[AUDITORY] Call for contributions: AES International Conference on Immersive and Interactive Audio (Gavin Kearney )

Subject: [AUDITORY] Call for contributions: AES International Conference on Immersive and Interactive Audio From: Gavin Kearney <000000648734f0bd-dmarc-request@xxxxxxxx> Date: Wed, 11 Jul 2018 10:39:50 +0100 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY> --0000000000009928360570b609e3 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Hello all, Apologies for any cross-posting. Please see below the call for contributions for the AES International Conference on Immersive and Interactive Audio in York next Spring. Hope to see you there. All the best, Gavin ***************************************************************************= ********************************* 2019 AES INTERNATIONAL CONFERENCE ON IMMERSIVE AND INTERACTIVE AUDIO - Creating the next dimension of sound experience - Dates: March 27-29, 2019 Location: York, UK http://www.aes.org/conferences/2019/immersive/ Immersive audio systems are ubiquitous and range from macro-systems installed in cinemas, theatres and concert halls to micro-systems for domestic, in-car entertainment, VR/AR and mobile platforms. New developments in human-computer interaction, in particular head and body motion tracking and artificial intelligence, are paving the way for adaptive and intelligent audio technologies that promote audio personalisation and heightened levels of immersion. Interactive audio systems can now readily utilise non-tactile data such as listener location, orientation, gestural control and even biometric feedback such as heart rate or skin conductance, to intelligently adjust immersive sound output. Such systems offer new creative possibilities for a diverse range of applications from virtual and augmented reality through to automotive audio and beyond. This opens up exciting new opportunities for artists and audio producers to create compelling immersive experiences. This three-day conference will explore the unique space where interactive technologies and immersive audio meet and aims to exploit the synergies between these fields. The conference will include keynote lectures, technical paper sessions, tutorials and workshops, as well as technological and artistic demonstrations of immersive and interactive audio. Proposed Topics Perception - 3-D spatial perception - Auditory attention and engagement - Auditory interaction - Cross modal perception - Moving sounds and moving listeners - Metrics for and evaluation of immersive and interactive audio Engineering - Intelligent audio systems - Interactive production tools for immersive audio - Immersive audio recording techniques - Loudspeaker reproduction of interactive audio - Motion tracked binaural and HRTF processing - Biophysiological feedback as a control signal - Spatial audio signal processing - Spatial reproduction methods - Streaming of immersive and interactive audio - Virtual acoustics Sound Design - Audio for games - Sound design for virtual and augmented reality - Immersive audio effects - Interactive music composition and generation - Immersive sound design for film, TV, theatre, games and interactive media - Narratives and workflows for interactive audio - Object and scene based production and reproduction - Sonic interaction design - Virtual auditory environments Submissions All submissions should have a clear connection with immersive and interactive audio. We encourage multidisciplinary approaches to the area and an exploration of the interactions between theory and practice. Submissions may be in the form of paper and demonstration proposals. Papers may be presented in the oral sessions or as a poster, at the discretion of the committee, although authors may indicate a preference. Authors should submit a full paper for peer review from the outset. All proposals are to be submitted at http://www.aes.org/2019iia_authors by 1st October 2018 (submission site open shortly). Acceptance of papers will be determined by the committee based on peer review. Accepted authors will be notified by 1st December 2018. Final manuscripts of a maximum of 10 pages (3000 words) must be submitted by 15th January 2019. Please contact 2019iia_papers@xxxxxxxx if you have any queries about potential submissions. Workshop and tutorial proposals should be emailed directly to 2019iia_workshops@xxxxxxxx by 1st Nov 2018, including title, abstract (60 to 120 words), and pr=C3=A9cis (500 to 750 words). If accepted, these will als= o be included in the proceedings. Registration A reduced registration fee will be available for authors. At least one author of each contribution must pay to register and attend to present. The authors=E2=80=99 rate will be available for any author wishing to attend th= e conference. Publication Papers will be published in the AES E-Library no earlier than 10 days before the conference start date. Important Dates Technical paper (peer-reviewed) =E2=80=A2 Full paper deadline: 1st October 2018 =E2=80=A2 Acceptance emailed: 1st December 2018 =E2=80=A2 Camera-ready submission: 15th January 2019 Workshop / Tutorials =E2=80=A2 Proposal deadline: 1st November 2018 =E2=80=A2 Acceptance emailed: 15th January 2019 Open Access Authors will have the option of submitting Open Access papers. Chairs: Gavin Kearney and Damian Murphy. Email: 2019iia_chairs@xxxxxxxx Papers chairs: Tony Tew and Duncan Williams. Email: 2019iia_papers@xxxxxxxx Workshop/Tutorial chair: Hyunkook Lee. Email: 2019iia_workshops@xxxxxxxx ***************************************************************************= ********************************* --=20 Dr. Gavin Kearney Senior Lecturer (Associate Professor) in Audio and Music Technology Department of Electronic Engineering University of York Heslington York YO10 5DD Tel: +44 (0) 1904 32 2374 Fax: +44 (0) 1904 32 2335 Web: http://www.elec.york.ac.uk/ SADIE Project: http://www.sadie-project.co.uk/ Enhancing Audio Description Project: http://enhancingaudiodescription.com/ EMAIL DISCLAIMER http://www.york.ac.uk/docs/disclaimer/email.htm --0000000000009928360570b609e3 Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable <div dir=3D"ltr"> Hello all,Apologies for any cross-posting. Please see b= elow the call for contributions for the AES International Conference on Imm= ersive and Interactive Audio in York next Spring. Hope to see you there.=C2= =A0=C2=A0= All the best,= Gavin***************************************= *********************************************************************</font= >2019 AES INTERNATIONAL CONFE= RENCE ON IMMERSIVE AND INTERACTIVE AUDIO- Creating the next dimension of sound experience -=C2=A0= Dates: March 27-29, 2019Location: York, UK<a href=3D"http://www.aes.org/conferences= /2019/immersive/">http://www.aes.org/conferences/2019/immersive/</a>= Immersive audio systems are ubiquitous and rang= e from macro-systems installed in cinemas, theatres and concert halls to mi= cro-systems for domestic, in-car entertainment, VR/AR and mobile platforms.= New developments in human-computer interaction, in particular head and bod= y motion tracking and artificial intelligence, are paving the way for adapt= ive and intelligent audio technologies that promote audio personalisation a= nd heightened levels of immersion. Interactive audio systems can now readil= y utilise non-tactile data such as listener location, orientation, gestural= control and even biometric feedback such as heart rate or skin conductance= , to intelligently adjust immersive sound output. Such systems offer new cr= eative possibilities for a diverse range of applications from virtual and a= ugmented reality through to automotive audio and beyond. This opens up exci= ting new opportunities for artists and audio producers to create compelling= immersive experiences. This three-day conference will explore the unique s= pace where interactive technologies and immersive audio meet and aims to ex= ploit the synergies between these fields. The conference will include keyno= te lectures, technical paper sessions, tutorials and workshops, as well as = technological and artistic demonstrations of immersive and interactive audi= o. Proposed TopicsPerception- 3-D spatial perception- Auditory attention and engagement- Auditory interaction- Cross modal perception- Moving sounds and moving listeners</f= ont>- Metrics for and evalua= tion of immersive and interactive audio=C2=A0 Engineering- Inte= lligent audio systems-= Interactive production tools for immersive audio- Immersive audio recording techniques</p= >- Loudspeaker reproduction of in= teractive audio- Motio= n tracked binaural and HRTF processing- Biophysiological feedback as a control signal<= p style=3D"box-sizing:border-box;margin:0px 0px 10px">- Spatial audio signal processing<= /font>- Spatial reproduction = methods<f= ont color=3D"#4d4d4d" face=3D"Roboto Condensed, sans-serif">- Streaming of = immersive and interactive audio- Virtual acoustics Sound Design= - Audio for games</fon= t>- Sound design for virtual = and augmented reality-= Immersive audio effects- Interactive music composition and generation- Immersive sound design for film, TV, theatre, g= ames and interactive media- Narratives and workflows for interactive audio- Object and scene based production and repro= duction<f= ont color=3D"#4d4d4d" face=3D"Roboto Condensed, sans-serif">- Sonic interac= tion design- Virtual a= uditory environments<b= r>Submissions</= p>All submissions should have a c= lear connection with immersive and interactive audio. We encourage multidis= ciplinary approaches to the area and an exploration of the interactions bet= ween theory and practice.Submissions may be in the form of paper and demonstration proposals. Pap= ers may be presented in the oral sessions or as a poster, at the discretion= of the committee, although authors may indicate a preference. Authors shou= ld submit a full paper for peer review from the outset. All proposals are t= o be submitted at <a href=3D"http://www.aes.org/2019iia_authors">http://www= .aes.org/2019iia_authors</a> by 1st October 2018 (submission site open shor= tly). Acceptance of papers will be determined by the committee based on pee= r review. Accepted authors will be notified by 1st December 2018. Final man= uscripts of a maximum of 10 pages (3000 words) must be submitted by 15th Ja= nuary 2019. Please contact <a href=3D"mailto:2019iia_papers@xxxxxxxx">2019ii= a_papers@xxxxxxxx</a> if you have any queries about potential submissions. W= orkshop and tutorial proposals should be emailed directly to <a href=3D"mai= lto:2019iia_workshops@xxxxxxxx">2019iia_workshops@xxxxxxxx</a> by 1st Nov 201= 8, including title, abstract (60 to 120 words), and pr=C3=A9cis (500 to 750= words). If accepted, these will also be included in the proceedings.</font= >RegistrationA reduced registration fee will be ava= ilable for authors. At least one author of each contribution must pay to re= gister and attend to present. The authors=E2=80=99 rate will be available f= or any author wishing to attend the conference. PublicationPape= rs will be published in the AES E-Library no earlier than 10 days before th= e conference start date. <fo= nt color=3D"#4d4d4d" face=3D"Roboto Condensed, sans-serif">Important Dates<= /font>Technical paper (peer-r= eviewed)=C2=A0=E2=80= =A2 Full paper deadline: 1st October 2018=C2=A0=E2=80=A2 Acceptance emailed: 1st December 2018</f= ont>=E2=80=A2 Camera-ready s= ubmission: 15th January 2019 Workshop / T= utorials<= font color=3D"#4d4d4d" face=3D"Roboto Condensed, sans-serif">=E2=80=A2 Prop= osal deadline: 1st November 2018=C2=A0=E2=80=A2 Acceptance emailed: 15th January 2019<= p style=3D"box-sizing:border-box;margin:0px 0px 10px"> Open AccessAuthors will have the option of submitting Open Access papers.<= /font> Chairs: Gavin Kearney and Damian Murphy. = Email: <a href=3D"mailto:2019iia_chairs@xxxxxxxx">2019iia_chairs@xxxxxxxx</a>= Papers chairs: Tony Te= w and Duncan Williams. Email: <a href=3D"mailto:2019iia_papers@xxxxxxxx">201= 9iia_papers@xxxxxxxx</a>Workshop/Tutorial chair: Hyunkook Lee. Email: <a href=3D"mailto:2019iia_wo= rkshops@xxxxxxxx">2019iia_workshops@xxxxxxxx</a><div> </div><di= v> ********************************= ***************************************************************************= * </div><div> </div>-- <div class=3D"gmail_signature"><div dir=3D"= ltr"><div><div dir=3D"ltr"><div><div dir=3D"ltr"><div><div dir=3D"ltr"><div= >Dr. Gavin Kearney Senior Lecturer (Associate Professor) in Audio and Mu= sic Technology Department of Electronic Engineering University of Yor= k Heslington York YO10 5DD Tel: +44 (0) 1904 32 2374 Fax: = =C2=A0+44 (0) 1904 32 2335 Web: <a href=3D"http://www.elec.york.ac.uk/" = target=3D"_blank">http://www.elec.york.ac.uk/</a> SADIE Project: <a href= =3D"http://www.sadie-project.co.uk/" target=3D"_blank">http://www.sadie-pro= ject.co.uk/</a> </div><div>Enhancing Audio Description Project:<a href= =3D"http://enhancingaudiodescription.com/" target=3D"_blank"> http://enhanc= ingaudiodescription.com/</a> </div><div> EMAIL DISCLAIMER <a href=3D"= http://www.york.ac.uk/docs/disclaimer/email.htm" target=3D"_blank">http://w= ww.york.ac.uk/docs/disclaimer/email.htm</a></div></div></div></div></div></= div></div></div></div> </div> --0000000000009928360570b609e3--

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