Subject: [AUDITORY] CFP - Journ=?UTF-8?Q?=C3=A9es_?=d'Informatique Musicale 2024", 06-08 May 2024, Marseille (France) From: Micael Antunes <micaelant@xxxxxxxx> Date: Mon, 22 Jan 2024 10:27:04 -0300--000000000000cd3575060f88c957 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Dear colleagues, Apologies for the cross-posting. This is a gentle reminder of the call for papers for the "Journ=C3=A9es d'Informatique Musicale 2024" on 06-08 May 2024 in 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, 2024 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 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 [1] LaTeX template [2] 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 account. If you already own a sciencesconf.org account, please use this one. Young Researcher's Prize Proposals from young researchers (doctoral students, young doctors and independent researchers) are particularly welcome. An AFIM "Young Researcher" 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 EUR500 to encourage 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 Gioffredo,Vincent Tiffon, Micael Antunes Links: ------ [1] https://jim2023.sciencesconf.org/data/pages/TEMPLATE_JIM_2023_Word_1.docx [2] https://jim2024.sciencesconf.org/data/pages/TEMPLATE_JIM_2024.zip --=20 Micael Antunes da Silva micaelant@xxxxxxxx <micael.antunes@xxxxxxxx> NICS/IA- University of Campinas --000000000000cd3575060f88c957 Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable <div dir=3D"ltr">Dear colleagues,<br><br>Apologies for the cross-posting. <= br><br>This is a gentle reminder of the call for papers for the "Journ= =C3=A9es d'Informatique Musicale 2024" on 06-08 May 2024 in Marsei= lle, France.<br><br>Each year, the "Journ=C3=A9es d'Informatique M= usicale" bring together<br>researchers, developers and different actor= s of the musical life who use<br>computing as a tool for dissemination, cre= ation, interpretation or<br>pedagogy. The JIMs are managed by the Associati= on Francophone<br>d'Informatique Musicale (AFIM) and are supported by D= GCA and the French<br>Ministry of Culture and Communication. The JIM 2024 a= re co-organized by<br>PRISM (CNRS/AMU/Ministry of Culture), AFIM, Inciam an= d GMEM, and will<br>take place from May 6 to 8, 2024, at la friche (gmem, 6= and 8th May) and<br>at the CNRS Aiguier campus (PRISM, Tuesday 7th May). T= he keynote<br>speakers will be the following: Elaine Chew, David De Roure, = David<br>Meredith, and Marco Stroppa.<br><br>Calendar<br>Article submission= deadline: Monday February 12, 2024<br>Notification of acceptance: Monday M= arch 18, 2024<br>Deadline for submission of final versions: Monday April 15= , 2024<br><br>Topics<br>In addition to the traditional themes,<br>(<a href= =3D"https://jim2024.sciencesconf.org/resource/page/id/2">https://jim2024.sc= iencesconf.org/resource/page/id/2</a>), this edition,<br>from 6 to 8 May 20= 24, will focus on the following themes:<br><br>_Risset & Beyond_<br>Wha= t is Jean-Claude Risset's legacy in the fields of sound synthesis,<br>l= ive electronics and the use of the disklavier for musical creation in<br>th= e age of AI, streaming listening practices and non-standardised<br>electron= ic lutheries? "Is 'creating sound itself' still relevant in th= e<br>first quarter of the 21st century? How modern is Jean-Claude Risset in= <br>an environment of constant technological innovation?<br><br>_Computatio= nal Musicology_<br>Computational musicology fuses music theory, computer sc= ience and data<br>analysis to interpret musical structures using algorithms= and<br>statistics. Dating back to experiments that began over 70 years ago= , it<br>has subsequently led researchers to closely examine the suitability= of<br>musical theories for computer use. This rapidly evolving field, at t= he<br>crossroads of tradition and innovation, raises the question of the<br= >the extent to which technology can continue to improve our understanding<b= r>of music without compromising the very essence of musicological work.<br>= <br>_Intersection Between Computer Science and Empirical Musicology_<br>Emp= irical musicology draws on methodologies from a variety of<br>disciplines, = including psychology, statistics, acoustics and computer<br>science. The ap= plication of empirical methods enables a more<br>quantifiable and reproduci= ble understanding of music, bridging the gap<br>between the subjective natu= re of musical experience and the objective<br>analysis of musical phenomena= . What references, new methods and<br>protocols resulting from these cross-= fertilisations are ready to be<br>integrated to enrich our analysis of musi= cal works?<br><br>_Immersion, Multimodality, Virtual Reality_<br>Virtual re= ality typically revolves around images. However, its use in<br>the field of= sound opens up promising prospects, both in industry and in<br>artistic cr= eation, as illustrated by the advances in binaural<br>techniques, which now= play an essential part in the user's sense of<br>immersion. Interactio= n design in VR today typically entangles sound,<br>visual and haptic feedba= ck, and thus opens up a more forward-looking<br>dimension to multimodal cre= ation and the new challenges linked to<br>multisensory interactions.<br><br= >Submission Details<br>Articles may be written either in English or in Fren= ch, between 4 and 10<br>pages. For the articles in English, a French abstra= ct is mandatory.<br>Communications will take place either as oral presentat= ions (30 minutes,<br>including questions), or performances-presentations (f= ormat to be<br>defined), or demos (format to be defined). The different roo= ms of the<br>conference will be equipped in multichannel. The type of prese= ntation<br>(either oral presentation, or performance-presentation, or demo)= should<br>be mentioned by the authors when submitting. The organizing comm= ittee<br>will approve the final choice when setting the program of the JIM.= <br><br>Articles should be submitted using PDF format. The page layout shou= ld be<br>achieved using either the Word or the LaTeX templates:<br><br>Word= template [1]<br><br>LaTeX template [2]<br>Proposals should be submitted on= line on the website of the conference<br>only: <a href=3D"https://jim2024.s= ciencesconf.org/submission/submit">https://jim2024.sciencesconf.org/submiss= ion/submit</a><br><br>Submission requires the creation of a <a href=3D"http= ://sciencesconf.org">sciencesconf.org</a> account. If you<br>already own a = <a href=3D"http://sciencesconf.org">sciencesconf.org</a> account, please us= e this one.<br><br>Young Researcher's Prize<br>Proposals from young res= earchers (doctoral students, young doctors and<br>independent researchers) = are particularly welcome. An AFIM "Young<br>Researcher" Prize wil= l be awarded to the best article presented by a<br>young researcher as part= of the JIM 2024 , based on a vote by<br>participants. The winner will rece= ive financial assistance in the amount<br>of EUR500 to encourage them in th= eir research. For more information,<br>see: <a href=3D"https://jim2024.scie= ncesconf.org/resource/page/id/9">https://jim2024.sciencesconf.org/resource/= page/id/9</a><br><br>Please email all inquiries at <a href=3D"mailto:jim202= 4@xxxxxxxx">jim2024@xxxxxxxx</a><br><br>JIM 2024 Organizing Commi= ttee<br>Jonathan Bell, Charles de Paiva-Santana, Javier Elipe, Myl=C3=A8ne<= br>Gioffredo,Vincent Tiffon, Micael Antunes<br><br>Links:<br>------<br>[1]<= br><a href=3D"https://jim2023.sciencesconf.org/data/pages/TEMPLATE_JIM_2023= _Word_1.docx">https://jim2023.sciencesconf.org/data/pages/TEMPLATE_JIM_2023= _Word_1.docx</a><br>[2] <a href=3D"https://jim2024.sciencesconf.org/data/pa= ges/TEMPLATE_JIM_2024.zip">https://jim2024.sciencesconf.org/data/pages/TEMP= LATE_JIM_2024.zip</a><br clear=3D"all"><div><br></div><span class=3D"gmail_= signature_prefix">-- </span><br><div dir=3D"ltr" class=3D"gmail_signature" = data-smartmail=3D"gmail_signature"><div dir=3D"ltr"><div><div dir=3D"ltr"><= p dir=3D"ltr" style=3D"font-size:small;line-height:1.38;margin-top:0pt;marg= in-bottom:0pt;text-align:justify"><span style=3D"font-family:Arial;color:rg= b(0,0,0);background-color:transparent;vertical-align:baseline">Micael Antun= es da Silva</span></p><p dir=3D"ltr" style=3D"font-size:small;line-height:1= .38;margin-top:0pt;margin-bottom:0pt;text-align:justify"><span style=3D"fon= t-family:Arial;color:rgb(0,0,0);background-color:transparent;vertical-align= :baseline"><a href=3D"mailto:micael.antunes@xxxxxxxx" style=3D"color:rgb(17,8= 5,204)" target=3D"_blank">micaelant@xxxxxxxx</a></span></p><p style=3D"fon= t-size:small;line-height:1.38;margin-top:0pt;margin-bottom:0pt;text-align:j= ustify">NICS/IA-=C2=A0<span style=3D"background-color:transparent;color:rgb= (0,0,0);font-family:Arial">University of Campinas</span></p><p dir=3D"ltr" = style=3D"font-size:small;line-height:1.38;margin-top:0pt;margin-bottom:0pt;= text-align:justify"><br></p></div></div></div></div></div> --000000000000cd3575060f88c957--