Subject: Reminder - Call for participation CMMR 2015, Plymouth UK From: "(pg) Joel Eaton" <joel.eaton@xxxxxxxx> Date: Fri, 9 Jan 2015 16:54:55 +0000 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>--_000_14208224953855737postgradplymouthacuk_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear all, This is a reminder that the call for participation is currently open for CM= MR 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 *Keynote speakers* Hugues Vinet (IRCAM) David Rosenboom (CalArts) Eduardo Miranda (ICCMR) The 11th International Symposium on Computer Music Multidisciplinary Resear= ch (CMMR) Music, Mind, and Embodiment will take place in Plymouth, UK on 16= -19 June 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, satell= ite workshops on Music Neurotechnology and Motion and Music, and an unforge= ttable boat cruise and banquet trip around the iconic Plymouth Hoe from the= Barbican Harbour, site of the Mayflower Steps (portrayed in the logo above= ), from which the Pilgrim 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 Music, 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 perceptual and cognitive considerations, and 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 are also welcome. Submission deadline is February 27th 2015. For further details and submission instructions please visit: http://cmr.soc.plymouth.ac.uk/cmmr2015/ Please send any enquiries to: cmmr2015-chairs@xxxxxxxx *Satellite workshops* 1st International Workshop in Brain-Computer Music Interfacing - http://cmr= .soc.plymouth.ac.uk/bcmi2015/ Motion and Music Workshop - http://cmr.soc.plymouth.ac.uk/mocap2015/ We look forward to seeing you, Prof Eduardo R Miranda (conference chair) Joel Eaton (programme committee) Dr Duncan Williams (music committee) --_000_14208224953855737postgradplymouthacuk_ 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;} p=0A= {margin-top:0;=0A= margin-bottom:0}--></style> </head> <body dir=3D"ltr"> <div id=3D"divtagdefaultwrapper" style=3D"font-size:12pt; color:#000000; ba= ckground-color:#FFFFFF; font-family:Calibri,Arial,Helvetica,sans-serif"> <div>Dear all,<br> <br> </div> <div>This is a reminder that the call for participation is currently open f= or <span class=3D"il"> CMMR</span> 2015.<br> </div> <div><br> <strong>*Important dates: *</strong><br> Paper submission deadline February 27th <span>2015</span><br> Music submission deadline February 27th <span>2015</span><br> Notification of acceptance March 27th <span>2015</span><br> Revisions and camera ready copy deadline May 1st <span>2015</span><br> <br> <strong>*Keynote speakers*</strong><br> Hugues Vinet (IRCAM)<br> David Rosenboom (CalArts)<br> Eduardo Miranda (ICCMR)<br> <br> The 11th International Symposium on Computer Music Multidisciplinary Resear= ch (<span><span><span class=3D"il">CMMR</span></span></span>) Music, Mind, = and Embodiment will take place in Plymouth, UK on 16-19 June <span>2015</span>.<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, satell= ite workshops on Music Neurotechnology and Motion and Music, and an unforge= ttable boat cruise and banquet trip around the iconic Plymouth Hoe from the Barbican Harbour, site of the Mayf= lower Steps (portrayed in the logo above), from which the Pilgrim Fat= hers left England to settle 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> <br> <strong>*Music, Mind, and Embodiment*</strong><br> <br> This year, we encourage the submission of contributions on the theme of <br= > Music, Mind, and Embodiment. The notion of mind and embodiment is important= <br> in any field related to sound and music and is therefore well adapted to <b= r> this interdisciplinary conference, since it can be studied from different <= br> standpoints spanning from physics to perceptual and cognitive <br> considerations, and from scientific to artistic approaches.<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 <b= r> are also welcome. Submission deadline is February 27th <span>2015</span>.<b= r> <br> For further details and submission instructions 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>cmmr2015-chairs@xxxxxxxx</a><br> <br> </div> <div><strong>*Satellite workshops*</strong><br> </div> <div>1st International Workshop in Brain-Computer Music Interfacing - <a hr= ef=3D"http://cmr.soc.plymouth.ac.uk/bcmi2015/" target=3D"_blank"> http://cmr.soc.plymouth.ac.uk/<wbr>bcmi2015/</a><br> <br> </div> <div>Motion and Music Workshop - <a href=3D"http://cmr.soc.plymouth.ac.uk/m= ocap2015/" target=3D"_blank"> http://cmr.soc.plymouth.ac.uk/<wbr>mocap2015/</a><br> </div> <br> We look forward to seeing you,<br> Prof Eduardo R Miranda (conference chair)<br> Joel Eaton (programme committee)<br> Dr Duncan Williams (music committee) <p><br> </p> <p><br> </p> </div> </body> </html> --_000_14208224953855737postgradplymouthacuk_--