[AUDITORY] Call for Papers: AES 145th Convention in NYC (October 2018) (Braxton Boren )

Subject: [AUDITORY] Call for Papers: AES 145th Convention in NYC (October 2018) From: Braxton Boren <bbboren@xxxxxxxx> Date: Mon, 7 May 2018 18:36:30 +0000 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY> --000000000000767da7056ba1f340 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable (Apologies for cross-posting) --- AES 145th Convention, 2018 New York, NY, USA Dates: 2018 Oct 17=E2=80=9320 Location: Javits Center, New York Papers chairs: Areti Andreopoulou and Braxton Boren Topics Proposals describing work in any area of audio engineering and its related arts and sciences will be considered for inclusion in convention sessions. = A detailed list of proposed topics <http://www.aes.org/events/145/authors/cfp/#Topics> is given below. *Categories* Authors may submit proposals in four categories: 1. Complete-manuscript peer-reviewed convention papers 2. Abstract-precis-reviewed convention papers 3. Synopsis-reviewed engineering briefs 4. Workshops/tutorials/master classes *Submitting a Proposal* Category 1 and 2 proposals are to be submitted electronically to the AES 145th proposal submission site at www.aes.org/145th_authors by 2018 May 31. For the complete-manuscript peer-reviewed convention papers (category 1), authors are asked to submit papers of 4=E2=80=9310 pages to the submission = site. These complete-manuscript papers will be reviewed by at least two experts in the field, and authors will be notified of acceptance by 2018 July 5. Final manuscript with revisions requested by the reviewers have to be submitted before 2018 July 26. If rejected as a convention paper (Cat. 1), the proposal may still be accepted for categories 2 or 3. For abstract-precis-reviewed proposals (Cat. 2), a title, 60-to 120-word abstract, and 500- to 750-word pr=C3=A9cis of the proposed paper must be submitted by 2018 May 31. Authors will be notified of acceptance by 2018 June 28, and the authors must submit their final manuscripts (4 to 10 pages) before 2018 July 26. If rejected from this category, the proposal may be still be accepted as an engineering brief (Cat. 3). Papers exceeding 10 pages run the risk of rejection without review. If such a paper is accepted the author will be charged a fee of $25 for every page over 10. For engineering briefs (Cat. 3), authors must supply a short synopsis to http://www.aes.org/145th_ebriefs by 2018 August 1 to indicate their desire to present an engineering brief, followed later by an electronic manuscript. Topics for the engineering briefs can be very wide-ranging. Relaxed reviewing of submissions will consider mainly whether they are of interest to AES convention attendees and are not overly commercial. PDF manuscripts of 1=E2=80=935 pages following the prescribed template must be submitted by 2018 August 30. Schedule The submission sites will be available by early March. Proposal (Cat. 1 and 2) deadline: 2018 May 31 Acceptance (pr=C3=A9cis proposals, Cat. 2) emailed: 2018 June 28 Acceptance (full papers, Cat. 1) emailed: 2018 July 5 Final manuscript (Cat 1 and 2) deadline: 2018 July 26 Engineering brief (Cat. 3) proposal deadline: 2018 August 1 Engineering brief (Cat. 3) 1=E2=80=935 page PDF deadline: 2018 August 30 *Proposed Topics* Audio applications and technologies Digital broadcasting Forensic audio Automotive audio Audio for mobile and handheld devices Audio in education Networked, Internet, and remote audio Auditory display and sonification Interactive sound New audio interfaces Web 2.0 technologies Audio content management Archiving and restoration Audio formats Digital libraries Automatic content description Audio and music information retrieval Audio Processing Analysis and synthesis of sound Audio effects Machine listening Music and speech signal processing Auditory scene analysis High resolution audio Audio coding and compression Audio Equipment Microphones, converters, and amplifiers Loudspeakers and headphones Wireless and wearable audio Instrumentation and measurement Musical instrument design Protocols and data formats Immersive Audio Multichannel and spatial audio Audio for Virtual / Augmented Reality Environments Game Audio Sound design / acoustic simulation of immersive audio environments Evaluation of spatial audio Spatial audio applications Perception Audio perception Audio quality Hearing loss, protection, and enhancement Listening tests and evaluation Speech intelligibility Psychoacoustics Recording, Production, and Reproduction Live event and stage audio Mixing, remixing, and mastering Room and architectural acoustics Sound design and reinforcement Studio recording techniques --=20 Braxton Boren Assistant Professor, Audio Technology American University --000000000000767da7056ba1f340 Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable <div dir=3D"ltr">(Apolog= ies for cross-posting) --- AES 145th Co= nvention, 2018 New York, NY, USA Dates: 2018= Oct 17=E2=80=9320 <= span style=3D"color:rgb(33,33,33);font-size:13px">Location: Javits Center, = New York Papers chairs: Areti Andreopoulou and Braxton Boren<= br style=3D"color:rgb(33,33,33);font-size:13px">Topics Proposals describing work in any area o= f audio engineering and its related arts and= sciences will be considered for inclusion in convention sessions. A= =C2=A0detailed list of proposed topics <<a href=3D"http://www.aes.org/events/145/aut= hors/cfp/#Topics" rel=3D"noreferrer" target=3D"_blank" style=3D"font-size:1= 3px">http://www.aes.org/events/145/authors/cfp/#Topics</a>> is given below. *Categories*</s= pan> Authors may submit proposals in four categorie= s: 1. Complete-manuscript peer-reviewed convention papers 2. Abstract-precis-reviewed convention papers 3. Synopsis-reviewed engineering briefs 4. Workshops/tutorials/master classes *Submitting a Proposal*<b= r style=3D"color:rgb(33,33,33);font-size:13px">Category 1 and 2 proposals are to be submitted elect= ronically to the AES 145th proposal submissi= on site at=C2=A0</= span><a href=3D"http://www.aes.org/145th_authors" rel=3D"noreferrer" target= =3D"_blank" style=3D"font-size:13px">www.aes.org/145th_authors</a>=C2=A0by 2018 May 31. = For the complete-manuscr= ipt peer-reviewed convention papers (category 1), authors are asked to submit papers of 4=E2=80=9310 pages to the submi= ssion site. These complete-manuscript papers= will be reviewed by at least two experts in= the field, and authors will be notified of acceptance by 2018 July 5.</spa= n> Final manuscript with revisions requested by the= reviewers have to be submitted before 2018 = July 26. If rejected as a convention paper (Cat. 1), the proposal may still be accepted for categories 2 or 3.<b= r style=3D"color:rgb(33,33,33);font-size:13px"> For= abstract-precis-reviewed proposals (Cat. 2), a title, 60-to 120-word</span= > abstract, and 500- to 750-word pr=C3=A9cis of the= proposed paper must be submitted by 2018 Ma= y 31. Authors will be notified of acceptance by 2018 June 28, and the authors must submit their final manuscripts (4 to= 10 pages) before 2018 July 26. If rejected = from this category, the proposal may be stil= l be accepted as an engineering brief (Cat. 3). Papers exceeding 10 pages run the risk of rejection without review. If = such a paper is <spa= n style=3D"color:rgb(33,33,33);font-size:13px">accepted the author will be = charged a fee of $25 for every page over 10. <= span style=3D"color:rgb(33,33,33);font-size:13px">For engineering briefs (C= at. 3), authors must supply a short synopsis to <a href=3D"http://www.aes.org/145th_ebriefs" re= l=3D"noreferrer" target=3D"_blank" style=3D"font-size:13px">http://www.aes.= org/145th_ebriefs</a><sp= an class=3D"inbox-inbox-Apple-converted-space">=C2=A0by 2018 August = 1 to indicate their desire to present an eng= ineering brief, followed later by an electronic manuscript. Topics for the engineering briefs can be very wide-ranging.= Relaxed reviewing of submissions will consi= der mainly whether they are of interest to A= ES convention attendees and are not overly commercial. PDF manuscripts of 1=E2=80=935 pages following the prescribed t= emplate must be <spa= n style=3D"color:rgb(33,33,33);font-size:13px">submitted by 2018 August 30.= Schedule <span= style=3D"color:rgb(33,33,33);font-size:13px">The submission sites will be = available by early March. Proposal (Cat. 1 and 2) deadline: 2018 May 3= 1 Acceptance (pr=C3=A9cis proposals, Cat. 2)= emailed: 2018 June 28 Acceptance (full pape= rs, Cat. 1) emailed: 2018 July 5 Final manus= cript (Cat 1 and 2) deadline: 2018 July 26 E= ngineering brief (Cat. 3) proposal deadline: 2018 August 1 Engineering brief (Cat. 3) 1=E2=80=935 page PDF deadline: 2= 018 August 30 *Proposed Topics* Audio applications and technologi= es =C2=A0Digital broadcasting =C2=A0Forensic audio =C2=A0= Automotive audio <sp= an style=3D"color:rgb(33,33,33);font-size:13px">=C2=A0Audio for mobile and = handheld devices <sp= an style=3D"color:rgb(33,33,33);font-size:13px">=C2=A0Audio in education</s= pan> =C2=A0Networked, Internet, and remote audio</s= pan> =C2=A0Auditory display and sonification= =C2=A0Interactive sound =C2=A0New audio interfaces =C2=A0Web 2.= 0 technologies Audio content management =C2=A0Archiving and restoration =C2=A0Audio= formats =C2=A0Digital libraries =C2=A0Automatic content description =C2=A0Audio and music information retrieval Audio Processi= ng =C2=A0Analysis and synthesis of sound</sp= an> =C2=A0Audio effects =C2=A0Machine listening =C2=A0Music and = speech signal processing =C2=A0Auditory scen= e analysis =C2=A0High resolution audio</span= > =C2=A0Audio coding and compression Audio Equ= ipment =C2=A0Microphones, converters, and = amplifiers =C2=A0Loudspeakers and headphones= =C2=A0Wireless and wearable audio<br= style=3D"color:rgb(33,33,33);font-size:13px">=C2=A0Instrumentation and measurement =C2=A0Musical instrument design =C2=A0Protocols and data formats Immersive Audio =C2=A0Multichannel and spatial audio =C2=A0Audio for Virtual / Augmented Reality Environments<br= style=3D"color:rgb(33,33,33);font-size:13px">=C2=A0Game Audio =C2= =A0Sound design / acoustic simulation of immersive audio environments</span= > =C2=A0Evaluation of spatial audio =C2=A0Spatial audio applications Perception =C2=A0Audio perception = =C2=A0Audio quality = =C2=A0Hearing loss, prot= ection, and enhancement =C2=A0Listening test= s and evaluation <sp= an style=3D"color:rgb(33,33,33);font-size:13px">=C2=A0Speech intelligibilit= y =C2=A0Psychoacoustics Recording, Prod= uction, and Reproduction =C2=A0Live event an= d stage audio =C2=A0Mixing, remixing, and ma= stering =C2=A0Room and architectural acoust= ics =C2=A0Sound design and reinforcement</sp= an> =C2=A0Studio recording techniques </d= iv>-- <div dir=3D"ltr" class=3D"gmail_signature" data-smartmail=3D"gmai= l_signature"><div dir=3D"ltr">Braxton Boren<div>Assistant Professor, Audio = Technology</div><div>American University</div></div></div> --000000000000767da7056ba1f340--

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