, Canada). This position
will be working with Associate Professor Philippe Pasquier, and
Postdoctoral Fellow Sarah Fdili Alaoui in the *Moving Stories: Digital
Tools for Movement, Meaning and Interaction* Research Group
(movingstories.ca) lead by Associate Professor Thecla Schiphorst.
Moving Stories is an interdisciplinary, collaborative research
partnership leading to the design and application of more richly
articulated human movement knowledge within digital technology
interaction. The research institutional partners include Simon Fraser
University (SFU), The University of Illinois at Urbana-Champaign (UIUC),
The Laban Institute of Movement Studies in New York (LIMS), Emily Carr
University of Art and Design (ECUAD), The University of British Columbia
(UBC), and Credo Interactive.
*Duties and Responsibilities: *
·Work towards developing a Movement API (see
http://www.movingstories.ca): develop and use machine learning
techniques for the computational study, modeling, representation,
segmentation, recognition, classification, transformation or generation
of movement information.
·Support development of computational models of moving agents using
Machine Learning techniques
·Lead conference, journal, and grant proposal writing and submission
*Preferred Qualifications**:*
_Mandatory:_
-Previously completed or about to complete a Master Degree in Computer
Science or equivalent experience.
-Research focus includes at least one of the following areas:
oArtificial Intelligence: Agent and Multiagent Systems, including
virtual agents
oMachine Learning Techniques
oComputer Graphics, Animation, and Digital Signal Processing.
_Desirable:_
Experience with C++, Java, MaxMSP, Python, OpenGL/GLSL, mobile/tablet
development, and performance/multimedia/ and visual art, conducting user
studies, interdisciplinary collaboration.
*Position title:*PhD Student, SIAT
*Rate of pay:* Full financial support for the duration of the PhD.
Includes fellowship as well as support for conference travel and gears.
Actual rate depends on qualification, and experience (expect between 25k
and 35k annually).
*Departmental contact:*Nasim Jahangiri (Project Manager)
*Contact email:*njahangi@sfu.ca and Pasquier(a)sfu.ca
*Job close date:*Open until filled
*Review begins on (continues until position filled):*March 1st, 2014
*Benefits eligible:*Yes
*Full-time/part-time:*Full-time
*How to apply:*
_Application Documents Required:___
- Letter of interest (1 page pdf)
- Research statement (1 page pdf)
- Curriculum vitae, including list of publications and name of
references(pdf)
- Link to website or online portfolio of creative work, multimedia
projects, or research projects (optional)
- List of 3 professional references w/contact information (email and
phone number).
Send the document above to Moving Stories' Project Manager, "Nasim
Jahangiri" njahangi(a)sfu.ca <mailto:njahangi@sfu.ca>, and Pr. Pasquier
pasquier(a)sfu.ca.
**
*Benefits to applicants:*
- Work in an internationally recognized, interdisciplinary research team
with strong connections between technology and embodied experience.
- Receive weekly mentorship towards a research career.
- Vancouver is a beautiful city situated between the ocean and mountains
with easy access to year-round outdoor activities and cultural
opportunities.
-- Simon Fraser University is a unique university spread over three
campuses with many strong connections to local video and gaming industries.
- Position could begin any time after September 1st, 2014.
Flexibility in starting date.
- Health insurance through Simon Fraser University.
Regards,
--
Philippe Pasquier
------------------------------------------------------------
Associate Professor, Graduate Program Chair,
School of Interactive Arts and Technology,
Associate Dean of Graduate Studies,
Faculty of Communication, Art and Technology,
Simon Fraser University, Vancouver, Canada.
Mobile: +1 778-989-1240
Phone: +1 778-782-8546
Email: pasquier(a)sfu.ca | Skype: pasquierphilippe
http://www.sfu.ca/pasquier | http://www.metacreation.net
---------------------------------------------------------------
=====================
In response to requests from the community, the submission deadline
for the call for proposal has been extended until the 15th of
Feburary, 2014.
======================================================================
Begin forwarded message:
> From: PyoungRyang Ko <pyoungryang.ko(a)googlemail.com>
> Subject: [Call for Proposals] KEAMSAC2014 & Computer Music Journal Emille Vol. 12
> Date: January 14, 2014 at 1:44:33 AM GMT+9
>
> Dear Sir and Madam,
>
> I would be very grateful to you if you could circulate the following announcement to all who may be interested.
> Please visit the following website for further information:
> http://keams.org/emille/
>
> Sincerely yours,
> PyoungRyang Ko
>
>
> ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
> [Call for Proposals] Korean Electro-Acoustic Music Society's 2014 Annual Conference & its Computer Music Journal, Emille Vol. 12
> ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
>
> The Korean Electro-Acoustic Music Society's 2014 Annual Conference & its Computer Music Journal, Emille, present:
>
>
>
> Call for Proposals
>
>
> The Korean Electro-Acoustic Music Society (KEAMS) is pleased to announce a call for proposals for the 2014 KEAMS annual Conference and its journal Emille. KEAMS was formed to promote active research and discussion on electro-acoustic and computer music, and will hold the this year's conference during the Seoul International Computer Music Festival (SICMF 2014: http://www.computermusic.or.kr/) from October 6th to 9th, 2014. Selected papers from the conference will be published in Emille Vol. 12 (December, 2014). If you want your paper or workshop idea to be considered for the 2014 KEAMS Conference, please send an abstract or proposal (maximum of 2,000-characters including spaces) and curriculum vitae as PDF documents to <emille[at]keams.org>.
>
> Conference Language
> English
>
> Category of Topics
> For the KEAMS conference, the following topics are encouraged:
> a) Creative Encounters between Music and Science
> b) Multidisciplinary or Interdisciplinary Research (co-authors acceptable)
> c) Systematic Musicology (Computational Musicology, Computational Music Theory)
> d) Analysis of Electronic and Computer-based Music
> e) Sound Synthesis
> f) Music Psychology
> g) Instrumentation
> h) Development of electronically-extended Musical Instruments
> i) Music Software Engineering
> j) Artificial Musical Intelligence
> k) Computer-aided Composition/Analysis
> l) Automatic Composition
> m) Aesthetics
> etc.
>
> Important Dates
> - Deadline for Proposal Submission: February 5, 2014
> - Notification of Acceptance of the Proposal: March 1, 2014
> - Deadline for Paper Submission before Conference: August 31, 2014
> - Conference: October 8-9, 2014
> - Notification of Selected Paper for the Journal Emille: October 15, 2014
> - Deadline for Final Paper Submission: November 10, 2014
>
> SESSION FORMATS
> Each session will consist of up to four presentations. Each paper will be presented in person for about 25 minutes followed by ca. 5 minutes of discussion. If you want to give a keynote presentation, you will be given about 50 minutes to present, followed by ca. 10 minutes of discussion. Please include the word keynote in your submission if you are planning on applying for a keynote presentation. The length ofeach workshop will be about 90 minutes. Video conferencing over the Internet is also available.
>
> Your ideas are critical in making the conference and Emille enriching, important and substantial. We look forward to reviewing everyone's entry.
>
>
> As demonstrated by the following examples, participants may submit more than two proposals, making a whole presentation session or an additional workshop session:
>
> Example 1: Presentation Session Plan *
> Session
> Sample topic: Spatialization
> (4 x 30 min. = 25 min. presentation + 5 min. Q&A)
> Presentation 1
> Spatialization methods using less than 8 channels
> Presentation 2
> An overview of the design of a Loudspeaker Orchestra
> Presentation 3
> Applications of Ambisonics and Spherical Acoustics
> Presentation 4
> A proposal of multi-3D audio reproduction system for the multi-functional concert hall
> * You may submit several proposals without a session plan.
>
> Example 2: Workshop Session Plan **
> Session
> Sample topic: Using controllers for composition and acoustic installations
> (3 X 90 min.)
> Workshop 1
> Controllers using various sensors and Arduino
> Workshop 2
> Use of Smartphones and Tablet PCs as controllers
> Workshop 3
> Inter-application uses of Controllers
> (Using Processing to Control Csound, MaxMSP, PD and SuperCollider)
> ** You may submit a single proposal for a workshop. You also may submit multiple proposals for individual workshops without a session plan.
>
>
> Fees
> Thanks to funding from the Korean Arts Council, the registration fee and publication fee will be waived.
>
>
> It is also possible for students and non-experts in the fields mentioned above to submit proposals for the conference and the journal, Emille. All proposals will be screened by the program committee and selected solely based on the quality of the research and topic.
>
> Your ideas are critical in making the conference and Emille enriching, important and substantial. We look forward to reviewing everyone's entry.
>
>
>
> Emille, the Journal of the Korean Electro-Acoustic Music Society
> http://www.keams.org/emille/
>
>
> Editorial Information
>
> Committee Chair / Editor in Chief
> Lymn, Young-Mee
> Lecturer of Computer Music and Music Theory at Hanyang University etc.
>
> Committee / Editor
> Ko, PyoungRyang
> Lecturer of Computer Music and Music Theory at Sookmyung Women's University and Kwangwoon University
>
> Committee / Editorial Board
> Breitenfeld, Roland
> Professor of Composition and Computer Music at Seoul National University
> Chang, Jaeho
> Professor of Music Technology at Korea National University of Arts
> Cho, Jinok
> Lecturer of Music Theory and Computer Music at Seoul National University, Chung-Ang University etc.
> Cho, Youngmi
> Lecturer of Computer Music & Music Theory at Pyeongtaek University etc.
> Dudas, Richard
> Professor of Composition and Computer Music at Hanyang University
> Eckert, Gerald
> Professor of Composition at Chung-Ang University
> Kang, Joong Hoon
> Lecturer of Composition and Computer Music at Yonsei University etc.
> Kim, Han Shin
> Lecturer of Computer Music at Seoul Institute of the Arts
> Kim, Jin-Ho
> Professor of Composition, Computer Music and Musicology at Andong National University
> Kim, Jun
> Professor of Musical Arts and Technology, Dongguk University
> Lee, Byung-moo
> Lecturer of Composition, Music Theory & Computer Music at Chugye University for the Arts etc.
> Lee, Gi Nyoung
> Professor of Composition at Dong-eui University
> Lee, Kyogu (2011-2012)
> Professor of Music Information Retrieval, Music DSP at Seoul National University
> Moon, Seong-Joon
> Professor of Composition and Computer Music at Chugye University for the Arts
> Nam, Unjung
> Professor of Computer Music at Baekseok Arts University
> Park, Joo Won
> Community College of Philadelphia
> Park, Tae Hong
> New York University
> Parks, Kevin
> Professor of Composition and Computer Music at the Catholic University of Daegu
> Shin, Seongah
> Professor of Composition at Keimyung University
> Sigman, Alexander
> Professor of Composition at Keimyung University
> Yeo, Woon Seung (2011-2013)
> Professor of Audio visual art, New Musical Interface, Mobile Orchestra and Music DSP at Korea Advanced Institute of Science and Technology (KAIST)
>
> Committee / Editorial Advisory Board
> Ahn, Doo-jin
> Professor of Composition at Hanseo University
> Hwang, Sung Ho
> Professor of Composition at Korea National University of Arts
> Lee, Donoung
> Professor of Composition at Seoul National University
> Cho, Wonhyong
> Linguist (Former Researcher at the National Institute of the Korean Language)
>
Hello everybody,
we are Valentina and Nicola from Milan (Italy). We'd like to introduce
you our Limulo <http://www.limulo.net/> project through which we've
found a way to express our interests and passions.
One of our projects is videoTavolo
<http://www.youtube.com/watch?v=0xcAOFFxWuc>, presented during 2013
Electropark Festival (26th October 2013 - Genova).
videoTable is a musical interactive surface. You can play with it
placing different tangible fiducials on its surface. videoTable software
will generate images and graphic on the surface and will produce sounds
in procedural audio.
The software is totally realized with PureData and openFramework
libraries including external addons: ofxTUIO, ofxPD and ofxOSC.
The sound is generated in real-time by the videoTavolo Pure Data patch
(we would like to thank Andy Farnell
<http://obiwannabe.co.uk/html/author/author.html> for his work that has
been so much inspiring for us).
Starting from January we are supervising creHACKtivity
<http://www.limulo.net/crehacktivita-incontro-di-presentazione>, a
series of meetings related to IT and technology.
The aim of this lab is to spread an active, inquiring and positive
approach toward technology. The target of the lab is either those who
already know something about programming, computer, code, either those
who are totally unaware. We would like young people to consider computer
science, IT and technology in a critical, responsible and creative way.
Come and visit our site (www.limulo.net <http://www.limulo.net>), tell
us your opinion about it or leave a comment. We'd really appreciate it!
Hope to hear you soon
Limulo
Dancing with Laptops is a conversation between sonic gestures (generated on laptops) and physical movement. It is a performance where dancers don’t just dance to the music, but drive it like a passionate orchestra conductor.
Who: Concordia Laptop Orchestra (CLOrk) & Le Collab'Art de Stéph B
Location: Concordia's John Molson building, 1450 Guy Street, 7th floor, room MB 7.265 (BlackBox)
Date: January 30th, 2014 (Chinese New Year)
Time: 8PM
Admission: Free, volunteers are welcome
https://www.facebook.com/events/610658695650590/
This collaboration between Concordia Laptop Orchestra (CLOrk) and Collab'Art de Stéph B is part of a research/creation project designed to discover ways for creating an improvisatory dialogue between art forms.
Le Collab'Art will be presenting an evening-long performance May 16th and 17th, at Théatre Aux Écuries.
Artists:
Dancers: Stéphanie Bernard, Claudine Dubé, Émilie Morin
Concordia Laptop Orchestra, Marcus Aterman, Aidan Charlton, Kevin Cogen, Mariana Costa De Hutten Czapski, Daniel Dixon, Malcolm Duncan, Matthew Hills, Simon Lacelle, David Macri, Andrew McConnell, Patrick McDowall, Wesley Moran, Perrin Moss, Joseph Najm, Keith Odell, Michael Palumbo, David Russell, Evan Stepanian, Stephen Trepanier, Simon White, Vanessa Zaurrini, Peter van Haaften, Eldad Tsabary
Light designer: Josée Fontaine Rubis
Audio and logistics: Regy Guzman
Video: Alex Metcalfe and Jamie Woollard
Special thanks to Michael Montanaro & the Contemporary Dance Department for their support.
Eldad
Hi all,
tonight I'll be performing the piece Ominous, an incarnated sound sculpture
for the Xth Sense biophysical technology. The piece immerses the audience
in a circular quadraphonic setup for 4 subwoofers and light.
http://marcodonnarumma.com/works/ominous/
The performance is organised in occasion of the ICT & Art Connect West
London event. Among the other artists Stanza, Kate Sicchio and Jason Singh.
Below info about this EU-funded event. Let me know if you're around
tonight.
The event goes tomorrow as well, with a interesting initiatives.
http://www.ict-art-connect.eu/event/ict-art-connect-london-west/
"ICT & ART Connect sets out to bring together artists and technologists to
explore new ways of working. Collaborative acts of co-creation, together
with an open and multidisciplinary discussion, will foster the bringing
together of art and technology.
The initiative stems from the EU FP7 funded support action FET-ART,
addressing the FET (Future Emerging Technologies) objective of the FP7 ICT
Theme.
The project partnership includes Sigma Orionis (coordinator), Brunel
University, Stichting Waag Society, Stromatolite and BCC."
best wishes,
--
Marco Donnarumma
New Media + Sonic Arts Practitioner, Performer, Teacher, Director.
Embodied Audio-Visual Interaction Research Team.
Department of Computing, Goldsmiths University of London
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Portfolio: http://marcodonnarumma.com
Research: http://res.marcodonnarumma.com
Director: http://www.liveperformersmeeting.net
[image: Inline image 1]
7.30pm - Thurs 13 Feb 2014
Argos [centre for art and media]
Werfstraat 13 rue du Chantier
1000 Brussels
Belgium
http://tinyurl.com/nk74kaw + http://tinyurl.com/lrvp8bp
7.00pm - Tues 8 April 2014
Café Scientifique
Oxford University Museum of Natural History
Parks Road
Oxford OX1 3PW
http://tinyurl.com/ld854fm
Author and sound artist Joe Banks argues in his book "Rorschach Audio - Art
& Illusion for Sound" that "the earliest form of sound recording technology
was not a machine but was written language". The "Rorschach Audio"
presentation explores relationships between recording techniques and
mechanisms of aural and visual perception, demonstrating fascinating and
sometimes bizarre psychoacoustic and optical illusions. The lecture
proposes a critique of allegedly supernatural Electronic Voice Phenomena
(ghost-voice) research in context of contemporary sonic art, tracing the
illusions involved as far back as the artist generally recognised as the
most important figure in the history of Western art, and emphasising the
role that relatively little-known wartime intelligence work with sound had
on what is arguably the most important work of visual arts theory ever
published.
[apologies for cross postings]
Georgia Tech is now accepting applications for the MS and PhD programs in music technology for matriculation in August 2014. 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 31, 2014.
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, Avid, Dolby, Bose, Gracenote, Rdio, Sennheiser, Ableton, Echo Nest, and Smule, 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, mobile music, 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
Apologies for cross-postings, please distribute.
Happy New Year!
*******************************************************************************************
14th International Conference on New Interfaces for Musical Expression (NIME)
June 30 - July 3, 2014
Goldsmiths University of London
London, UK
web: www.nime2014.org
facebook: https://www.facebook.com/NIME2014
twitter: #nime2014
********************************************************************************************
2nd CALL FOR PARTICIPATION
On behalf of the NIME 2014 Committee, we would like to invite you to be part of the 14th international conference on New Interfaces for Musical Expression.
We invite submission of new works in the following categories:
• Papers and Posters
• Workshops and Tutorials
• Demonstrations
Important dates
• Scientific programme: Papers, Posters, Workshops, Tutorials and Demonstrations:
Draft submission (mandatory): January 31, 2014
Final submission: February 7, 2014
Review notification: March 28, 2014
Camera-ready paper deadline: April 18, 2014
Links:
- Paper templates and online submission system
- Any request concerning your submissions, write to nime2014papers(a)goldsmithsdigital.com
Note that only papers and demos submitted to NIME 2014 must be anonymized: authors are expected to remove author and institutional identities from the paper. If you are submitting a Workshop or Tutorial, proposals DO NOT need to be anonymized.
N.B. Please note the new system in the scientific programme for mandatory draft submission followed by full submission. We have implemented this new system to address the perennial deadline extensions. This year, we will not offer extensions. The Draft Submission deadline corresponds to previous years’ submission deadline. On this date, the author must be registered on the online submission system and have submitted a full draft manuscript of their paper. You will then have one week (the time of prior years’ extensions) to make minor edits to your manuscript.
SCIENTIFIC PROGRAMME
CALL FOR PAPERS
We welcome submissions of original research on scientific and artistic use of new interfaces for musical expression. A non-exhaustive list of NIME related topics is found below. This list is inclusive, and indicative. The thematic focus of this year’s edition is Liveness, and is described in the introduction above. We also encourage submissions that extend, stretch, or challenge the NIME topics and themes.
Acceptance criteria: The paper under consideration must propose an original contribution to NIME research; it must cite prior related work and should demonstrate rigorous research methodology.
There are three different paper submission categories:
• Full paper (up to 6 pages in proceedings, longer oral presentation, optional demo)
• Short paper/poster (up to 4 pages in proceedings, shorter oral presentation or poster, optional demo)
• Demo paper (up to 2 pages in proceedings, demonstration)
Submitted papers will be subject to a peer review process by an international expert committee. All accepted papers will be published in the conference proceedings, under an ISSN/ISBN reference, and will be archived online after the conference to be tracked by citation tools. A manuscript submitted for review cannot be already under review for publication elsewhere, or be submitted for a second review elsewhere while under review for NIME 2014. Authors of both full and short papers are greatly encouraged to submit a video in support of their paper. A video is mandatory for demonstration submission.
Review process detailed here http://www.nime.org/nime2014#reviewprocesspapers
A best paper award will be presented to the individual(s) judged by the scientific committee to have written the best paper appearing in the conference proceedings.
CALL FOR WORKSHOPS
We invite submissions for half-day (3 hours) or full-day (6 hours) workshops and tutorials. These can be targeted towards specialist techniques, platforms, hardware, software or pedagogical topics for the advancement of fellow NIME-ers and people with experience related to the topic. They can also be targeted towards visitors to the NIME community, novices/newbies, interested student participants, people from other fields, and members of the public getting to know the potential of NIME.
Tutorial proposals should clearly indicate the audience and assumed knowledge of their intended participants to help us market to the appropriate audience. Workshops and tutorials can relate to, but are not limited to, the topics of the conference. This is a good opportunity to explore a specialized interest or interdisciplinary topic in depth with greater time for discourse, debate, and collaboration.
TOPICS
Core topics central to NIME include the following. In addition to submissions that address specific themes of this year’s edition of the conference, original contributions are encouraged in, but not limited to, the following topics:
- Novel controllers and interfaces for musical expression
- Novel musical instruments
- Augmented/hyper instruments
- Novel controllers for collaborative performance
- Sensor and actuator technologies
- Haptic and force feedback devices
- Motion, gesture and music
- Interfaces for dance and physical expression
- Multimodal expressive interfaces
- Interfaces for musical expression for hearing or visually impaired people
- Interactive game music
- NIME intersecting with game design
- Robotic music
- Mobile music technology and performance paradigms
- Biological and bio-inspired systems
- Musical mapping strategies
- Interactive sound and multimedia installations
- Musical human-computer interaction
- Interaction design and software tools
- Interface protocols and data formats
- Sonic interaction design
- Perceptual and cognitive issues
- Performance analysis
- Performance rendering and generative algorithms
- Machine learning in musical performance
- Experiences with novel interfaces in live performance and composition
- Surveys of past work and stimulating ideas for future research
- Historical studies in twentieth-century instrument design
- Artistic, cultural, and social impact of NIME technology
- Novel interfaces in music education and entertainment
- Reports on student projects in the framework of NIME related courses
- Practice-based research approaches/methodologies/criticism
- User studies/evaluations of NIME
- Language and state in live interaction
- Musicianship of new musical interfaces
ORGANIZING COMMITTEE
General co-chairs
Atau Tanaka (Goldsmiths)
Rebecca Fiebrink (Goldsmiths)
Scientific co-chairs
Baptiste Caramiaux (Goldsmiths)
Koray Tahiroğlu (Aalto University, Helsinki)
Artistic co-chairs
Sarah Nicolls (Brunel University)
Adam Parkinson (Goldsmiths)
Posters and demos co-chairs
Marco Donnarumma (Goldsmiths)
Alessandro Altavilla (Goldsmiths)
Special Sessions co-chairs
Marco Gillies (Goldsmiths)
Alex McLean (University of Leeds)
Jean-Baptiste Thiebaut (ROLI/Music Hackspace)
Student Volunteer Coordinators
Peter Mackenzie (Goldsmiths)
Anna Weisling (Goldsmiths)
Conference Producer
Stephanie Horak (Goldsmiths)
-------------------------------------
M.Koray Tahiroğlu
Department of Media,
Aalto University
School of Arts, Design and Architecture
http://sopi.media.taik.fi/http://mlab.taik.fi/~korayt
tel. +358 50 4088441
Dear Sir and Madam,
I would be very grateful to you if you could circulate the following announcement to all who may be interested.
Please visit the following website for further information:
http://keams.org/emille/
Sincerely yours,
PyoungRyang Ko
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
[Call for Proposals] Korean Electro-Acoustic Music Society's 2014 Annual Conference & its Computer Music Journal, Emille Vol. 12
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
The Korean Electro-Acoustic Music Society's 2014 Annual Conference & its Computer Music Journal, Emille, present:
Call for Proposals
The Korean Electro-Acoustic Music Society (KEAMS) is pleased to announce a call for proposals for the 2014 KEAMS annual Conference and its journal Emille. KEAMS was formed to promote active research and discussion on electro-acoustic and computer music, and will hold the this year's conference during the Seoul International Computer Music Festival (SICMF 2014: http://www.computermusic.or.kr/) from October 6th to 9th, 2014. Selected papers from the conference will be published in Emille Vol. 12 (December, 2014). If you want your paper or workshop idea to be considered for the 2014 KEAMS Conference, please send an abstract or proposal (maximum of 2,000-characters including spaces) and curriculum vitae as PDF documents to <emille[at]keams.org>.
Conference Language
English
Category of Topics
For the KEAMS conference, the following topics are encouraged:
a) Creative Encounters between Music and Science
b) Multidisciplinary or Interdisciplinary Research (co-authors acceptable)
c) Systematic Musicology (Computational Musicology, Computational Music Theory)
d) Analysis of Electronic and Computer-based Music
e) Sound Synthesis
f) Music Psychology
g) Instrumentation
h) Development of electronically-extended Musical Instruments
i) Music Software Engineering
j) Artificial Musical Intelligence
k) Computer-aided Composition/Analysis
l) Automatic Composition
m) Aesthetics
etc.
Important Dates
- Deadline for Proposal Submission: February 5, 2014
- Notification of Acceptance of the Proposal: March 1, 2014
- Deadline for Paper Submission before Conference: August 31, 2014
- Conference: October 8-9, 2014
- Notification of Selected Paper for the Journal Emille: October 15, 2014
- Deadline for Final Paper Submission: November 10, 2014
SESSION FORMATS
Each session will consist of up to four presentations. Each paper will be presented in person for about 25 minutes followed by ca. 5 minutes of discussion. If you want to give a keynote presentation, you will be given about 50 minutes to present, followed by ca. 10 minutes of discussion. Please include the word keynote in your submission if you are planning on applying for a keynote presentation. The length ofeach workshop will be about 90 minutes. Video conferencing over the Internet is also available.
Your ideas are critical in making the conference and Emille enriching, important and substantial. We look forward to reviewing everyone's entry.
As demonstrated by the following examples, participants may submit more than two proposals, making a whole presentation session or an additional workshop session:
Example 1: Presentation Session Plan *
Session
Sample topic: Spatialization
(4 x 30 min. = 25 min. presentation + 5 min. Q&A)
Presentation 1
Spatialization methods using less than 8 channels
Presentation 2
An overview of the design of a Loudspeaker Orchestra
Presentation 3
Applications of Ambisonics and Spherical Acoustics
Presentation 4
A proposal of multi-3D audio reproduction system for the multi-functional concert hall
* You may submit several proposals without a session plan.
Example 2: Workshop Session Plan **
Session
Sample topic: Using controllers for composition and acoustic installations
(3 X 90 min.)
Workshop 1
Controllers using various sensors and Arduino
Workshop 2
Use of Smartphones and Tablet PCs as controllers
Workshop 3
Inter-application uses of Controllers
(Using Processing to Control Csound, MaxMSP, PD and SuperCollider)
** You may submit a single proposal for a workshop. You also may submit multiple proposals for individual workshops without a session plan.
Fees
Thanks to funding from the Korean Arts Council, the registration fee and publication fee will be waived.
It is also possible for students and non-experts in the fields mentioned above to submit proposals for the conference and the journal, Emille. All proposals will be screened by the program committee and selected solely based on the quality of the research and topic.
Your ideas are critical in making the conference and Emille enriching, important and substantial. We look forward to reviewing everyone's entry.
Emille, the Journal of the Korean Electro-Acoustic Music Society
http://www.keams.org/emille/
Editorial Information
Committee Chair / Editor in Chief
Lymn, Young-Mee
Lecturer of Computer Music and Music Theory at Hanyang University etc.
Committee / Editor
Ko, PyoungRyang
Lecturer of Computer Music and Music Theory at Sookmyung Women's University and Kwangwoon University
Committee / Editorial Board
Breitenfeld, Roland
Professor of Composition and Computer Music at Seoul National University
Chang, Jaeho
Professor of Music Technology at Korea National University of Arts
Cho, Jinok
Lecturer of Music Theory and Computer Music at Seoul National University, Chung-Ang University etc.
Cho, Youngmi
Lecturer of Computer Music & Music Theory at Pyeongtaek University etc.
Dudas, Richard
Professor of Composition and Computer Music at Hanyang University
Eckert, Gerald
Professor of Composition at Chung-Ang University
Kang, Joong Hoon
Lecturer of Composition and Computer Music at Yonsei University etc.
Kim, Han Shin
Lecturer of Computer Music at Seoul Institute of the Arts
Kim, Jin-Ho
Professor of Composition, Computer Music and Musicology at Andong National University
Kim, Jun
Professor of Musical Arts and Technology, Dongguk University
Lee, Byung-moo
Lecturer of Composition, Music Theory & Computer Music at Chugye University for the Arts etc.
Lee, Gi Nyoung
Professor of Composition at Dong-eui University
Lee, Kyogu (2011-2012)
Professor of Music Information Retrieval, Music DSP at Seoul National University
Moon, Seong-Joon
Professor of Composition and Computer Music at Chugye University for the Arts
Nam, Unjung
Professor of Computer Music at Baekseok Arts University
Park, Joo Won
Community College of Philadelphia
Park, Tae Hong
New York University
Parks, Kevin
Professor of Composition and Computer Music at the Catholic University of Daegu
Shin, Seongah
Professor of Composition at Keimyung University
Sigman, Alexander
Professor of Composition at Keimyung University
Yeo, Woon Seung (2011-2013)
Professor of Audio visual art, New Musical Interface, Mobile Orchestra and Music DSP at Korea Advanced Institute of Science and Technology (KAIST)
Committee / Editorial Advisory Board
Ahn, Doo-jin
Professor of Composition at Hanseo University
Hwang, Sung Ho
Professor of Composition at Korea National University of Arts
Lee, Donoung
Professor of Composition at Seoul National University
Cho, Wonhyong
Linguist (Former Researcher at the National Institute of the Korean Language)