[AUDITORY] CFP- JIM2024- 6-8 May 2024 -Marseille, France (=?UTF-8?Q?myl=C3=A8ne_gioffredo?= )

Subject: [AUDITORY] CFP- JIM2024- 6-8 May 2024 -Marseille, France From: =?UTF-8?Q?myl=C3=A8ne_gioffredo?= <mimi.gioffredo@xxxxxxxx> Date: Wed, 6 Dec 2023 18:24:45 +0100 --00000000000043725e060bdaa178 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable *Call for Papers* "Journ=C3=A9es d'Informatique Musicale 2024=E2=80=9D 06-08 May 2024, Marseille (France Each year, the "Journ=C3=A9es d'Informatique Musicale" bring together researchers, developers and different actors of the musical life who use computing as a tool for dissemination, creation, interpretation or pedagogy. The JIMs are managed by the Association Francophone d'Informatique Musicale (AFIM) and are supported by DGCA and the French Ministry of Culture and Communication. The JIM 2024 are co-organized by PRISM (CNRS/AMU/Ministry of Culture), AFIM, Inciam and gmem, and will take place from May 6 to 8, 2024, at la friche (gmem, 6 and 8th May) and at the CNRS Aiguier campus (PRISM, Tuesday 7th May). The keynote speakers will be the following: Elaine Chew, David De Roure, David Meredith, and Marco Stroppa. *Calendar* Article submission deadline: Monday February 12, 2024 Notification of acceptance: Monday March 18, 2023 Deadline for submission of final versions: Monday April 15, 2024 *Topics* In addition to the traditional themes, ( https://jim2024.sciencesconf.org/resource/page/id/2), this edition, from 6 to 8 May 2024, will focus on the following themes: *Risset & Beyond* What is Jean-Claude Risset's legacy in the fields of sound synthesis, live electronics and the use of the disklavier for musical creation in the age of AI, streaming listening practices and non-standardised electronic lutheries? "Is 'creating sound itself' still relevant in the first quarter of the 21st century? How modern is Jean-Claude Risset in an environment of constant technological innovation? *Computational musicology* Computational musicology fuses music theory, computer science and data analysis to interpret musical structures using algorithms and statistics. Dating back to experiments that began over 70 years ago, it has subsequently led researchers to closely examine the suitability of musical theories for computer use. This rapidly evolving field, at the crossroads of tradition and innovation, raises the question of the extent to which technology can continue to improve our understanding of music without compromising the very essence of musicological work. *Intersection between computer science and empirical musicology* Empirical musicology draws on methodologies from a variety of disciplines, including psychology, statistics, acoustics and computer science. The application of empirical methods enables a more quantifiable and reproducible understanding of music, bridging the gap between the subjective nature of musical experience and the objective analysis of musical phenomena. What references, new methods and protocols resulting from these cross-fertilisations are ready to be integrated to enrich our analysis of musical works? *Immersion, Multimodality, Virtual Reality* Virtual reality typically revolves around images. However, its use in the field of sound opens up promising prospects, both in industry and in artistic creation, as illustrated by the advances in binaural techniques, which now play an essential part in the user's sense of immersion. Interaction design in VR today typically entangles sound, visual and haptic feedback, and thus opens up a more forward-looking dimension to multimodal creation and the new challenges linked to multisensory interactions. *Submission Details * Articles may be written either in English or in French, between 4 and 10 pages. For the articles in English, a French abstract is mandatory. Communications will take place either as oral presentations (30 minutes, including questions), or performances-presentations (format to be defined), or demos (format to be defined). The different rooms of the conference will be equipped in multichannel. The type of presentation (either oral presentation, or performance-presentation, or demo) should be mentioned by the authors when submitting. The organizing committee will approve the final choice when setting the program of the JIM. Articles should be submitted using PDF format. The page layout should be achieved using either the Word or the LaTeX templates: Word template <https://jim2023.sciencesconf.org/data/pages/TEMPLATE_JIM_2023_Word_1.docx> LaTeX template <https://jim2023.sciencesconf.org/data/pages/TEMPLATE_JIM_2024.zip> Proposals should be submitted online on the website of the conference only: https://jim2024.sciencesconf.org/submission/submit Submission requires the creation of a sciencesconf.org <https://portal.sciencesconf.org/conference/create> account. If you already own a sciencesconf.org account, please use this one. *Young Researcher=E2=80=99s Prize* Proposals from young researchers (doctoral students, young doctors and independent researchers) are particularly welcome. An AFIM =E2=80=9CYoung Researcher=E2=80=9D Prize will be awarded to the best article presented by = a young researcher as part of the JIM 2024 , based on a vote by participants. The winner will receive financial assistance in the amount of =E2=82=AC500 to e= ncourage them in their research. For more information, see: https://jim2024.sciencesconf.org/resource/page/id/9 Please email all inquiries at jim2024@xxxxxxxx JIM 2024 Organizing Committee Jonathan Bell, Charles de Paiva-Santana, Javier Elipe, Myl=C3=A8ne Gioffred= o,Vincent Tiffon --00000000000043725e060bdaa178 Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable <div dir=3D"ltr"><div class=3D"gmail_default" style=3D"font-family:times ne= w roman,serif">Call for Papers </div><div class=3D"gmail_quote"><div dir=3D"ltr"><div style=3D"font-family= :times new roman,serif">"Journ= =C3=A9es d'Informatique Musicale 2024=E2=80=9D<= /p> 06-08 May 2024, Marseille (Fra= nce =C2=A0 Each year, the "Journ=C3=A9es d'Informatique Musicale" bring together resear= chers, developers and different actors of the musical life who use computing as a = tool for dissemination, creation, interpretation or pedagogy. The JIMs are manag= ed by the Association Francophone d'Informatique Musicale (AFIM) and are s= upported by DGCA and the French Ministry of Culture and Communication. The JIM 2024 = are co-organized by PRISM (CNRS/AMU/Ministry of Culture), AFIM, Inciam and gmem= , and will take place from May 6 to 8, 2024, at la friche (gmem, 6 and 8th Ma= y) and at the CNRS Aiguier campus (PRISM, Tuesday 7th May). The keynote speakers will be the following: =C2=A0</sp= an>Elaine Chew,=C2=A0<f= ont size=3D"2">David De Roure, David M= eredith, and Marco Stroppa. =C2=A0 Calendar</sp= an> Article submission deadline: M= onday February 12, 2024 Notification of acceptance: Mo= nday March 18, 2023 Deadline for submissi= on of final versions: Monday April 15, 2024 Topics</f= ont> In addition to the traditional themes, (<a href=3D"https://jim2024.sciencesconf.org/resource/p= age/id/2" target=3D"_blank">https://jim2024.sciencesconf.org/resource/page/= id/2</a>), this edition, from 6 to 8 May 2024, will focus on the following themes:<s= pan style=3D"font-family:"Times New Roman",serif"></= span> </div><div style=3D"font-family:times new roman,serif"><br= >Risset & Beyond= <s= pan> What is Jean-Claude Risset&#39= ;s legacy in the fields of sound synthesis, live electronics and the use of the disklavier for musical creat= ion in the age of AI, streaming listening practices and non-standardised electr= onic lutheries? "Is 'creating sound itself' still relevant in the f= irst quarter of the 21st century? How modern is Jean-Claude Risset in an environment of constant technological innovation? Computational musicology</s= pan><span= > Computational musicology fuses= music theory, computer science and data analysis to interpret musical structures using algorithms and statisti= cs. Dating back to experiments that began over 70 years ago, it has subsequentl= y led researchers to closely examine the suitability of musical theories for computer use. This rapidly evolving field, at the crossroads of tradition a= nd innovation, raises the question of the extent to which technology can conti= nue to improve our understanding of music without compromising the very essence= of musicological work. =C2=A0 Intersection between comput= er science and empirical musicology Empirical musicology draws on = methodologies from a variety of disciplines, including psychology, statistics, acoustics and computer scien= ce. The application of empirical methods enables a more quantifiable and reproducible understanding of music, bridging the gap between the subjectiv= e nature of musical experience and the objective analysis of musical phenomen= a. What references, new methods and protocols resulting from these cross-fertilisations are ready to be integrated to enrich our analysis of musical works? =C2=A0 Immersion, Multimodality, V= irtual Reality Virtual reality typically revo= lves around images. However, its use in the field of sound opens up promising prospects, both in industry and in artistic creation, as illustrated by the advances in binaural techniques, w= hich now play an essential part in the user's sense of immersion. Interactio= n design in VR today typically entangles sound, visual and haptic feedback, and thus opens up a more forward-looking dimension to multimodal creation and the ne= w challenges linked to multisensory interactions. =C2=A0 Submission= = Details Articles may = be written either in English or in French, between 4 and 10 pages. For the articles in English, a French abstr= act is mandatory. Communications will take place either as oral presentations (= 30 minutes, including questions), or performances-presentations (format to be defined), or demos (format to be defined). The different rooms of the conference will be equipped in multichannel. The type of presentation (eith= er oral presentation, or performance-presentation, or demo) should be mentione= d by the authors when submitting. The organizing committee will approve the fina= l choice when setting the program of the JIM. =C2=A0 Articles shou= ld be submitted using PDF format. The page layout should be achieved using either the Word or the LaTeX templates: <a href=3D"https://jim2023.sci= encesconf.org/data/pages/TEMPLATE_JIM_2023_Word_1.docx" target=3D"_blank"><= span style=3D"color:black;background:white">Word template</a>= =C2=A0 <a href=3D"https://jim2023.sci= encesconf.org/data/pages/TEMPLATE_JIM_2024.zip" target=3D"_blank">LaTeX template</a>= =C2=A0 Proposals sho= uld be submitted online on the website of the conference only: <a href=3D"https://jim2024.sciencesco= nf.org/submission/submit" target=3D"_blank">https://jim2024.sciencesconf.org/submission/submit</a>= = Submission requires the creation of a <a href=3D"https://portal.sciencesconf.org= /conference/create" target=3D"_blank">sciencesconf.org</a> accoun= t. If you already own a <a href=3D"http://sciencesconf.org" target=3D"_blank">science= sconf.org</a> account, please use this one. =C2=A0 Young <spa= n class=3D"gmail_default" style=3D"font-family:times new roman,serif">R</sp= an>esearcher=E2=80=99s Prize Proposals from young researchers (doctoral students, young doctors and independent researchers) are particularly welcome. An AFIM =E2=80=9CYoung Researcher=E2= =80=9D Prize will be awarded to the best article presented by a young researcher as part of the = JIM 2024 , based on a vote by participants. The winner will receive financial assistance in the amount of =E2=82=AC500 to encourage them in their researc= h. For more information, see: <a href=3D"https://jim2024.sciencesconf.org/= resource/page/id/9" target=3D"_blank">= https://jim2024.sciencesconf.org/resource/page/id/9</a>=C2=A0<= /span> =C2=A0 Please email al= l inquiries at <a href=3D"mailto:jim2= 024@xxxxxxxx" target=3D"_blank">jim2024@xxxxxxxx</a></font= > = JIM 2024 Organizing Committee <= br><span style=3D"color:rgb(= 0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-= variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre= -wrap;font-family:times new roman,serif" id=3D"m_-2244480420795517212gmail-= docs-internal-guid-0d3e338f-7fff-e722-5923-f7b2c5fccf5b">Jonathan Bell, </s= pan><span style=3D"color:rgb(0,0,0);background-color:transparent;font-weigh= t:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-a= lign:baseline;white-space:pre-wrap;font-family:times new roman,serif" id=3D= "m_-2244480420795517212gmail-docs-internal-guid-0d3e338f-7fff-e722-5923-f7b= 2c5fccf5b">Charles de Paiva-Santana<span style=3D"color:rgb(0,0,0);b= ackground-color:transparent;font-weight:400;font-style:normal;font-variant:= normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap;fo= nt-family:times new roman,serif" id=3D"m_-2244480420795517212gmail-docs-int= ernal-guid-0d3e338f-7fff-e722-5923-f7b2c5fccf5b">, Javier Elipe, <sp= an style=3D"color:rgb(0,0,0);background-color:transparent;font-weight:400;f= ont-style:normal;font-variant:normal;text-decoration:none;vertical-align:ba= seline;white-space:pre-wrap;font-family:times new roman,serif" id=3D"m_-224= 4480420795517212gmail-docs-internal-guid-0d3e338f-7fff-e722-5923-f7b2c5fccf= 5b">Myl=C3=A8ne Gioffredo,<span style=3D"color:rgb(0,0,0);background= -color:transparent;font-weight:400;font-style:normal;font-variant:normal;te= xt-decoration:none;vertical-align:baseline;white-space:pre-wrap;font-family= :times new roman,serif" id=3D"m_-2244480420795517212gmail-docs-internal-gui= d-0d3e338f-7fff-e722-5923-f7b2c5fccf5b">Vincent Tiffon<span style=3D"color:rgb(0,0,0);background-color:= transparent;font-weight:400;font-style:normal;font-variant:normal;text-deco= ration:none;vertical-align:baseline;white-space:pre-wrap;font-family:times = new roman,serif" id=3D"m_-2244480420795517212gmail-docs-internal-guid-0d3e3= 38f-7fff-e722-5923-f7b2c5fccf5b"> </div></div> </div></div> --00000000000043725e060bdaa178--

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