[AUDITORY] AES International Conference on Immersive and Interactive Audio Submission Portal Now Open (Gavin Kearney )

Subject: [AUDITORY] AES International Conference on Immersive and Interactive Audio Submission Portal Now Open From: Gavin Kearney <000000648734f0bd-dmarc-request@xxxxxxxx> Date: Tue, 4 Sep 2018 16:38:18 +0100 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY> --000000000000da7cce05750d7493 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Hello all, Apologies for any cross-posting. The submission portal for contributions to the AES International Conference on Immersive and Interactive Audio is now open. To submit a paper or workshop proposal please navigate to http://www.aes.org/2019iia_authors Paper templates are available at the site ready for blind submission. Deadline for submission for full papers is 1st Oct 2018. Deadline for tutorials and workshop proposals is 1st Nov 2018. Further details on the conference can be found below. 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 workshop/tutorial 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. 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 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 also be submitted via the submission portal by 1st Nov 2018, including title, abstract (max 300 words), and an extended workshop/tutorial description. If accepted, these will also 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 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 --000000000000da7cce05750d7493 Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable <div dir=3D"ltr"><div dir=3D"ltr"><div dir=3D"ltr">Hello all,Apologies for any cross-posting.=C2=A0 The submission portal for contributions to the AE= S International Conference on Immersive and Interactive Audio is now open. To submit a paper or workshop proposal plea= se navigate to <a href=3D"http://www.aes.org/2019iia_authors">ht= tp://www.aes.org/2019iia_authors</a> Paper te= mplates are available at the site ready for blind submission. Deadline for = submission for full papers is 1st Oct 2018. Deadline for tutorials and work= shop proposals is 1st Nov 2018.Further details on the conference can be found below.<p= style=3D"box-sizing:border-box;margin:0px 0px 10px">All the best,Gavin********************************************************= ****************************************************<p= style=3D"box-sizing:border-box;margin:0px 0px 10px">2019 AES INTERNATIONAL CONFERENCE O= N IMMERSIVE AND INTERACTIVE AUDIO- Creating the next dimension of sound experience -=C2=A0</fon= t>Dates: March 27-29, 2019Location: York, UK<a href=3D"http://www.aes.org/conferences/2019/imme= rsive/" target=3D"_blank">http://www.aes.org/conferences/2019/immersiv= e/</a><fo= nt face=3D"Roboto Condensed, sans-serif" color=3D"#4d4d4d"> <= p style=3D"box-sizing:border-box;margin:0px 0px 10px">Immersive audio systems are ubiquitous and range from macro-systems installed in=20 cinemas, theatres and concert halls to micro-systems for domestic,=20 in-car entertainment, VR/AR and mobile platforms. New developments in=20 human-computer interaction, in particular head and body motion tracking=20 and artificial intelligence, are paving the way for adaptive and=20 intelligent audio technologies that promote audio personalisation and=20 heightened levels of immersion. Interactive audio systems can now=20 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=20 systems offer new creative possibilities for a diverse range of=20 applications from virtual and augmented reality through to automotive=20 audio and beyond. This opens up exciting new opportunities for artists=20 and audio producers to create compelling immersive experiences. This=20 three-day conference will explore the unique space where interactive=20 technologies and immersive audio meet and aims to exploit the synergies=20 between these fields. The conference will include keynote lectures,=20 technical paper sessions, tutorials and wor= kshops, as well as technological and artistic demonstrations of immersive a= nd interactive audio.<= br>Proposed Topics</fo= nt>Perception- 3-D spatial perception- Auditory attention and engagement<= /font>- Auditory interaction<= /font>- Cross modal perceptio= n- Moving sounds and m= oving listeners- Metri= cs for and evaluation of immersive and interactive audio=C2=A0<p= style=3D"box-sizing:border-box;margin:0px 0px 10px"> Engineering- Intelligent audio systems- Interactive production tools for immersive audio= - Immersive audio recording t= echniques= - Loudspeaker= reproduction of interactive audio- Motion tracked binaural and HRTF processing- Biophysiological feedback as a contro= l signal<= font face=3D"Roboto Condensed, sans-serif" color=3D"#4d4d4d">- Spatial audi= o signal processing- S= patial 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</f= ont>- Object and scene base= d production and reproduction- Sonic interaction design- Virtual auditory environments SubmissionsAll submissions should have a clear connection with immersive and=20 interactive audio. We encourage multidisciplinary approaches to the area and an exploration of the interactions between theory and practice.= Submissions may be in the for= m of paper and workshop/tutorial 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=20 should submit a full paper for peer review = from the outset. All proposals are to be submitted at <a href=3D"http://www= .aes.org/2019iia_authors" target=3D"_blank">http://www.aes.org/2019iia_<wbr= >authors</a> by 1st October 2018. Acceptance of pa= pers will be determined by the committee based on peer review. Accepted=20 authors will be notified by 1st December 2018. Final manuscripts of a=20 maximum of 10 pages must be submitted by 15th January 2019. Please contact <a href=3D"mailto:2019iia_papers@xxxxxxxx" target=3D"_blank"= >2019iia_papers@xxxxxxxx</a> if you have any queries about potential submiss= ions. Workshop and tutorial proposals should also be submitted via the subm= ission portal by 1st Nov 2018, including title, abstract (max 300 words), and an extende= d workshop/tutorial description. If accepted, these will also be included i= n=20 the proceedings.Regist= ration<fo= nt face=3D"Roboto Condensed, sans-serif" color=3D"#4d4d4d">A reduced registration fee will be available for authors. At least one=20 author of each contribution must pay to register and attend to present.=20 The authors=E2=80=99 rate will be available for any author wishing to atten= d the conference. </font= >PublicationPapers = will be published in the AES E-Library no earlier than 10 days before the c= onference start date.<= br>Important Dates</fo= nt>Technical paper (peer-reviewed)=C2=A0=E2=80=A2 Full paper d= eadline: 1st October 2018=C2=A0=E2=80=A2 Acceptance emailed: 1st December 2018=E2=80=A2 Camera-ready submission: 15th J= anuary 2019 = Workshop / Tutorials</= p>=E2=80=A2 Proposal deadline: 1s= t November 2018=C2=A0= =E2=80=A2 Acceptance emailed: 15th January 2019 Open AccessAuth= ors will have the option of submitting Open Access papers. </f= ont>Chairs: Gavin Kearney a= nd Damian Murphy. Email: <a href=3D"mailto:2019iia_chairs@xxxxxxxx" target= =3D"_blank">2019iia_chairs@xxxxxxxx</a>Papers chairs: Tony Tew and= Duncan Williams. Email: <a href=3D"mailto:2019iia_papers@xxxxxxxx" target= =3D"_blank">2019iia_papers@xxxxxxxx</a>Workshop/Tutorial chair: Hyunkook Lee. Email: <a href=3D"ma= ilto:2019iia_workshops@xxxxxxxx" target=3D"_blank">2019iia_workshops@xxxxxxxx= </a><div> </div> *************= *****************************************************************= **************************** -- <div c= lass=3D"gmail_signature"><div dir=3D"ltr"><div><div dir=3D"ltr"><div><div d= ir=3D"ltr"><div><div dir=3D"ltr"><div><div dir=3D"ltr"><div>Dr. Gavin Kearn= ey Associate Professor in Audio and Music Technology Department of El= ectronic Engineering University of York Heslington York YO10 5D= D 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.yo= rk.ac.uk/</a> SADIE Project: <a href=3D"http://www.sadie-project.co.uk/"= target=3D"_blank">http://www.sadie-project.co.uk/</a> </div><div>Enhanc= ing Audio Description Project:<a href=3D"http://enhancingaudiodescription.c= om/" target=3D"_blank"> http://enhancingaudiodescription.com/</a> </div>= <div> EMAIL DISCLAIMER <a href=3D"http://www.york.ac.uk/docs/disclaimer/= email.htm" target=3D"_blank">http://www.york.ac.uk/docs/disclaimer/email.ht= m</a></div></div></div></div></div></div></div></div></div></div></div> </div></div></div> --000000000000da7cce05750d7493--

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