[AUDITORY] Audio Mostly 2017 =?Windows-1252?Q?=93Augmented_and_Participatory_Sound/Music_Experience?= =?Windows-1252?Q?s=94=3A_?=2nd Call for Contributions (Mathieu Barthet )

Subject: [AUDITORY] Audio Mostly 2017 =?Windows-1252?Q?=93Augmented_and_Participatory_Sound/Music_Experience?= =?Windows-1252?Q?s=94=3A_?=2nd Call for Contributions From: Mathieu Barthet <m.barthet@xxxxxxxx> Date: Fri, 10 Feb 2017 17:09:20 +0000 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY> --_000_DB6PR0701MB2182A0674A03450060E1DAC2DC440DB6PR0701MB2182_ Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable [Apologies for cross-postings] Dear all, The Audio Mostly organising committee would like to welcome researchers, in= teraction designers, engineers, artists, practitioners, audio professionals= , and anyone interested in sound as a medium of interaction, to Audio Mostl= y 2017. The conference will be held on 23-25 August 2017 at Queen Mary Univ= ersity of London (QMUL), UK. Audio Mostly is an interdisciplinary conference on design and experience of= interaction with sound that prides itself on embracing applied theory and = reflective practice. Its annual gatherings bring together thinkers and doer= s from academia and industry that share an interest in sonic interaction an= d the use of audio for interface design. This remit covers product design, = auditory display, computer games and virtual environments, new musical inst= ruments, and education and workplace tools. It further includes fields such= as the psychology of sound and music, cultural studies, system engineering= , and everything in between in which sonic interaction plays a role. The 20= 17 edition will be a lively and sociable mix of oral and poster paper prese= ntations, demos, concerts, and workshops. Audio Mostly 2017 is organised by the Centre for Digital Music (C4DM) at Qu= een Mary University of London (UK), which is a world-leading multidisciplin= ary research group in the field of music/audio science and technology. As in previous years, the Audio Mostly 2017 proceedings will be published b= y the Association for Computing Machinery (ACM) and made available through = their digital library (TBC). Regular papers will be single-blind peer revie= wed. Conference Theme =93Augmented and Participatory Sound/Music Experiences=94 At the intersection between augmentation (=93the action or process of makin= g or becoming greater in size or amount=94) and participation (=93the actio= n of taking part in something=94) lies the idea of expanding how we interac= t with our environment and becoming actively involved in situations. Applie= d to science, the arts, health and the environment, these themes invite to = push back the frontiers of design and interactions, to propose new artistic= formats adapted to audience creative interventions, or to improve accessib= ility and empower people. Both augmentation and participation are linked to= the sense of agency; augmentation generally implies increased degrees of f= reedom or access to new information, and participation in design or the art= s involves a redistribution of the roles between designers/artists and user= s/audiences. The concept of augmentation can be applied to a wide range of = objects (e.g. musical instruments, concert stage, garments, everyday object= s), situations/actions (e.g. live performance, mixing, cooking), and realit= y itself with =93augmented reality=94 systems and displays providing new se= nsory information. Participation can be applied at different stages of the = production-consumption chain. For instance, participatory design gathers de= signers and users to conjunctly create artefacts, and participatory art lea= ds to shared contributions from artists and audience participants. What is the potential of sound/music in facilitating augmentation and/or pa= rticipation? Augmentation and participation both have the potential to transform our emo= tional or personal association with situations, people and objects. How does augmentation and/or participation applied to sound/music affect ou= r life and experiences? What are their advantages and what are their drawba= cks? Audio Mostly 2017 encourages the submission of regular papers, music, demos= , and workshop proposals addressing such questions and others related to th= e conference theme and topics. We welcome multidisciplinary approaches invo= lving fields such as human computer interaction, music informatics, informa= tion and communication technologies, sound design, visualisation, compositi= on, perception/cognition and aesthetics. Please visit our detailed call for contributions for the full list of topic= s and further information: Call for papers: http://audiomostly.com/contributions/call-for-papers/ Call for music: http://audiomostly.com/contributions/call-for-music/ Call for demos: http://audiomostly.com/contributions/call-for-demos/ Call for workshops (TBA): http://audiomostly.com/contributions/call-for-wor= kshops/ Call for special session on =93Augmented and Participatory Performance=94: = http://audiomostly.com/contributions/special-sessions/ Paper special session proposals If you would like to organise a paper special session, please check the gui= delines at: http://audiomostly.com/contributions/special-sessions/ Authors=92 instructions Authors=92 instructions including paper format and templates can be found a= t: http://audiomostly.com/contributions/authors-instructions-submission/ Website: http://audiomostly.com Twitter: @xxxxxxxx Important dates Deadline for regular paper submissions: 31 March 2017 Deadline for music, demo and workshop proposals: 28 April 2017 Deadline for paper special session proposals: 24 February 2017 Notification of acceptance for regular papers: 22 May 2017 Notification of acceptance for music, demo and workshop proposals: 5 June 2= 017 Notification of acceptance for paper special session proposals: 3 March 201= 7 Camera-ready paper submission: 23 June 2017 Early registration deadline: 7 July 2017 Conference: 23-25 August 2017 Colocation with the 3rd Web Audio Conference (WAC) The conference will be collocated with the 3rd Web Audio Conference (WAC) = =93Collaborative Audio=94 (21-23 August 2017), with one day, Wednesday the = 23rd, a common day between the two events. Participants will have the oppor= tunity to attend both events at a discounted rate. Contact For more information or questions, please contact the organising committee = at: am2017-enquiries@xxxxxxxx<mailto:am2017-enquiries@xxxxxxxx> We look forward to welcome you in London in August 2017! Audio Mostly 2017 Conference Committee General Chair George Fazekas, QMUL Paper and Program Chairs Mathieu Barthet and Tony Stockman, QMUL Demonstration and Poster Chairs Fabio Morreale and Johan Pauwels, QMUL Music Chair Adib Mehrabi, QMUL Workshop Chair Angela McArthur, QMUL Other Organising Committee Members Gary Bromham, Beici Liang, Hazar Emre Tez, Sue White, William James Wilkins= on, Thomas Wilmering (QMUL) --_000_DB6PR0701MB2182A0674A03450060E1DAC2DC440DB6PR0701MB2182_ Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable <html> <head> <meta http-equiv=3D"Content-Type" content=3D"text/html; charset=3DWindows-1= 252"> <style type=3D"text/css" style=3D"display:none;"></style> </head> <body dir=3D"ltr"> <div id=3D"divtagdefaultwrapper" style=3D"font-size:12pt;color:#000000;font= -family:Calibri,Arial,Helvetica,sans-serif;" dir=3D"ltr"> </p= > [Apologies for cross-postings] Dear all, The Audio Mostly organising committee would like to welcome = researchers, interaction designers, engineers, artists, practitioners, audio professionals, and anyone interes= ted in sound as a medium of interaction, to Audio Mostly 2017. The conferen= ce will be held on 23-25 August 2017 at Queen Mary University of London (QM= UL), UK. Audio Mostly is an interdisciplinary conference on design an= d experience of interaction with sound that prides itself on embracing applied theory and reflective practice. It= s annual gatherings bring together thinkers and doers from academia and ind= ustry that share an interest in sonic interaction and the use of audio for = interface design. This remit covers product design, auditory display, computer games and virtual environments,= new musical instruments, and education and workplace tools. It further inc= ludes fields such as the psychology of sound and music, cultural studies, s= ystem engineering, and everything in between in which sonic interaction plays a role. The 2017 edition will = be a lively and sociable mix of oral and poster paper presentations, demos,= concerts, and workshops. Audio Mostly 2017 is organised by the Centre for Digital Mus= ic (C4DM) at Queen Mary University of London (UK), which is a world-leading multidisciplinary research group = in the field of music/audio science and technology. As in previous years, the Audio Mostly 2017 proceedings will= be published by the Association for Computing Machinery (ACM) and made available through their digital library= (TBC). Regular papers will be single-blind peer reviewed. Conference Theme =93Augmented and Particip= atory Sound/Music Experiences=94 = At the intersection between augmentation (=93the action or process of making or becoming greater in si= ze or amount=94) and participation (=93the action of taking part in somethi= ng=94) lies the idea of expanding how we interact with our environment and = becoming actively involved in situations. Applied to science, the arts, health and the environment, these themes inv= ite to push back the frontiers of design and interactions, to propose new a= rtistic formats adapted to audience creative interventions, or to improve a= ccessibility and empower people. Both augmentation and participation are linked to the sense of agency; aug= mentation generally implies increased degrees of freedom or access to new i= nformation, and participation in design or the arts involves a redistributi= on of the roles between designers/artists and users/audiences. The concept of augmentation can be applied to a wide = range of objects (e.g. musical instruments, concert stage, garments, everyd= ay objects), situations/actions (e.g. live performance, mixing, cooking), a= nd reality itself with =93augmented reality=94 systems and displays providing new sensory information. Partici= pation can be applied at different stages of the production-consumption cha= in. For instance, participatory design gathers designers and users to conju= nctly create artefacts, and participatory art leads to shared contributions from artists and audience participants.<= /span> = What is the potential of sound/music in facilitating augmentation and/or participation? = Augmentation and participation both have the potential to transform our emotional or personal association= with situations, people and objects. = How does augmentation and/or participation applied to sound/music affect our life and experiences? What= are their advantages and what are their drawbacks? = Audio Mostly 2017 encourages the submission of regular papers, music, demos, and workshop proposals add= ressing such questions and others related to the conference theme and topic= s. We welcome multidisciplinary approaches involving fields such as human c= omputer interaction, music informatics, information and communication technologies, sound design, visualisation, c= omposition, perception/cognition and aesthetics. = Please visit our detailed call for contributions for the full list of topics and further information= : = Call for papers: <a href=3D"http://audiomostly.com/contributions/call-for-papers/" st= yle=3D"text-decoration:none;" id=3D"LPlnk425736" previewremoved=3D"true"><s= pan style=3D"font-size: 12pt; font-family: Calibri, Arial, Helvetica, sans-= serif; color: rgb(17, 85, 204); background-color: transparent; text-decorat= ion: underline; vertical-align: baseline; white-space: pre-wrap;">http://au= diomostly.com/contributions/call-for-papers/</a> = Call for music: <a href=3D"http://audiomostly.com/contributions/call-for-music/" sty= le=3D"text-decoration:none;" id=3D"LPlnk305707" previewremoved=3D"true"><sp= an style=3D"font-size: 12pt; font-family: Calibri, Arial, Helvetica, sans-s= erif; color: rgb(17, 85, 204); background-color: transparent; text-decorati= on: underline; vertical-align: baseline; white-space: pre-wrap;">http://aud= iomostly.com/contributions/call-for-music/</a> = Call for demos: <a href=3D"http://audiomostly.com/contributions/call-for-demos/" sty= le=3D"text-decoration:none;" id=3D"LPlnk61956" previewremoved=3D"true"><spa= n style=3D"font-size: 12pt; font-family: Calibri, Arial, Helvetica, sans-se= rif; color: rgb(17, 85, 204); background-color: transparent; text-decoratio= n: underline; vertical-align: baseline; white-space: pre-wrap;">http://audi= omostly.com/contributions/call-for-demos/</a> = Call for workshops (TBA): <a href=3D"http://audiomostly.com/contributions/call-for-workshops/"= style=3D"text-decoration:none;" id=3D"LPlnk992287" previewremoved=3D"true"= ><span style=3D"font-size: 12pt; font-family: Calibri, Arial, Helvetica, sa= ns-serif; color: rgb(17, 85, 204); background-color: transparent; text-deco= ration: underline; vertical-align: baseline; white-space: pre-wrap;">http:/= /audiomostly.com/contributions/call-for-workshops/</a> = Call for special session on =93Augmented and Participatory Performance=94</span= >: <a href=3D"http://audiomostly.com/contributions/special-sessions/" s= tyle=3D"text-decoration:none;" id=3D"LPlnk841824" previewremoved=3D"true"><= span style=3D"font-size: 12pt; font-family: Calibri, Arial, Helvetica, sans= -serif; color: rgb(17, 85, 204); background-color: transparent; text-decora= tion: underline; vertical-align: baseline; white-space: pre-wrap;">http://a= udiomostly.com/contributions/special-sessions/</a> = Paper special session proposals = If you would like to organise a paper special session, please check the guidelines at: = <a href=3D"http://audiomostly.com/contributions/special-sessions/" style=3D= "text-decoration:none;" id=3D"LPlnk399128" previewremoved=3D"true"><span st= yle=3D"font-size: 12pt; font-family: Calibri, Arial, Helvetica, sans-serif;= color: rgb(17, 85, 204); background-color: transparent; text-decoration: u= nderline; vertical-align: baseline; white-space: pre-wrap;">http://audiomos= tly.com/contributions/special-sessions/</a> = Authors=92 instructions = Authors=92 instructions including paper format and templates can be found at: = <a href=3D"http://audiomostly.com/contributions/authors-instructions-submis= sion/" style=3D"text-decoration:none;" id=3D"LPlnk909842"><span style=3D"fo= nt-size: 12pt; font-family: Calibri, Arial, Helvetica, sans-serif; color: r= gb(17, 85, 204); background-color: transparent; text-decoration: underline;= vertical-align: baseline; white-space: pre-wrap;">http://audiomostly.com/c= ontributions/authors-instructions-submission/</a> = Website: <a href=3D"http://audiomostly.com" style=3D"text-decoration:none;"><= span style=3D"font-size: 12pt; font-family: Calibri, Arial, Helvetica, sans= -serif; color: rgb(17, 85, 204); background-color: transparent; text-decora= tion: underline; vertical-align: baseline; white-space: pre-wrap;">http://a= udiomostly.com</a> = Twitter: @xxxxxxxx = Important dates = Deadline for regular paper submissions: 31 March 2017<= /p> = Deadline for music, demo and workshop proposals: 28 April 2= 017 = Deadline for paper special session proposals: 24 February 201= 7 = Notification of acceptance for regular papers: 22 May 2017</s= pan> = Notification of acceptance for music, demo and workshop proposals: 5 June 2017 = Notification of acceptance for paper special session proposals: 3 March 2017 = Camera-ready paper submission: 23 June 2017 = Early registration deadline: 7 July 2017 = Conference: 23-25 August 2017 = Colocation with the 3rd Web Audio Conference (WAC) The conference will be collocated with the 3rd Web Audio Con= ference (WAC) =93Collaborative Audio=94 (21-23 August 2017), with one day, Wednesday the 23rd, a common day betwee= n the two events. Participants will have the opportunity to attend both eve= nts at a discounted rate. = Contact = For more information or questions, please contact the organising committee at: = <a href=3D"mailto:am2017-enquiries@xxxxxxxx" style=3D"text-decoration:non= e;"><span style=3D"font-size: 12pt; font-family: Calibri, Arial, Helvetica,= sans-serif; color: rgb(17, 85, 204); background-color: transparent; text-d= ecoration: underline; vertical-align: baseline; white-space: pre-wrap;">am2= 017-enquiries@xxxxxxxx</a> = We look forward to welcome you in London in August 2017! = Audio Mostly 2017 Conference Committee = General Chair = George Fazekas, QMUL = Paper and Program Chairs = Mathieu Barthet and Tony Stockman, QMUL = Demonstration and Poster Chairs = Fabio Morreale and Johan Pauwels, QMUL = Music Chair = Adib Mehrabi, QMUL = Workshop Chair = Angela McArthur, QMUL = Other Organising Committee Members Gary Bromham, Beici Liang, Hazar Emre Tez, Sue White, Willia= m James Wilkinson, Thomas Wilmering (QMUL) <div id=3D"Signature"> <div id=3D"divtagdefaultwrapper" style=3D"font-size:12pt; color:#000000; ba= ckground-color:#FFFFFF; font-family:Calibri,Arial,Helvetica,sans-serif"> <div name=3D"divtagdefaultwrapper" style=3D"font-family:Calibri,Arial,Helve= tica,sans-serif; font-size:; margin:0"> <div> </div> </div> </div> </div> </div> </body> </html> --_000_DB6PR0701MB2182A0674A03450060E1DAC2DC440DB6PR0701MB2182_--

This message came from the mail archive
../postings/2017/
maintained by:

DAn Ellis <dpwe@ee.columbia.edu>
Electrical Engineering Dept., Columbia University