Subject: [AUDITORY] Call for Papers: HCI International 2023 Workshop on Interactive Technologies for Analysing and Visualizing Musical Structure From: David Meredith <dave@xxxxxxxx> Date: Tue, 31 Jan 2023 15:21:27 +0100> This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. --B_3758023288_2962084696 Content-type: multipart/related; boundary="B_3758023288_2397960296" --B_3758023288_2397960296 Content-type: multipart/alternative; boundary="B_3758023288_3783880403" --B_3758023288_3783880403 Content-type: text/plain; charset="UTF-8" Content-transfer-encoding: quoted-printable Dear Auditory List members, =20 We would like to bring your attention to the following call for papers for = a workshop at HCI International in Copenhagen on 23 July 2023, focusing on=20 =20 Interactive Technologies for Analysing and Visualizing Musical Structure =20 The full call is available here: https://2023.hci.international/W1.html =20 Aim of the workshop =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D We are seeking high-quality submissions reporting on original, previously u= npublished research within the area of interactive technologies for analysin= g and visualizing musical structure. Analysing and visualizing the structure= of musical works can play a fundamental role in facilitating and enhancing = the understanding and appreciation of those works among listeners, performer= s, composers and musicologists. For example, a performer who is learning to = play a piece can benefit from having an effective visual representation of a= coherent, satisfying and meaningful way of understanding the piece, perhaps= in the context of other music in the same style or genre. Similarly, a conc= ert-goer who is about to hear a piece for the first time might benefit from = being presented first with an introduction to the piece, enhanced with visua= lizations of the work=E2=80=99s structure and the way the work relates to other wo= rks from the same period, in the same genre or by the same composer. =20 If listeners, performers, composers and musicologists have access to usable= and available software that automatically generates insightful analyses fro= m digital encodings of musical works, along with high-quality encodings of t= he works in which they are interested, then insight-giving visualizations of= the music=E2=80=99s structure might be readily generated as required. Moreover, u= sers might want to interact in various ways with such a generated analysis t= hrough a visualization that serves as a graphical user interface to the anal= ysis. For example, a user might wish to hear certain themes or chords identi= fied by the analysis, or compare part of one piece with part of a different = piece that the automatically generated analysis has identified as being rela= ted. Users may also want to customize and modify a generated analysis so tha= t it more accurately reflects how they personally interpret the piece. =20 Such use cases present challenging problems for software engineers and user= -interface designers. The software that generates the analyses must carry ou= t computationally expensive processes (e.g., pattern discovery) in practical= running times if the software is to be usably responsive. Different types o= f users may require different types of user interfaces, affording different = types of interactions and visualizations that match, for example, their leve= l of musical expertise, the aspects of the music in which they are intereste= d, and the specific tasks for which the software is being used. =20 Analysis and visualization of musical structure are especially important wh= en attempting to gain knowledge about musical traditions, genres and reperto= ires with which one is unfamiliar. Effective visualizations (supported by ap= propriate representations, encodings and data-structures) are also crucial w= hen communicating the knowledge that has been gained to a target audience. S= uch a situation occurs when music from one culture is performed to an audien= ce consisting largely of people from a different culture=E2=80=94for example, when= Persian or Indian music is played to a European audience that is primarily = familiar with classical music. However, the problem of effectively communica= ting the meaning of a piece of music to an audience that is unfamiliar with = the cultural or stylistic context within which the piece was created can eve= n arise when the music and the audience share the same culture=E2=80=94for example= , an audience that listens almost exclusively to Western popular music may f= ind it hard to appreciate a concert of Western classical music. =20 Expected workshop outcome =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D We expect that the workshop will bring together musicologists, ethnomusicol= ogists, software engineers and computer scientists, HCI experts, composers, = musicians, and librarians and archivists interested in digitizing musical so= urces. By bringing together such a wide variety of experts from different do= mains, we expect that the event will initiate exciting inter-disciplinary co= llaborations that could lead to future large-scale collaborative projects. W= e expect that the workshop will serve to strengthen the identity of an emerg= ent multi-disciplinary research community whose common goal is to develop te= chnologies that can help a variety of types of users to better understand th= e music in which they are interested, interact more effectively and enjoyabl= y with that music, and more effectively communicate knowledge about that mus= ic to a broader audience. We expect that the workshop will sharpen our under= standing of what the main challenges and problems are in this domain and lay= down the foundations for a roadmap for future research in the area. We also= expect that this will be the first of a series of annual workshops on this = topic. =20 Workshop topics =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D This workshop will focus on the technical and interaction-design challenges= involved in building effective, usable technologies for generating, visuali= zing and interacting with analyses of musical works. It will also welcome co= ntributions that illustrate how such technologies can deepen our understandi= ng of works and make them accessible to broader audiences. Contributions wil= l also be welcome that address the challenging issues inherent in creating, = curating and disseminating collections of high-quality encodings of (possibl= y very large) musical works, since the availability of such collections is n= ecessary if a wide variety of users are going to be able to study and intera= ct with the music in which they are interested. =20 Submission for the Workshop =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Prospective authors should submit their proposed papers in PDF format throu= gh the HCII Conference Management System (CMS). Authors may submit either a = short paper (4-8 pages in the CCIS template) or a long paper (10-20 pages in= the LNCS template). All authors of submissions accepted as posters will be = required to create a digital poster to be presented during a 1-minute, 1-sli= de presentation in the =E2=80=9Cposter craze=E2=80=9D session. Authors of papers selecte= d for oral presentation will be required to prepare a 15-minute presentation= to be given during the workshop. =20 Submission for the Conference Proceedings =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The contributions to be presented in the context of Workshops will not be a= utomatically included in the Conference proceedings. =20 However, after consultation with the Workshop Organizer, authors of accepte= d workshop proposals that are registered for the conference, are welcome to = submit through the HCII Conference Management System (CMS), a (possibly exte= nded) version of their workshop contribution, to be considered for presentat= ion at the Conference and inclusion in the =E2=80=9CLate Breaking Work=E2=80=9D conferen= ce proceedings, either in the LNCS as a long paper (typically 12 pages, but = no less than 10 and no more than 20 pages), or in the CCIS as a short paper = (typically 6 pages, but no less than 4 and no more than 8), following peer r= eview. =20 The submission deadline for the camera-ready papers (long or short) for the= =E2=80=9CLate Breaking Work=E2=80=9D Volumes of the Proceedings is the 15th of June 202= 3. =20 Workshop deadlines =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D =20 Submission of workshop long and short papers1 April 2023 Authors notified of decisions on acceptance25 April 2023 Finalization of workshop organization and registration of participants30 Ap= ril 2023 Submission deadlines for CRC of papers for proceedings15 June 2023 -- =20 David Meredith M.A. (Cantab.), D.Phil. (Oxon.), Associate Professor Department of Architecture, Design and Media Technology =20 Editor-in-Chief, Journal of New Music Research =20 Tel: +45 99408092 | Mob: +45 60143868 dave@xxxxxxxx https://vbn.aau.dk/en/persons/119171 https://www.titanmusic.com https://scholar.google.com/citations?user=3Dbs-237cAAAAJ =20 =20 Aalborg University=20 Rendsburggade 14 9000 Aalborg, Denmark =20 Employee No.: 119171 | Vat No.: DK29102384 =20 =20 =20 =20 =20 --B_3758023288_3783880403 Content-type: text/html; charset="UTF-8" Content-transfer-encoding: quoted-printable <html xmlns:v=3D"urn:schemas-microsoft-com:vml" xmlns:o=3D"urn:schemas-microsof= t-com:office:office" xmlns:w=3D"urn:schemas-microsoft-com:office:word" xmlns:m= =3D"http://schemas.microsoft.com/office/2004/12/omml" xmlns=3D"http://www.w3.org= /TR/REC-html40"><head><meta http-equiv=3DContent-Type content=3D"text/html; char= set=3Dutf-8"><meta name=3DGenerator content=3D"Microsoft Word 15 (filtered medium)= "><!--[if !mso]><style>v\:* {behavior:url(#default#VML);} o\:* {behavior:url(#default#VML);} w\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} </style><![endif]--><style><!-- /* Font Definitions */ @xxxxxxxx {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4;} @xxxxxxxx {font-family:Calibri; panose-1:2 15 5 2 2 2 4 3 2 4;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {margin:0cm; font-size:11.0pt; font-family:"Calibri",sans-serif; mso-fareast-language:EN-US;} a:link, span.MsoHyperlink {mso-style-priority:99; color:#0563C1; text-decoration:underline;} span.EmailStyle17 {mso-style-type:personal-compose; font-family:"Calibri",sans-serif; color:windowtext;} .MsoChpDefault {mso-style-type:export-only; mso-fareast-language:EN-US;} @xxxxxxxx WordSection1 {size:612.0pt 792.0pt; margin:72.0pt 72.0pt 72.0pt 72.0pt;} div.WordSection1 {page:WordSection1;} --></style></head><body lang=3DEN-GB link=3D"#0563C1" vlink=3D"#954F72" style=3D'wo= rd-wrap:break-word'><div class=3DWordSection1><p class=3DMsoNormal>Dear Auditory= List members,<o:p></o:p></p><p class=3DMsoNormal><o:p> </o:p></p><p clas= s=3DMsoNormal>We would like to bring your attention to the following call for = papers for a workshop at HCI International in Copenhagen on 23 July 2023, fo= cusing on <o:p></o:p></p><p class=3DMsoNormal><o:p> </o:p></p><p class=3DMs= oNormal>Interactive Technologies for Analysing and Visualizing Musical Struc= ture<o:p></o:p></p><p class=3DMsoNormal><o:p> </o:p></p><p class=3DMsoNorma= l>The full call is available here: <a href=3D"https://2023.hci.international/W= 1.html">https://2023.hci.international/W1.html</a><o:p></o:p></p><p class=3DMs= oNormal><o:p> </o:p></p><p class=3DMsoNormal>Aim of the workshop<o:p></o:= p></p><p class=3DMsoNormal>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D<o:p></o:p></p><p class=3DMsoNormal>= We are seeking high-quality submissions reporting on original, previously un= published research within the area of interactive technologies for analysing= and visualizing musical structure. Analysing and visualizing the structure = of musical works can play a fundamental role in facilitating and enhancing t= he understanding and appreciation of those works among listeners, performers= , composers and musicologists. For example, a performer who is learning to p= lay a piece can benefit from having an effective visual representation of a = coherent, satisfying and meaningful way of understanding the piece, perhaps = in the context of other music in the same style or genre. Similarly, a conce= rt-goer who is about to hear a piece for the first time might benefit from b= eing presented first with an introduction to the piece, enhanced with visual= izations of the work=E2=80=99s structure and the way the work relates to other wor= ks from the same period, in the same genre or by the same composer.<o:p></o:= p></p><p class=3DMsoNormal><o:p> </o:p></p><p class=3DMsoNormal>If listener= s, performers, composers and musicologists have access to usable and availab= le software that automatically generates insightful analyses from digital en= codings of musical works, along with high-quality encodings of the works in = which they are interested, then insight-giving visualizations of the music=E2=80= =99s structure might be readily generated as required. Moreover, users might w= ant to interact in various ways with such a generated analysis through a vis= ualization that serves as a graphical user interface to the analysis. For ex= ample, a user might wish to hear certain themes or chords identified by the = analysis, or compare part of one piece with part of a different piece that t= he automatically generated analysis has identified as being related. Users m= ay also want to customize and modify a generated analysis so that it more ac= curately reflects how they personally interpret the piece.<o:p></o:p></p><p = class=3DMsoNormal><o:p> </o:p></p><p class=3DMsoNormal>Such use cases prese= nt challenging problems for software engineers and user-interface designers.= The software that generates the analyses must carry out computationally exp= ensive processes (e.g., pattern discovery) in practical running times if the= software is to be usably responsive. Different types of users may require d= ifferent types of user interfaces, affording different types of interactions= and visualizations that match, for example, their level of musical expertis= e, the aspects of the music in which they are interested, and the specific t= asks for which the software is being used.<o:p></o:p></p><p class=3DMsoNormal>= <o:p> </o:p></p><p class=3DMsoNormal>Analysis and visualization of musica= l structure are especially important when attempting to gain knowledge about= musical traditions, genres and repertoires with which one is unfamiliar. Ef= fective visualizations (supported by appropriate representations, encodings = and data-structures) are also crucial when communicating the knowledge that = has been gained to a target audience. Such a situation occurs when music fro= m one culture is performed to an audience consisting largely of people from = a different culture=E2=80=94for example, when Persian or Indian music is played to= a European audience that is primarily familiar with classical music. Howeve= r, the problem of effectively communicating the meaning of a piece of music = to an audience that is unfamiliar with the cultural or stylistic context wit= hin which the piece was created can even arise when the music and the audien= ce share the same culture=E2=80=94for example, an audience that listens almost exc= lusively to Western popular music may find it hard to appreciate a concert o= f Western classical music.<o:p></o:p></p><p class=3DMsoNormal><o:p> </o:p= ></p><p class=3DMsoNormal>Expected workshop outcome<o:p></o:p></p><p class=3DMso= Normal>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D<o:p></o:p></p><p class=3DMsoNormal>We expect t= hat the workshop will bring together musicologists, ethnomusicologists, soft= ware engineers and computer scientists, HCI experts, composers, musicians, a= nd librarians and archivists interested in digitizing musical sources. By br= inging together such a wide variety of experts from different domains, we ex= pect that the event will initiate exciting inter-disciplinary collaborations= that could lead to future large-scale collaborative projects. We expect tha= t the workshop will serve to strengthen the identity of an emergent multi-di= sciplinary research community whose common goal is to develop technologies t= hat can help a variety of types of users to better understand the music in w= hich they are interested, interact more effectively and enjoyably with that = music, and more effectively communicate knowledge about that music to a broa= der audience. We expect that the workshop will sharpen our understanding of = what the main challenges and problems are in this domain and lay down the fo= undations for a roadmap for future research in the area. We also expect that= this will be the first of a series of annual workshops on this topic.<o:p><= /o:p></p><p class=3DMsoNormal><o:p> </o:p></p><p class=3DMsoNormal>Workshop= topics<o:p></o:p></p><p class=3DMsoNormal>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D<o:p></o:p></p><p cla= ss=3DMsoNormal>This workshop will focus on the technical and interaction-desig= n challenges involved in building effective, usable technologies for generat= ing, visualizing and interacting with analyses of musical works. It will als= o welcome contributions that illustrate how such technologies can deepen our= understanding of works and make them accessible to broader audiences. Contr= ibutions will also be welcome that address the challenging issues inherent i= n creating, curating and disseminating collections of high-quality encodings= of (possibly very large) musical works, since the availability of such coll= ections is necessary if a wide variety of users are going to be able to stud= y and interact with the music in which they are interested.<o:p></o:p></p><p= class=3DMsoNormal><o:p> </o:p></p><p class=3DMsoNormal>Submission for the = Workshop<o:p></o:p></p><p class=3DMsoNormal>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D<o:p></o:p= ></p><p class=3DMsoNormal>Prospective authors should submit their proposed pap= ers in PDF format through the HCII Conference Management System (CMS). Autho= rs may submit either a short paper (4-8 pages in the CCIS template) or a lon= g paper (10-20 pages in the LNCS template). All authors of submissions accep= ted as posters will be required to create a digital poster to be presented d= uring a 1-minute, 1-slide presentation in the =E2=80=9Cposter craze=E2=80=9D session. Au= thors of papers selected for oral presentation will be required to prepare a= 15-minute presentation to be given during the workshop.<o:p></o:p></p><p cl= ass=3DMsoNormal><o:p> </o:p></p><p class=3DMsoNormal>Submission for the Con= ference Proceedings<o:p></o:p></p><p class=3DMsoNormal>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D<o:p></o:p></p><p class=3DMsoNormal>The contributions to be prese= nted in the context of Workshops will not be automatically included in the C= onference proceedings.<o:p></o:p></p><p class=3DMsoNormal><o:p> </o:p></p= ><p class=3DMsoNormal>However, after consultation with the Workshop Organizer,= authors of accepted workshop proposals that are registered for the conferen= ce, are welcome to submit through the HCII Conference Management System (CMS= ), a (possibly extended) version of their workshop contribution, to be consi= dered for presentation at the Conference and inclusion in the =E2=80=9CLate Breaki= ng Work=E2=80=9D conference proceedings, either in the LNCS as a long paper (typic= ally 12 pages, but no less than 10 and no more than 20 pages), or in the CCI= S as a short paper (typically 6 pages, but no less than 4 and no more than 8= ), following peer review.<o:p></o:p></p><p class=3DMsoNormal><o:p> </o:p>= </p><p class=3DMsoNormal>The submission deadline for the camera-ready papers (= long or short) for the =E2=80=9CLate Breaking Work=E2=80=9D Volumes of the Proceedings i= s the 15th of June 2023.<o:p></o:p></p><p class=3DMsoNormal><o:p> </o:p><= /p><p class=3DMsoNormal>Workshop deadlines<o:p></o:p></p><p class=3DMsoNormal>=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D<o:p></o:p></p><p class=3DMsoNormal><o:p> </o:p></p><table= class=3DMsoNormalTable border=3D0 cellpadding=3D0 width=3D0><tr><td style=3D'padding:= .75pt .75pt .75pt .75pt'><p class=3DMsoNormal>Submission of workshop long and = short papers<o:p></o:p></p></td><td style=3D'padding:.75pt .75pt .75pt .75pt'>= <p class=3DMsoNormal>1 April 2023<o:p></o:p></p></td></tr><tr><td style=3D'paddi= ng:.75pt .75pt .75pt .75pt'><p class=3DMsoNormal>Authors notified of decisions= on acceptance<o:p></o:p></p></td><td style=3D'padding:.75pt .75pt .75pt .75pt= '><p class=3DMsoNormal>25 April 2023<o:p></o:p></p></td></tr><tr><td style=3D'pa= dding:.75pt .75pt .75pt .75pt'><p class=3DMsoNormal>Finalization of workshop o= rganization and registration of participants<o:p></o:p></p></td><td style=3D'p= adding:.75pt .75pt .75pt .75pt'><p class=3DMsoNormal>30 April 2023<o:p></o:p><= /p></td></tr><tr><td style=3D'padding:.75pt .75pt .75pt .75pt'><p class=3DMsoNor= mal>Submission deadlines for CRC of papers for proceedings<o:p></o:p></p></t= d><td style=3D'padding:.75pt .75pt .75pt .75pt'><p class=3DMsoNormal>15 June 202= 3<o:p></o:p></p></td></tr></table><div><p class=3DMsoNormal><span style=3D'mso-f= areast-language:EN-GB'>--<o:p></o:p></span></p><p class=3DMsoNormal><span styl= e=3D'mso-fareast-language:EN-GB'><o:p> </o:p></span></p><p class=3DMsoNorma= l><b><span style=3D'font-size:7.5pt;font-family:"Arial",sans-serif;color:#323E= 4F;letter-spacing:1.0pt;mso-fareast-language:EN-GB'>David Meredith<o:p></o:p= ></span></b></p><p class=3DMsoNormal><span style=3D'font-size:7.5pt;font-family:= "Arial",sans-serif;color:#5F5F5F;letter-spacing:1.0pt;mso-fareast-language:E= N-GB'>M.A. (Cantab.), D.Phil. (Oxon.), Associate Professor<o:p></o:p></span>= </p><p class=3DMsoNormal><span style=3D'font-size:7.5pt;font-family:"Arial",sans= -serif;color:#5F5F5F;letter-spacing:1.0pt;mso-fareast-language:EN-GB'>Depart= ment of Architecture, Design and Media Technology<o:p></o:p></span></p><p cl= ass=3DMsoNormal><span style=3D'font-size:7.5pt;font-family:"Arial",sans-serif;co= lor:#5F5F5F;letter-spacing:1.0pt;mso-fareast-language:EN-GB'><o:p> </o:= p></span></p><p class=3DMsoNormal><span style=3D'font-size:7.5pt;font-family:"Ar= ial",sans-serif;color:#5F5F5F;letter-spacing:1.0pt;mso-fareast-language:EN-G= B'>Editor-in-Chief, <a href=3D"https://www.tandfonline.com/journals/nnmr2= 0" title=3D"https://www.tandfonline.com/journals/nnmr20"><span style=3D'color:#0= 563C1'>Journal of New Music Research</span></a></span><span style=3D'color:bla= ck;mso-fareast-language:EN-GB'><o:p></o:p></span></p><p class=3DMsoNormal><spa= n style=3D'font-size:7.5pt;font-family:"Arial",sans-serif;color:#5F5F5F;letter= -spacing:1.0pt;mso-fareast-language:EN-GB'><o:p> </o:p></span></p><p cl= ass=3DMsoNormal><span lang=3DEN-US style=3D'font-size:7.5pt;font-family:"Arial",sa= ns-serif;color:#5F5F5F;letter-spacing:1.0pt;mso-fareast-language:EN-GB'>Tel:= +45 99408092 | Mob: +45 60143868<b><o:p></o:p></b></span></p><p class=3DMsoNo= rmal><span lang=3DEN-US style=3D'font-size:7.5pt;font-family:"Arial",sans-serif;= color:#5F5F5F;letter-spacing:1.0pt;mso-fareast-language:EN-GB'><a href=3D"mail= to:dave@xxxxxxxx"><span style=3D'color:#0563C1'>dave@xxxxxxxx</span>= </a><o:p></o:p></span></p><p class=3DMsoNormal><span lang=3DEN-US style=3D'font-si= ze:7.5pt;font-family:"Arial",sans-serif;color:#5F5F5F;letter-spacing:1.0pt;m= so-fareast-language:EN-GB'><a href=3D"https://vbn.aau.dk/en/persons/119171"><s= pan style=3D'color:#0563C1'>https://vbn.aau.dk/en/persons/119171</span></a><o:= p></o:p></span></p><p class=3DMsoNormal><span lang=3DEN-US style=3D'font-size:7.5p= t;font-family:"Arial",sans-serif;letter-spacing:1.0pt;mso-fareast-language:E= N-GB'><a href=3D"https://www.titanmusic.com"><span style=3D'color:#0563C1'>https= ://www.titanmusic.com</span></a><o:p></o:p></span></p><p class=3DMsoNormal><sp= an lang=3DEN-US style=3D'font-size:7.5pt;font-family:"Arial",sans-serif;letter-s= pacing:1.0pt;mso-fareast-language:EN-GB'><a href=3D"https://scholar.google.com= /citations?user=3Dbs-237cAAAAJ"><span style=3D'color:#0563C1'>https://scholar.go= ogle.com/citations?user=3Dbs-237cAAAAJ</span></a><o:p></o:p></span></p><p clas= s=3DMsoNormal><span lang=3DEN-US style=3D'font-size:7.5pt;font-family:"Arial",sans= -serif;letter-spacing:1.0pt;mso-fareast-language:EN-GB'><o:p> </o:p></s= pan></p><p class=3DMsoNormal><b><span style=3D'font-size:7.5pt;font-family:"Aria= l",sans-serif;color:#54616E;letter-spacing:1.0pt;mso-fareast-language:EN-GB'= ><o:p> </o:p></span></b></p><p class=3DMsoNormal><b><span style=3D'font-siz= e:7.5pt;font-family:"Arial",sans-serif;color:#54616E;letter-spacing:1.0pt;ms= o-fareast-language:EN-GB'>Aalborg University <o:p></o:p></span></b></p><p cl= ass=3DMsoNormal><span style=3D'font-size:7.5pt;font-family:"Arial",sans-serif;co= lor:#54616E;letter-spacing:1.0pt;mso-fareast-language:EN-GB'>Rendsburggade 1= 4<o:p></o:p></span></p><p class=3DMsoNormal><span style=3D'font-size:7.5pt;font-= family:"Arial",sans-serif;color:#54616E;letter-spacing:1.0pt;mso-fareast-lan= guage:EN-GB'>9000 Aalborg, Denmark<o:p></o:p></span></p><p class=3DMsoNormal><= span lang=3DEN-US style=3D'font-size:7.5pt;font-family:"Arial",sans-serif;color:= #5F5F5F;letter-spacing:1.0pt;mso-fareast-language:EN-GB'><o:p> </o:p></= span></p><p class=3DMsoNormal><span lang=3DEN-US style=3D'font-size:7.5pt;font-fam= ily:"Arial",sans-serif;color:#5F5F5F;letter-spacing:1.0pt;mso-fareast-langua= ge:EN-GB'>Employee No.: 119171 | Vat No.: DK29102384<o:p></o:p></span></p><p= class=3DMsoNormal><span lang=3DEN-US 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