[AUDITORY] Call for papers - Theme track 04 on Sound and Design at DRS2022 Bilbao Conference (Stefano Delle Monache )

Subject: [AUDITORY] Call for papers - Theme track 04 on Sound and Design at DRS2022 Bilbao Conference From: Stefano Delle Monache <stefano.dellemonache@xxxxxxxx> Date: Tue, 5 Oct 2021 13:54:07 +0200 This is a multi-part message in MIME format. --------------8A17FD7910138FAF878F3037 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable X-MIME-Autoconverted: from 8bit to quoted-printable by edgeum3.it.mcgill.ca id 195BsCIR033144 Apologies for cross-posting. Dear All,=C2=A0 We are pleased to inform you that the DRS2022 BILBAO Conference is now welcoming submissions. The Theme Track 4 onSound & Design aims at exploring human and machine listening as design material. The call for papers can be found via the following link: https://www.drs2022.org/theme-tracks/ <https://urldefense.proofpoint.com/v2/url?u=3Dhttps-3A__www.drs2022.org_t= heme-2Dtracks_&d=3DDwMFaQ&c=3DXYzUhXBD2cD-CornpT4QE19xOJBbRy-TBPLK0X9U2o8= &r=3Dudt1sVcp6S5ANu0CAkR66WngpiqZ2XBxj4vdwIyJDz8&m=3DEEuOXvJAfpdMZQYMLV_-= q2u9XEQABAFi8_n7rbGVWU0&s=3DvcCJkWBCa498VXmArLz-YPcSjxRazWIpGGdYWns7g4I&e= =3D> Deadline for paper submission: November 24th, 2021 The track is co-chaired by Stefano Delle Monache, Monica Porteanu, Kevin Hamilton, Nicolas Misdariis, and Elif =C3=96zcan=C2=A0and supported by th= e H2020-MSCA-IF-2019 PaDS. Abstract Either intentionally designed or as by-products of mechanisms and processes, sounds and soundscapes are an essential presence in our contemporary environments, from notification and alarms to machinery and voice-based virtual assistants. Sound design entails a variety of practices, dealing at large with the design and craft of auditory displays to convey functions and information with aesthetic requirements. Listening is the context-dependent, human-centered, active behaviour by which we use sound to make sense of the experience with products, services, and ecosystems. A socio-technological, sound-driven approach to design is concerned about the meaning and understanding of the experience driven by listening, rather than by sound. In this paradigm shift, sound acts both as issue and opportunity for innovative design solutions. Hence, sound-driven design is inherently embodied, situated, and human-centered. Establishing the role of listening in the design process will inform whether designers design the sound, for sound, against sound or with sound. The Sound and Design track welcomes papers on: A. Sound-driven design: Designing for, through, and about listening=C2=A0 Contact person - Stefano Delle Monache | s.dellemonache@xxxxxxxx <mailto:s.dellemonache@xxxxxxxx> Leveraging the established distinction about design research strategies (for, through, about design), we invite submissions on: * Designing for listening (clinical), including sound- and evidence-based case studies and interventions with specific impact, e.g., from product sounds to soundscapes, in healthcare, automotive, and the lived environment in general; * Designing through listening (applied), including design studies that investigate how sound and action intertwine to shape dynamic relationships between humans and objects, e.g. from sound-driven experience and design methodologies, to the effect of sound on listeners, such as emotions and alarm fatigue; * Designing about listening (basic), including inquiries on the fundamentals of design and audition, formgiving and cognition, research methods, the role of sound-based representations and creativity. B. Design of artificial intelligence (AI) for perceiving and interpreting sound=C2=A0 Contact person -=C2=A0 Monica Porteanu | monicap2@xxxxxxxx <mailto:monicap2@xxxxxxxx> Sound opens doors to designing for inclusiveness, wellbeing, and many more. Meanwhile, sound-enabled technology creates commercial opportunities at exponential speed. However, the commercial enthusiasm outpaces our understanding of the implications this situation creates, e.g., considering that voice is a biometric identifier.=C2=A0 We have yet to become aware of how sound travels and is perceived and interpreted across devices, platforms, clouds, and algorithms. The design mindset and practice are slowly catching up, but they are still more focused on the commercial aspect (e.g., conversation design, voice user interface). However, design research could significantly contribute to raising awareness and developing the necessary body of knowledge to address the gap. We invite submissions on topics such as: * Algorithmic hearing and interpretation, incl. voice-based AI for sentiment analysis * Inclusive AI applications related to sound perception, interpretation, and feedback, e.g., sound therapy, rehabilitation, food design for wellness * Design methods for sensemaking related to sound data, e.g., sonification, visualization=C2=A0 * Sound-based AI literacy, e.g., privacy, decision-making * Objects that listen, interpret, or provide feedback (esp. to other than the sound producer) --------------8A17FD7910138FAF878F3037 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: quoted-printable X-MIME-Autoconverted: from 8bit to quoted-printable by edgeum3.it.mcgill.ca id 195BsCIR033144 <html> <head> <meta http-equiv=3D"content-type" content=3D"text/html; charset=3DUTF= -8"> </head> <body> Apologies for cross-posting. Dear All,=C2=A0 We are pleased to inform you that the DRS2022 BILBAO Conference is now welcoming submissions. The Theme Track 4 on Sound & Design aims at exploring human and machine listening as design material. The call for papers can be found via the following link: <a href=3D"https://urldefense.proofpoint.com/v2/url?u=3Dhttps-3A__www.drs202= 2.org_theme-2Dtracks_&d=3DDwMFaQ&c=3DXYzUhXBD2cD-CornpT4QE19xOJBb= Ry-TBPLK0X9U2o8&r=3Dudt1sVcp6S5ANu0CAkR66WngpiqZ2XBxj4vdwIyJDz8&m= =3DEEuOXvJAfpdMZQYMLV_-q2u9XEQABAFi8_n7rbGVWU0&s=3DvcCJkWBCa498VXmArL= z-YPcSjxRazWIpGGdYWns7g4I&e=3D">https://www.drs2022.or= g/theme-tracks/</a> Deadline for paper submission: Nove= mber 24th, 2021 The track is co-chaired by Stefano Delle Monache, Monica Porteanu, Kevin Hamilton, Nicolas Misdariis, and Elif =C3=96zcan=C2=A0and suppo= rted by the H2020-MSCA-IF-2019 PaDS. Abstract Either intentionally designed or as by-products of mechanisms and processes, sounds and soundscapes are an essential presence in our contemporary environments, from notification and alarms to machinery and voice-based virtual assistants. Sound design entails a variety of practices, dealing at large with the design and craft of auditory displays to convey functions and information with aesthetic requirements. Listening is the context-dependent, human-centered, active behaviour by which we use sound to make sense of the experience with products, services, and ecosystems. A socio-technological, sound-driven approach to design is concerned about the meaning and understanding of the experience driven by listening, rather than by sound. In this paradigm shift, sound acts both as issue and opportunity for innovative design solutions. Hence, sound-driven design is inherently embodied, situated, and human-centered. Establishing the role of listening in the design process will inform whether designers design the sound, for sound, against sound or with sound. The Sound and Design track welcomes papers on: A. Sound-driven design: Designing for, through, and about listening=C2=A0 Contact person - Stefano Delle Monache | <a href=3D"mailto:s.dellemonache@xxxxxxxx">s.dellemonache@xxxxxxxx= .nl</a> Leveraging the established distinction about design research strategies (for, through, about design), we invite submissions on: <ul> <li dir=3D"ltr">De= signing for listening (clinical), including sound- and evidence-based case studies and interventions with specific impact, e.g., from product sounds to soundscapes, in healthcare, automotive, and the lived environment in general;</li> <li dir=3D"ltr">De= signing through listening (applied), including design studies that investigate how sound and action intertwine to shape dynamic relationships between humans and objects, e.g. from sound-driven experience and design methodologies, to the effect of sound on listeners, such as emotions and alarm fatigue;</li> <li dir=3D"ltr">De= signing about listening (basic), including inquiries on the fundamentals of design and audition, formgiving and cognition, research methods, the role of sound-based representations and creativity.</li> </ul> B. Design of artificial intelligenc= e (AI) for perceiving and interpreting sound=C2=A0 Contact person -=C2=A0 Monica Porteanu | <a href=3D"mailto:monicap2@xxxxxxxx">monicap2@xxxxxxxx<= /span></a> Sound opens doors to designing for inclusiveness, wellbeing, and many more. Meanwhile, sound-enabled technology creates commercial opportunities at exponential speed. However, the commercial enthusiasm outpaces our understanding of the implications this situation creates, e.g., considering that voice is a biometric identifier.=C2=A0 We have yet to become aware of how sound travels and is perceived and interpreted across devices, platforms, clouds, and algorithms. The design mindset and practice are slowly catching up, but they are still more focused on the commercial aspect (e.g., conversation design, voice user interface). However, design research could significantly contribute to raising awareness and developing the necessary body of knowledge to address the gap. We invite submissions on topics such as: <ul> <li dir=3D"ltr">Algorithmic hearing and interpretation, incl. voice-based AI for sentiment analysis</li> <li dir=3D"ltr">Inclusive AI applications related to sound perception, interpretation, and feedback, e.g., sound therapy, rehabilitation, food design for wellness</li> <li dir=3D"ltr">Design methods for sensemaking related to sound data, e.g., sonification, visualization=C2=A0</li> <li dir=3D"ltr">Sound-based AI literacy, e.g., privacy, decision-making</li> <li dir=3D"ltr">Objects that listen, interpret, or provide feedback (esp. to other than the sound producer)</li> </ul> </body> </html> --------------8A17FD7910138FAF878F3037--

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