Subject: CfP: reminder : 16th Intl Conf Auditory Display (ICAD) - Deadline 5th February 2010 From: "Eoin.Brazil" <eoin.brazil@xxxxxxxx> Date: Mon, 25 Jan 2010 16:39:18 -0000 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>This is a multi-part message in MIME format. ------_=_NextPart_001_01CA9DDC.F0A16120 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Content-Disposition: inline --------------------------------------------------------------------- Apologies for double posting --------------------------------------------------------------------- Dear all, we would like to announce the following and remind author's of the forthcom= ing deadline: ::::::::::::::::: THIRD CALL FOR PARTICIPATION AND REMINDER :::::::::::::::= ::=20 ICAD 2010 CALL FOR PAPERS, POSTERS, SONIFICATIONS, COMPOSITIONS WORKSHOPS, PANELS, AN= D DEMONSTRATIONS.=20 The 16th International Conference on Auditory Display (ICAD) Washington, D.C, USA June 9-15, 2010 This CFP contains new information (see below). Also, please check the confe= rence website for updates: www.icad.org/icad2010=09 Please note: The Friday, 5 February 2010 deadline for written submissions (= papers, posters, etc.) is now less than two weeks away. ICAD 2010=97the 16th International Conference on Auditory Display=97will be= held in Washington, DC at The George Washington University from June 9 to = 15, 2010. Pre-conference workshops and ICAD=92s graduate student ThinkTank = (doctoral consortium) will be held on June 9 and 10, and the conference its= elf will run from June 11 to 15. ICAD is a highly interdisciplinary conference with relevance to researchers= , practitioners, artists, and graduate students working in the use of sound= to convey information and ideas. The conference is unique in its specific = focus on auditory displays and the range of interdisciplinary issues relate= d to their use. Like its predecessors, ICAD 2010 will be a single-track con= ference, open to all, with no membership or affiliation requirements. Consistent with this year=92s theme, =93Sonic Discourse=97Expression throug= h Sound,=94 ICAD 2010 invites the submission of new work and developments i= n all areas of interest to those who work with sound as a medium for convey= ing information and ideas. The conference emphasizes the concerns shared by= those who work primarily with informational and affective aspects of sound= including sonification of data and processes, synthetic and composed sound= , musical sound, natural sound, and all issues related to interaction with = sound, specifically, how it is presented to, and apprehended by, listeners.= Thus, submissions are sought on topics that extend from basic research in = auditory display, to application domains in the arts and sciences, mobile a= pplications, accessibility, audio technology, information and communication= s technology, computer games, engineering analysis, medicine, and more. Each year we aim to attract a wide variety of researchers and practitioners= to the ICAD community who work in fields that are concerned with and/or re= lated to computationally based, informational uses of sound. Thus, in addit= ion to ICAD's core interests, we hope to attract submissions from composers= and artists who use sonification, acoustic synthesis, spatialization, and/= or interaction techniques for composition and performance purposes. Althoug= h we fully intend to maintain ICAD=92s primary emphasis on the use of sound= as information, we specifically want to encourage a wider and more collabo= rative dialogue between practitioners with disparate objectives in auditory= display. In keeping with the goal of enlarging the ICAD community, this year's confe= rence will have a new aural submission category for sonifications and aural= compositions that employ computational auditory display techniques. Submis= sions in this category will be presented to the full conference as part of = the Concert program on the second night of the main conference. ICAD 2010 is being jointly organised by the International Community for Aud= itory Display; VRSonic, Inc.; The George Washington University Department o= f Music; the Navy Center for Applied Research in Artificial Intelligence at= the U.S. Naval Research Laboratory; and the University of Maryland Institu= te of Advanced Computer Studies. The venue for the conference is the Jack M= orton Auditorium in the Media and Public Affairs Building on the George Was= hington University campus. ::::::::::::::::: KEY DATES ::::::::::::::::: 5 February 2010 Submission Deadline for Papers, Posters, and non-aural Cat= egories 15 February 2010 (*new*) Notification of Intent (NOI) to make an Aural Subm= ission (soft deadline =96 see below)=20 19 March 2010 Acceptance Notification (Papers, etc.) 2 April 2010 Sonification / Composition Submission Deadline 7 May 2010 Sonification / Composition Acceptance Notification 7 May 2010 Camera-Ready Submissions Deadline 9-15 June 2010 ICAD 2010 =20 ::::::::::::::::: THEME: Sonic Discourse=97Expression through Sound :::::::= ::::::::::=20=20 This year=92s theme, =93Sonic Discourse=97Expression through Sound=92=92 is= intended to underscore the perspective that effective uses of sound for in= formative purposes involve collaborations between creative and functional a= uditory objectives as well as between the display and the listener. We woul= d like to invite the global ICAD community to accentuate this perspective i= n their work, and authors are especially encouraged to consider how they ca= n incorporate auditory display into the presentation of their papers, for i= nstance, by including auditory annotations and examples of the sounds used = in their efforts and/or by sonifying their results. Just as it would be unu= sual for presentations of papers on graphics not to include some visual art= efacts, we are aiming for it to be the norm that ICAD paper presentations e= mploy sound in addition to the voice of the speaker. Additionally, we hope = this theme will resonate in this year=92s concert and sonification submissi= ons and inspire new perspectives for interactive, real-time performances. T= he George Washington University=92s Jack Morton Auditorium will serve as th= e meeting and concert venue for this year=92s conference, and contributors = will have access to a 12.2 loudspeaker array and auralization software. Com= posers and practitioners contemplating the submission of compositions and/o= r sonifications are encouraged to contact the Demonstrations/Compositions C= hair or Concert Co-chairs to discuss their proposals and ideas as soon as p= ossible.=20 ::::::::::::::::: TOPICS :::::::::::::::::=20 The topics for ICAD include but are not limited to: =20 * 3D and Spatial Audio * Aesthetics, Philosophy, and Culture of Auditory Displays=20=20 * Accessibility=20 * Applications * Auditory Scene Design * Design Theory and Methods=20 * Evaluation and Usability=20 * Human Factors and Interaction * Mappings from Data to Sound=20 * Psychology, Cognition, Perception, and Psychoacoustics * Sonification and Exploration of Data through Sound * Sound as Art * Technologies and Tools=20 -- Please submit papers (and other written submissions) for review as PDFs = with author information removed. -- -- Submissions for both papers and posters can be made online at http://www= .icad.org/openconf/openconf.php -- Latex Templates: http://www.icad.org/icad2010/latex10.zip MS Word Templates: http://www.icad.org/icad2010/word10.zip The proceedings will be published by the International Community for Audito= ry Display (ICAD). Copyright =A9 2010 by the ICAD contributors. All rights reserved. Copyright= remains with the individual authors. ::::::::::::::::: PAPERS :::::::::::::::::=20 Papers are oral presentations of a substantial contribution to the field. F= ull paper submissions should be 6-8 pages, including images and references,= and should be accompanied by relevant sound files. Authors are strongly en= couraged to incorporate auditory display into the presentation of their pap= ers by including examples of the sounds used in their work and/or by sonify= ing their results. Submissions will be subject to blind review by an intern= ational committee of peers in the auditory display community. One of the au= thors must present the paper at the conference for it to appear in the proc= eedings. Papers must not exceed 8 pages and must comply with ICAD=92s forma= tting requirements. A template for papers and other written submissions can= be downloaded from the conference website. Please ensure that papers are double-blinded or double-masked by removing a= ny reference that may point to any of the authors of the paper. ::::::::::::::::: POSTERS :::::::::::::::::=20 Posters are primarily a forum for discussion of work-in-progress. Submissio= ns should be up to 4 pages, including images and references, and should be = accompanied by any relevant sound files. An international panel will review= submissions. Posters will be presented on a single A0 size sheet during th= e poster session. One of the authors must present the poster at the confere= nce for it to appear in the proceedings. Please ensure that posters are double-blinded or double-masked by removing = any reference that may point to any of the authors of the poster. ::::::::::::::::: SONIFICATIONS / COMPOSITIONS:::::::::::::::::=20 A new, aural submission category for Sonifications and Compositions has bee= n created for ICAD 2010 that provides participants with an opportunity to p= resent and publish extended instances of auditory work that make a contribu= tion to, and/or exemplify, important informational and listening practices = in the field of auditory display. Though originally the terms 'sonification= ' and 'data sonification' referred to the systematic auditory display of da= ta for informational purposes, the terms have recently begun to be used by = the music composition and sound-art communities to refer to works produced = primarily for aesthetic or artistic purposes. This new category recognizes = the evolving use of these terms, and the fact that a sharp distinction betw= een the two cannot always be made. Submissions of auditory material for this category should be one to ten min= utes in length and must be accompanied by a one-to-four page abstract that = outlines the goals, informational context, and techniques used in the work = (the paper-submission template should be used for this purpose). Submission= s will be evaluated on the merits of these criteria by a committee of peers= in the auditory display community, and must be identified as either a "son= ification" or a "composition" for reviewing purposes. Please email the Chai= r of the category you select if you feel the other category is also applica= ble. Accepted pieces will be published in audio form (along with the correspondi= ng abstract) in the conference proceedings and will be presented as part of= the ICAD 2010 Concert program, time permitting. A 12.2 loudspeaker array a= nd auralization software from VRSonic will be available for participants wh= o wish to spatially augment their work for the concert. Because of the reso= urce requirements, and the need to rehearse spatial rendering, etc, compose= rs and practitioners contemplating submissions in this category are encoura= ged to contact one of the relevant conference chairpersons (i.e., the Sonif= ications Chair or Demonstrations/Compositions Chair) to discuss their propo= sals and ideas well in advance of the conference. Finally, one of the autho= rs must be present to provide a contextual description of the work on the n= ight (or day, if necessary) of its performance. *** New Information *** The Committee Chairs for aural submissions encourag= e those who think they may wish to make an aural submission to submit a Not= ification of Intent (NOI) to do so by 15 Feb. This can be done by sending e= mail to the appropriate chair (Sonification Chair, Demonstrations/Compositi= ons Chair). In addition to information about the proposer(s) and the title = of the work, the NOI should include a brief (e.g., 4 sentences) description= of the scope and intent of the work, and an outline of any special technic= al infrastructure needed for the performance/demonstration of the work, if = selected, and/or publication of the work on the DVD. NOIs are strongly requ= ested but not required. ::::::::::::::::: WORKSHOPS / TUTORIALS / PANELS :::::::::::::::::=20 Workshops/Tutorials/Panels are an opportunity to share experiences with an = international community of experts. Tutorials/Workshops will run for approx= imately 2-3 hours, Panels will run for 1 hour. Proposals for sessions in th= is category should be up to 4 pages including title, description, and brief= biographies of the presenters. Suggested topics include software and hardw= are tools and systems, design and analysis of empirical experiments, psycho= logical and perceptual issues, design methods, practical aspects of the pro= cess of developing an auditory display=97difficulties encountered, problems= solved, guidelines, etc. Submissions will be reviewed and selected by the = organizing committee and ICAD=92s governing Board. Workshops/Tutorials/Pane= ls that are presented at the conference will appear in the proceedings.=20 ::::::::::::::::: THINK TANK (DOCTORIAL CONSORTIUM) :::::::::::::::::=20 ICAD=92s =93ThinkTank=94 doctoral consortium will be held again this year. = It will retain a similar format to previous consortia as a gathering of pro= mising graduate students (at a range of stages in their program, both maste= rs and doctoral level) and distinguished research faculty. The ThinkTank wi= ll be held in the Department of Music at The George Washington University i= n Washington, D.C. and is currently planned for Thursday, 10 June 2010, the= day before the full conference. Further details about applying for this ev= ent and possible scholarship funds are forthcoming (please check the confer= ence website for updates: www.icad.org/icad2010). ::::::::::::::::: DEMONSTRATIONS :::::::::::::::::=20 In addition to demonstrations of work presented in papers and posters, we a= re seeking to encourage submissions of demonstrations and performances of w= ork that doesn't fit into the usual categories of submissions. If you are a= developer of sound installations, or use sound in other innovative ways as= the primary medium for displaying information, we encourage you to submit = details of a demonstration of your work under this category to the conferen= ce. Submitted descriptions of demonstrations should explain the nature of y= our demonstration, and provide details of the equipment and space you will = use. Demonstrators will be expected to give a brief formal presentation abo= ut their work at the conference. We will assume that you will provide your = own equipment, although if you believe we may be able to assist in providin= g any standard items, please provide details in your submission. Those inte= rested in submitting a demonstration are encouraged to contact the Demonstr= ations/Compositions Chair to discuss their proposals and ideas in advance o= f making their submission. ::::::::::::::::: ORGANIZING COMMITTEE ::::::::::::::::: For committee email addresses please check the conference website: www.ica= d.org/icad2010=20 Co-Chairs (icad-2010-conf-chair@xxxxxxxx): Derek Brock, U.S. Naval Research Laboratory Hesham Fouad, VRSonic Ramani Duraiswami, University of Maryland Papers/Posters Chair (icad-2010-paper-chair@xxxxxxxx): Eoin Brazil, University of Limerick Sonifications Chair (icad-2010-sonification-chair@xxxxxxxx): Kelly Snook, NASA Demonstrations/Compositions Chair (icad-2010-composition-demo-chair@xxxxxxxx= g): Evan Rogers, VRSonic Concert Co-Chairs (icad-2010-concert-chair@xxxxxxxx): Douglas Boyce, The George Washington University Katharina Rosenberger, University of California, San Diego ThinkTank (Student Consortium) Chair (icad-2010-thinktank-chair@xxxxxxxx): Paul Vickers, Northumbria University Web Chair (icad-2010-web-chair@xxxxxxxx): Brian McClimens, U.S. Naval Research Laboratory Technical Chair: Paul Oehlers, American University Steering Committee: David Worrall, worrall.avatar.com.au? Veronique Larcher, Sennheiser Stephen Barrass, University of Canberra :::::::::::::::::::::::::::::::::: ------_=_NextPart_001_01CA9DDC.F0A16120 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Content-Disposition: inline <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2//EN"> <HTML> <HEAD> <META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; charset=3Diso-8859-= 1"> <META NAME=3D"Generator" CONTENT=3D"MS Exchange Server version 6.5.7654.12"> <TITLE>CfP: reminder : 16th Intl Conf Auditory Display (ICAD) - Deadline 5t= h February 2010</TITLE> </HEAD> <BODY> <!-- Converted from text/plain format --> <P><FONT SIZE=3D2>---------------------------------------------------------= ------------<BR> Apologies for double posting<BR> ---------------------------------------------------------------------<BR> <BR> Dear all,<BR> <BR> we would like to announce the following and remind author's of the forthcom= ing deadline:<BR> <BR> ::::::::::::::::: THIRD CALL FOR PARTICIPATION AND REMINDER :::::::::::::::= ::<BR> <BR> ICAD 2010<BR> CALL FOR PAPERS, POSTERS, SONIFICATIONS, COMPOSITIONS WORKSHOPS, PANELS, AN= D DEMONSTRATIONS.<BR> <BR> The 16th International Conference on Auditory Display (ICAD)<BR> Washington, D.C, USA<BR> June 9-15, 2010<BR> <BR> This CFP contains new information (see below). Also, please check the confe= rence website for updates: www.icad.org/icad2010 <BR> <BR> Please note: The Friday, 5 February 2010 deadline for written submissions (= papers, posters, etc.) is now less than two weeks away.<BR> <BR> ICAD 2010—the 16th International Conference on Auditory Display—w= ill be held in Washington, DC at The George Washington University from June= 9 to 15, 2010. Pre-conference workshops and ICAD’s graduate student T= hinkTank (doctoral consortium) will be held on June 9 and 10, and the confe= rence itself will run from June 11 to 15.<BR> <BR> ICAD is a highly interdisciplinary conference with relevance to researchers= , practitioners, artists, and graduate students working in the use of sound= to convey information and ideas. The conference is unique in its specific = focus on auditory displays and the range of interdisciplinary issues relate= d to their use. Like its predecessors, ICAD 2010 will be a single-track con= ference, open to all, with no membership or affiliation requirements.<BR> <BR> Consistent with this year’s theme, “Sonic Discourse—Expressi= on through Sound,” ICAD 2010 invites the submission of new work and de= velopments in all areas of interest to those who work with sound as a mediu= m for conveying information and ideas. The conference emphasizes the concer= ns shared by those who work primarily with informational and affective aspe= cts of sound including sonification of data and processes, synthetic and co= mposed sound, musical sound, natural sound, and all issues related to inter= action with sound, specifically, how it is presented to, and apprehended by= , listeners. Thus, submissions are sought on topics that extend from basic = research in auditory display, to application domains in the arts and scienc= es, mobile applications, accessibility, audio technology, information and c= ommunications technology, computer games, engineering analysis, medicine, a= nd more.<BR> <BR> Each year we aim to attract a wide variety of researchers and practitioners= to the ICAD community who work in fields that are concerned with and/or re= lated to computationally based, informational uses of sound. Thus, in addit= ion to ICAD's core interests, we hope to attract submissions from composers= and artists who use sonification, acoustic synthesis, spatialization, and/= or interaction techniques for composition and performance purposes. Althoug= h we fully intend to maintain ICAD’s primary emphasis on the use of so= und as information, we specifically want to encourage a wider and more coll= aborative dialogue between practitioners with disparate objectives in audit= ory display.<BR> <BR> In keeping with the goal of enlarging the ICAD community, this year's confe= rence will have a new aural submission category for sonifications and aural= compositions that employ computational auditory display techniques. Submis= sions in this category will be presented to the full conference as part of = the Concert program on the second night of the main conference.<BR> <BR> ICAD 2010 is being jointly organised by the International Community for Aud= itory Display; VRSonic, Inc.; The George Washington University Department o= f Music; the Navy Center for Applied Research in Artificial Intelligence at= the U.S. Naval Research Laboratory; and the University of Maryland Institu= te of Advanced Computer Studies. The venue for the conference is the Jack M= orton Auditorium in the Media and Public Affairs Building on the George Was= hington University campus.<BR> <BR> ::::::::::::::::: KEY DATES :::::::::::::::::<BR> <BR> 5 February 2010 Submission Deadline for Papers, Posters, and non-aura= l Categories<BR> 15 February 2010 (*new*) Notifica= tion of Intent (NOI) to make an Aural Submission (soft deadline – see = below)<BR> 19 March 2010 Acceptance Notification (Papers, etc.)<BR> 2 April 2010 Sonification / Composition Submission Deadli= ne<BR> 7 May 2010 Sonification / Composition Accepta= nce Notification<BR> 7 May 2010 Camera-Ready Submissions Deadline<= BR> 9-15 June 2010 ICAD 2010<BR> <BR> ::::::::::::::::: THEME: Sonic Discourse—Expression through Sound ::::= ::::::::::::: <BR> <BR> This year’s theme, “Sonic Discourse—Expression through Sound= ’’ is intended to underscore the perspective that effective uses = of sound for informative purposes involve collaborations between creative a= nd functional auditory objectives as well as between the display and the li= stener. We would like to invite the global ICAD community to accentuate thi= s perspective in their work, and authors are especially encouraged to consi= der how they can incorporate auditory display into the presentation of thei= r papers, for instance, by including auditory annotations and examples of t= he sounds used in their efforts and/or by sonifying their results. Just as = it would be unusual for presentations of papers on graphics not to include = some visual artefacts, we are aiming for it to be the norm that ICAD paper = presentations employ sound in addition to the voice of the speaker. Additio= nally, we hope this theme will resonate in this year’s concert and son= ification submissions and inspire new perspectives for interactive, real-ti= me performances. The George Washington University’s Jack Morton Audito= rium will serve as the meeting and concert venue for this year’s confe= rence, and contributors will have access to a 12.2 loudspeaker array and au= ralization software. Composers and practitioners contemplating the submissi= on of compositions and/or sonifications are encouraged to contact the Demon= strations/Compositions Chair or Concert Co-chairs to discuss their proposal= s and ideas as soon as possible.<BR> <BR> ::::::::::::::::: TOPICS :::::::::::::::::<BR> <BR> The topics for ICAD include but are not limited to:<BR> <BR> * 3D and Spatial Audio<BR> * Aesthetics, Philosophy, and Culture of Auditory Displays <BR> * Accessibility<BR> * Applications<BR> * Auditory Scene Design<BR> * Design Theory and Methods<BR> * Evaluation and Usability<BR> * Human Factors and Interaction<BR> * Mappings from Data to Sound<BR> * Psychology, Cognition, Perception, and Psychoacoustics<BR> * Sonification and Exploration of Data through Sound<BR> * Sound as Art<BR> * Technologies and Tools<BR> <BR> <BR> -- Please submit papers (and other written submissions) for review as PDFs = with author information removed. --<BR> -- Submissions for both papers and posters can be made online at <A HREF=3D= "http://www.icad.org/openconf/openconf.php">http://www.icad.org/openconf/op= enconf.php</A> --<BR> <BR> Latex Templates: <!-- <A HREF=3D"http://www.icad.org/icad2010/latex10.zip">= -->http://www.icad.org/icad2010/latex10.zip <font color=3Dgray>[ www.icad.org/icad2010/latex10.zip ]</font> <!-- </A> = --><BR> MS Word Templates: <!-- <A HREF=3D"http://www.icad.org/icad2010/word10.zip"= > -->http://www.icad.org/icad2010/word10.zip <font color=3Dgray>[ www.icad.org/icad2010/word10.zip ]</font> <!-- </A> -= -><BR> <BR> The proceedings will be published by the International Community for Audito= ry Display (ICAD).<BR> Copyright =A9 2010 by the ICAD contributors. All rights reserved. Copyright= remains with the individual authors.<BR> <BR> ::::::::::::::::: PAPERS :::::::::::::::::<BR> <BR> Papers are oral presentations of a substantial contribution to the field. F= ull paper submissions should be 6-8 pages, including images and references,= and should be accompanied by relevant sound files. Authors are strongly en= couraged to incorporate auditory display into the presentation of their pap= ers by including examples of the sounds used in their work and/or by sonify= ing their results. Submissions will be subject to blind review by an intern= ational committee of peers in the auditory display community. One of the au= thors must present the paper at the conference for it to appear in the proc= eedings. Papers must not exceed 8 pages and must comply with ICAD’s fo= rmatting requirements. A template for papers and other written submissions = can be downloaded from the conference website.<BR> <BR> Please ensure that papers are double-blinded or double-masked by removing a= ny reference that may point to any of the authors of the paper.<BR> <BR> ::::::::::::::::: POSTERS :::::::::::::::::<BR> <BR> Posters are primarily a forum for discussion of work-in-progress. Submissio= ns should be up to 4 pages, including images and references, and should be = accompanied by any relevant sound files. An international panel will review= submissions. Posters will be presented on a single A0 size sheet during th= e poster session. One of the authors must present the poster at the confere= nce for it to appear in the proceedings.<BR> <BR> Please ensure that posters are double-blinded or double-masked by removing = any reference that may point to any of the authors of the poster.<BR> <BR> ::::::::::::::::: SONIFICATIONS / COMPOSITIONS:::::::::::::::::<BR> <BR> A new, aural submission category for Sonifications and Compositions has bee= n created for ICAD 2010 that provides participants with an opportunity to p= resent and publish extended instances of auditory work that make a contribu= tion to, and/or exemplify, important informational and listening practices = in the field of auditory display. Though originally the terms 'sonification= ' and 'data sonification' referred to the systematic auditory display of da= ta for informational purposes, the terms have recently begun to be used by = the music composition and sound-art communities to refer to works produced = primarily for aesthetic or artistic purposes. This new category recognizes = the evolving use of these terms, and the fact that a sharp distinction betw= een the two cannot always be made.<BR> <BR> Submissions of auditory material for this category should be one to ten min= utes in length and must be accompanied by a one-to-four page abstract that = outlines the goals, informational context, and techniques used in the work = (the paper-submission template should be used for this purpose). Submission= s will be evaluated on the merits of these criteria by a committee of peers= in the auditory display community, and must be identified as either a &quo= t;sonification" or a "composition" for reviewing purposes. P= lease email the Chair of the category you select if you feel the other cate= gory is also applicable.<BR> <BR> Accepted pieces will be published in audio form (along with the correspondi= ng abstract) in the conference proceedings and will be presented as part of= the ICAD 2010 Concert program, time permitting. A 12.2 loudspeaker array a= nd auralization software from VRSonic will be available for participants wh= o wish to spatially augment their work for the concert. Because of the reso= urce requirements, and the need to rehearse spatial rendering, etc, compose= rs and practitioners contemplating submissions in this category are encoura= ged to contact one of the relevant conference chairpersons (i.e., the Sonif= ications Chair or Demonstrations/Compositions Chair) to discuss their propo= sals and ideas well in advance of the conference. Finally, one of the autho= rs must be present to provide a contextual description of the work on the n= ight (or day, if necessary) of its performance.<BR> <BR> *** New Information *** The Committee Chairs for aural submissions encourag= e those who think they may wish to make an aural submission to submit a Not= ification of Intent (NOI) to do so by 15 Feb. This can be done by sending e= mail to the appropriate chair (Sonification Chair, Demonstrations/Compositi= ons Chair). In addition to information about the proposer(s) and the title = of the work, the NOI should include a brief (e.g., 4 sentences) description= of the scope and intent of the work, and an outline of any special technic= al infrastructure needed for the performance/demonstration of the work, if = selected, and/or publication of the work on the DVD. NOIs are strongly requ= ested but not required.<BR> <BR> ::::::::::::::::: WORKSHOPS / TUTORIALS / PANELS :::::::::::::::::<BR> <BR> Workshops/Tutorials/Panels are an opportunity to share experiences with an = international community of experts. Tutorials/Workshops will run for approx= imately 2-3 hours, Panels will run for 1 hour. Proposals for sessions in th= is category should be up to 4 pages including title, description, and brief= biographies of the presenters. Suggested topics include software and hardw= are tools and systems, design and analysis of empirical experiments, psycho= logical and perceptual issues, design methods, practical aspects of the pro= cess of developing an auditory display—difficulties encountered, probl= ems solved, guidelines, etc. Submissions will be reviewed and selected by t= he organizing committee and ICAD’s governing Board. Workshops/Tutorial= s/Panels that are presented at the conference will appear in the proceeding= s.<BR> <BR> ::::::::::::::::: THINK TANK (DOCTORIAL CONSORTIUM) :::::::::::::::::<BR> <BR> ICAD’s “ThinkTank” doctoral consortium will be held again th= is year. It will retain a similar format to previous consortia as a gatheri= ng of promising graduate students (at a range of stages in their program, b= oth masters and doctoral level) and distinguished research faculty. The Thi= nkTank will be held in the Department of Music at The George Washington Uni= versity in Washington, D.C. and is currently planned for Thursday, 10 June = 2010, the day before the full conference. Further details about applying fo= r this event and possible scholarship funds are forthcoming (please check t= he conference website for updates: www.icad.org/icad2010).<BR> <BR> ::::::::::::::::: DEMONSTRATIONS :::::::::::::::::<BR> <BR> In addition to demonstrations of work presented in papers and posters, we a= re seeking to encourage submissions of demonstrations and performances of w= ork that doesn't fit into the usual categories of submissions. If you are a= developer of sound installations, or use sound in other innovative ways as= the primary medium for displaying information, we encourage you to submit = details of a demonstration of your work under this category to the conferen= ce. Submitted descriptions of demonstrations should explain the nature of y= our demonstration, and provide details of the equipment and space you will = use. Demonstrators will be expected to give a brief formal presentation abo= ut their work at the conference. We will assume that you will provide your = own equipment, although if you believe we may be able to assist in providin= g any standard items, please provide details in your submission. Those inte= rested in submitting a demonstration are encouraged to contact the Demonstr= ations/Compositions Chair to discuss their proposals and ideas in advance o= f making their submission.<BR> <BR> ::::::::::::::::: ORGANIZING COMMITTEE :::::::::::::::::<BR> <BR> For committee email addresses please check the conference website: ww= w.icad.org/icad2010<BR> <BR> Co-Chairs (icad-2010-conf-chair@xxxxxxxx):<BR> Derek Brock, U.S. Naval Research= Laboratory<BR> Hesham Fouad, VRSonic<BR> Ramani Duraiswami, University of= Maryland<BR> <BR> Papers/Posters Chair (icad-2010-paper-chair@xxxxxxxx):<BR> Eoin Brazil, University of Limer= ick<BR> <BR> Sonifications Chair (icad-2010-sonification-chair@xxxxxxxx):<BR> Kelly Snook, NASA<BR> <BR> Demonstrations/Compositions Chair (icad-2010-composition-demo-chair@xxxxxxxx= g):<BR> Evan Rogers, VRSonic<BR> <BR> Concert Co-Chairs (icad-2010-concert-chair@xxxxxxxx):<BR> Douglas Boyce, The George Washin= gton University<BR> Katharina Rosenberger, Universit= y of California, San Diego<BR> <BR> ThinkTank (Student Consortium) Chair (icad-2010-thinktank-chair@xxxxxxxx):<= BR> Paul Vickers, Northumbria University<BR> <BR> Web Chair (icad-2010-web-chair@xxxxxxxx):<BR> Brian McClimens, U.S. Naval Research Laboratory<BR> <BR> Technical Chair:<BR> Paul Oehlers, American University<BR> <BR> Steering Committee:<BR> David Worrall, worrall.avatar.com.au
<BR> Veronique Larcher, Sennheiser<BR> Stephen Barrass, University of Canberra<BR> <BR> ::::::::::::::::::::::::::::::::::</FONT> </P> </BODY> </HTML>= ------_=_NextPart_001_01CA9DDC.F0A16120--