Subject: CMMR 2015 - Plymouth, UK. Call for contributions and keynote speakers announced From: "(pg) Joel Eaton" <joel.eaton@xxxxxxxx> Date: Wed, 26 Nov 2014 15:12:02 +0000 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>--_000_141701472178428950postgradplymouthacuk_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear all, (apologies for cross-posting) We are very pleased to announce that the 11th International Symposium on Co= mputer Music Multidisciplinary Research (CMMR) Music, Mind, and Embodiment = will take place in Plymouth, UK on 16-19 June 2015. Important dates: Paper submission deadline February 27th 2015 Music submission deadline February 27th 2015 Notification of acceptance March 27th 2015 Revisions and camera ready copy deadline May 1st 2015 Plymouth is a vibrant ocean city with a global history which stretches back= hundreds of years. The symposium will include a series of concerts, a sate= llite workshop on Music Neurotechnology, and an unforgettable boat cruise a= nd banquet trip around the iconic Plymouth Hoe from the Barbican Harbour, s= ite of the Mayflower Steps (portrayed in the logo above), from which the Pi= lgrim Fathers left England to settle in North America in 1620. The Interdisciplinary Centre for Computer Music Research (ICCMR) is hosting= the symposium on campus in the center of Plymouth, in their newly complete= d multi-million pound headquarters, "The House", which includes a multichan= nel diffusion suite and full scale auditorium for concert performances. Music, Mind, and Embodiment This year, we encourage the submission of contributions on the theme of Mus= ic, Mind, and Embodiment. The notion of mind and embodiment is important in= any field related to sound and music and is therefore well adapted to this= interdisciplinary conference, since it can be studied from different stand= points spanning from physics to perceptual and cognitive considerations, an= d from scientific to artistic approaches. Some central questions of interest in this context are (but not necessarily= restricted to) : How to identify perceptually relevant signal properties linked to music (fo= r example, neurophysiologically or biologically influenced music creation, = performance, or analysis?) How to define new timbre descriptors that characterise perceptual or emotio= nal characteristics? What is the link between mind and embodiment in musical performance, interp= retation, and improvisation? How can gesture and embodiment be used as a control signal for music genera= tion, sonification, and performance? How can multiple modalities be characterised in interdisciplinary musical c= ontexts (vision, audition, kinesthetic, bio- and neuro- informed approaches= )? Contributions on other topics as described in the call for contributions ar= e also welcome. Submission deadline is February 27th 2015. Keynote speakers: Hugues Vinet (IRCAM) David Rosenboom (CalArts) Eduardo Miranda (ICCMR) For further details please visit: http://cmr.soc.plymouth.ac.uk/cmmr2015/ Please send any enquiries to: cmmr2015-chairs@xxxxxxxx<mailto:cmmr2015-chairs@xxxxxxxx> We look forward to seeing you next year, Prof Eduardo R Miranda (conference chair) Joel Eaton (programme committee) Dr Duncan Williams (music committee) Joel Eaton Interdisciplinary Centre for Computer Music Research (ICCMR) Plymouth University http://cmr.soc.plymouth.ac.uk/ email: joel.eaton@xxxxxxxx --_000_141701472178428950postgradplymouthacuk_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable <html> <head> <meta http-equiv=3D"Content-Type" content=3D"text/html; charset=3Diso-8859-= 1"> <style type=3D"text/css" style=3D"display:none"><!--P{margin-top:0;margin-b= ottom:0;} --></style> </head> <body dir=3D"ltr"> <div id=3D"divtagdefaultwrapper" style=3D"font-size:12pt;color:#000000;back= ground-color:#FFFFFF;font-family:Calibri,Arial,Helvetica,sans-serif;"> <p>Dear all,<br> <br> (apologies for cross-posting)<br> <br> We are very pleased to announce that the 11th International Symposium on Co= mputer Music Multidisciplinary Research (<span class=3D"il">CMMR</span>) Mu= sic, Mind, and Embodiment will take place in Plymouth, UK on 16-19 June 201= 5.<br> <br> Important dates:<br> <br> Paper submission deadline February 27th 2015<br> Music submission deadline February 27th 2015<br> Notification of acceptance March 27th 2015<br> Revisions and camera ready copy deadline May 1st 2015<br> <br> <br> Plymouth is a vibrant ocean city with a global history which stretches back= hundreds of years. The symposium will include a series of concerts, a sate= llite workshop on Music Neurotechnology, and an unforgettable boat cruise a= nd banquet trip around the iconic Plymouth Hoe from the Barbican Harbour, site of the Mayflower Steps (portr= ayed in the logo above), from which the Pilgrim Fathers left England to set= tle in North America in 1620.<br> The Interdisciplinary Centre for Computer Music Research (ICCMR) is hosting= the symposium on campus in the center of Plymouth, in their newly complete= d multi-million pound headquarters, "The House", which includes a= multichannel diffusion suite and full scale auditorium for concert performances.<br> Music, Mind, and Embodiment<br> <br> This year, we encourage the submission of contributions on the theme of Mus= ic, Mind, and Embodiment. The notion of mind and embodiment is important in= any field related to sound and music and is therefore well adapted to this= interdisciplinary conference, since it can be studied from different standpoints spanning from physics to perc= eptual and cognitive considerations, and from scientific to artistic approa= ches.<br> Some central questions of interest in this context are (but not necessarily= restricted to) :<br> How to identify perceptually relevant signal properties linked to music (fo= r example, neurophysiologically or biologically influenced music creation, = performance, or analysis?)<br> How to define new timbre descriptors that characterise perceptual or emotio= nal characteristics?<br> What is the link between mind and embodiment in musical performance, interp= retation, and improvisation?<br> How can gesture and embodiment be used as a control signal for music genera= tion, sonification, and performance?<br> How can multiple modalities be characterised in interdisciplinary musical c= ontexts (vision, audition, kinesthetic, bio- and neuro- informed approaches= )?<br> <br> Contributions on other topics as described in the call for contributions ar= e also welcome. Submission deadline is February 27th 2015.<br> <br> Keynote speakers:<br> Hugues Vinet (IRCAM)<br> David Rosenboom (CalArts)<br> Eduardo Miranda (ICCMR)<br> <br> For further details please visit:<br> <br> <a href=3D"http://cmr.soc.plymouth.ac.uk/cmmr2015/" target=3D"_blank">http:= //cmr.soc.plymouth.ac.uk/<wbr>cmmr2015/</a><br> <br> Please send any enquiries to:<br> <br> <a href=3D"mailto:cmmr2015-chairs@xxxxxxxx">cmmr2015-chairs@xxxxxxxx= ac.uk</a><br> We look forward to seeing you next year,<br> Prof Eduardo R Miranda (conference chair)<br> Joel Eaton (programme committee)<br> Dr <span class=3D"il">Duncan</span> Williams (music committee)<br> </p> <p><br> </p> <div id=3D"Signature"> <div name=3D"divtagdefaultwrapper" style=3D"font-family:Calibri,Arial,Helve= tica,sans-serif; font-size:; margin:0"> <font face=3D"Cambria,Serif">Joel Eaton<br> Interdisciplinary Centre for Computer Music Research (ICCMR)<br> Plymouth University<br> http://cmr.soc.plymouth.ac.uk/<br> email: joel.eaton@xxxxxxxx</font></div> </div> </div> </body> </html> --_000_141701472178428950postgradplymouthacuk_--