The theater production Urmakarens hjarte (The Heart of the Watchmaker) has been nominated to the Hedda Award in the category for productions for children and youngsters.
Tekst: Miriam Prestøy Lie.
Regi: Torkil Sandsund.
Scenografi/kostymedesign/video setdesign/papirklipp: Dordi Strøm.
Lysdesign: Torkel Skjærven.
Video: Amanda Steggell.
Lyddesign: Trond Lossius, Mattias Arvastsson.
Maske: Julie Carl, Dordi Strøm
På scenen: Per Vidar Anfinsen, Laufey Elíasdóttir, Morten Espeland, Unni Løvlid og Irene Waage
Produsert av Sandsund/Lie Teaterproduksjoner i samarbeid med Sogn og Fjordane Teater, Rogaland Teater og Førdefestivalen.
Trond Lossius from BEK has contributed to the project thorugh the development of a custom 16-channel live audio spatialisation system, utilizing Jamoma.
1st International Workshop on Musical Metacreation
Held at the Eighth AAAI Conference on Artificial Intelligence and
Interactive Digital Entertainment (AIIDE’12)
Stanford University, Palo Alto, California, USA
October 9, 2012
Deadline for Paper and Demo Submissions:
July 6, 2012
We are delighted to announce the 1st International Workshop on Musical Metacreation (MUME2012) to be held October 9, 2012, in conjunction with the Eighth AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment (AIIDE’12).
Thanks to continued progress in artistic and scientific research, a new possibility is emerging in our musical relationship with technology: Generative Music or Musical Metacreation, the design and use of computer music systems which are “creative on their own”. Metacreation involves using tools and techniques from artificial intelligence, artificial life, and machine learning, themselves often inspired by cognitive and life sciences. Musical Metacreation suggests exciting new opportunities to enter creative music making: discovery and exploration of novel musical styles and content, collaboration between human performers and creative software “partners”, and design of systems in gaming and entertainment that dynamically generate or modify music.
The workshop will bring together artists, practitioners and researchers interested in developing software and systems that autonomously (or interactively) recognize, learn, represent, complete, accompany, compose or interpret music. In particular, emphasis will be put on systems with real-time aspects, since these are relevant to both art and entertainment communities.
We encourage paper and demo submissions on topics including the following:
- Novel representations of musical information
- Systems for autonomous or interactive music composition
- Systems for automatic generation of expressive musical interpretation
- Systems for learning or modelling music style and structure
- Systems for intelligently remixing or recombining musical material
- Advances or applications of AI, machine learning, and statistical techniques for musical purposes
- Advances or applications of evolutionary computing or agent and multiagent-based systems for musical purposes
- Computational models of human musical creativity
- Techniques and systems for supporting human musical creativity
- Online musical systems (i.e. systems with a real-time element)
- Adaptive music in video games
- Methodologies for, and studies reporting on, evaluation of musical metacreations
- Emerging musical styles and approaches to music production and performance involving the use of AI systems
Format and Submissions
The workshop will be a one day event including:
- Presentations of TECHNICAL PAPERS
- Presentations of POSITION PAPERS relevant to Musical Metacreation and its future
- Presentations of DEMONSTRATIONS
- One or more PANEL SESSIONS (potential topics include international collaborations, evaluation methodologies, industry engagement, generative music in art vs. games)
For complete details on attendance, submissions and formatting, please
visit the workshop website:
Submission deadline: July 6, 2012
Notification date: August 3, 2012
Accepted Author CRC due to AAAI Press: August 17, 2012
Workshop date: October 9, 2012
Dr. Philippe Pasquier (Workshop Chair)
School of Interactive Arts + Technology (SIAT)
Simon Fraser University
Dr. Arne Eigenfeldt
The School for the Contemporary Arts
Simon Fraser University
Dr. Oliver Bown
Design Lab, Faculty of Architecture, Design and Planning
The University of Sydney
Performance, Art, Music
Date: 7th-8th September, 2012
Venue: ICSRiM, School of Music, University of Leeds, UK
CALL FOR PAPERS AND PERFORMANCES
Live Interfaces is a conference on live, technology-mediated interaction in performance. The conference seeks to investigate cross-disciplinary understandings of performance technology with a particular focus on issues related to the notion of ‘liveness’ in interaction.
Live Interfaces will consist of paper and poster presentations, performances and workshops over two days. Researchers, theorists and artists from diverse fields are encouraged to participate, including: digital performance, live art, computer music, choreography, music psychology, interaction design, human computer interaction, digital aesthetics, computer vision, smart materials and augmented stage technology.
We invite submissions addressing the conference theme of technology-mediated live interaction in performance, and suggest the following indicative topics:
- Audience perception/interaction
- Biophysical sensors
- Brain-computer interfaces
- Computer vision/real-time video in performance
- Cross-modal perception/illusion
- Digital dramaturgy/choreography/composition
- Digital performance phenomenology
- Gesture recognition and control
- Historical perspectives
- Live coding in music, video animation and/or dance
- Participatory performance
- Performance technology aesthetics
- Redefining audience interaction
- Tangible interaction
Paper submissions should be in extended abstract form, with a suggested length of 500 words. Please format all submissions using either the Word or LaTeX template available from the website.
Performance proposals should include a description of the performance and the live interaction technology used, as well as a list of technical requirements. Attaching recordings of past performances is strongly encouraged.
We hope to announce a journal special issue on performance technology following the conference as a publication opportunity for extended papers.
Extended abstracts must be submitted electronically via the website by midnight (GMT+1) on the 17th June 2012. All submissions will be subject to cross-disciplinary peer review, and notified of acceptance by 1st July.
Please address all queries to firstname.lastname@example.org
- 6th May – Call for extended abstracts
- 17th May – Submissions system open
- 17th June – Submission deadline
- 1st July – Notification of selected papers/performances
- 29th July – Camera-ready deadline for accepted papers
- 7-8th September – Conference
Registration will open nearer the date, with a fee in the region of £25, including lunch for both days.
Please keep an eye on one of the following for updates, including information on conference workshops and co-located events.
Alex McLean, University of Sheffield, University of Leeds (from August)
Kate Sicchio, University of Lincoln
Maria Chatzichristodoulou, University of Hull
Scott Hewitt, University of Huddersfield
Ben Dornan, University of Sheffield
Stephen Pearse, University of Sheffield
Phoebe Bakanas, ICSRiM, University of Leeds
Ash Sagar, York St Johns University
Kia Ng, Director of ICSRiM, University of Leeds
Supported by Vitae Yorkshire, the University of Leeds and the Arts and
Humanities Research Council
CALL FOR PARTICIPATION
Queen Mary University of London
18 June 2012
Registration Deadline: 31 May 2012
Software and data have increasingly become an integral part of our research in the audio and music community. In the process, the way that we do research in this field is changing, with methods and software becoming increasingly complex, and reliable datasets becoming increasingly important.
The first SoundSoftware.ac.uk one-day workshop on “Software and Data for Audio and Music Research” will include talks and discussions on issues such as robust software development for audio and music research, reproducible research, management of research data, and open access. While our project is concentrating on the audio and music research community, we believe many of these issues will have wider interest, and we want to link with other communities for which proper handling of research software and data are important.
Steve Crouch (Software Sustainability Institute)
David Gavaghan (University of Oxford)
Cameron Neylon (Public Library of Science)
Roy Patterson (University of Cambridge)
Mark D. Plumbley (Queen Mary University of London/SoundSoftware)
David De Roure (University of Oxford)
Bob L. Sturm (Aalborg University Copenhagen)
Thomas Walters (Google)
Jez Wells (University of York)
The registration for this workshop is free, but delegates must register to
secure a place.
To register, and for further information about the workshop, please visit:
NB: This workshop precedes the 9th International Symposium on Computer Music Modeling and Retrieval conference (CMMR 2012, 19-24 June 2012, www.cmmr2012.eecs.qmul.ac.uk).
Sound artist Maia Urstad at Kunsthaus MEINBLAU
in Berlin with the installation, “Meanwhile in Shanghai…(Berlin)” – Klanginstallation. Opening tonight the 25th of April, and the exhibition lasts untill the 27th of May.