20th International Conference on Auditory Display
22 – 25 June 2014
New York, NY, USA
Paper submission deadline: February 1 2014.
The 2014 International Conference on Auditory Display (ICAD) will be held June 22-25, 2014, at New York University (NYU). ICAD, which began in 1992, will have its 20th conference featuring paper sessions, student think-tanks, workshops, concerts, and other special events.
The conference will take place at NYU’s Steinhardt School of Culture, Education and Human Development. NYU Steinhardt’s facilities are conveniently located in the heart of Manhattan’s Greenwich Village and next to the historic Washington Square Park.
TOPICS OF INTEREST
ICAD is the premier international venue for the dissemination and discussion of work related to the science, art, and practice of sound as a communicative display. Technical areas for the ICAD include but are not limited to:
- 3D and Spatial Audio
- Aesthetics, Philosophy, and Culture of Auditory Displays
- Auditory Display Theory and Methods
- Auditory Information Design
- Applications of Sound in Systems
- Evaluation and Usability of Auditory Displays
- Human Factors of Auditory Display
- Sound Interaction Auditory Cognition, Perception, and Psychoacoustics
- Sonification and Exploration of Data through Sound
- Sonification as Art
- Technologies and Tools for Auditory Display
- Use of Audio in Human-Computer Interfaces
We invite the following three forms of submissions:
- Full Papers should describe work that offers a substantial contribution to the field of auditory display. Paper submission will be 4-8 pages in length, including all figures and references. Authors of accepted papers will be invited to give an oral presentation of their work, and at least one author must present the work at the conference for the paper to appear in the published proceedings.
- Poster submissions should describe both finished work and work in late stages of progress. Work that is complete enough that meaningful conclusions can be drawn at the time of submission is encouraged. Submission for posters requires a proceedings paper of 4-8 pages in length. Authors of accepted submissions will be invited to participate in a poster session, and at least one author must present the work at the conference for the paper to appear in the published proceedings.
- Extended abstracts include, but are not limited to late-breaking results, works in early stages of progress, novel methodologies, unique or controversial theoretical positions, and discussions of unsuccessful research or null findings. Particular attention will be paid to the potential for extended abstracts to lead to engaging presentations of broad benefit to the auditory display community. Submissions for extended abstracts require a proceedings paper of up to 2 pages in length. At least one author must present the work at the conference for the abstract to appear in the published proceedings.
- Submission of papers for review: February 1 2014.
- Notification of acceptance: April 1, 2014
- Camera-ready papers: May 1, 2014
For more information on ICAD 2014 please visit http://www.icad2014.org/
Norberto Degara and Areti Andreopoulou
Agnieszka Roginska and Tae Hong Park
A symposium of the AISB-50 annual convention to be held at Goldsmiths, University of London, on April 2nd, 2014 (tbc)
The convention is organised by the Society for the Study of Artificial Intelligence and Simulation of Behaviour (AISB)
LAM is an inter-disciplinary nexus for musicians (computer and acoustic), computer and cognitive scientists, interaction specialists, philosophers, psychologists and all others who are intent on pursuing and contributing to the goal of an autonomous machine improvisor.
The live algorithm interacts with human performers by listening to contributions in its musical environment, preparing musical material that has at least an element of originality and appropriateness, and delivering this material back into the environment. The intention is to (a) provide a meaningful experience of interacting with a machine intelligence and (b) explore novel musical spaces. The aim is not to simulate the role of human musicians but to find new possibilities for musical expression. The quest is driven by algorithmic processes and models of cognition, creativity and interaction.
The symposium will take place in a single day during the AISB symposium and will consist of a session of presentations of papers, a demonstration session, and an evening concert.
Further details are available at the LAM 2014 website: https://sites.google.com/site/livealgorithms/
TOPICS OF INTEREST
Any research topic that contributes to the Live Algorithm agenda is welcome; for example
Music Information Retrieval
Theory and practice of improvisation
Models of human communication
SUBMISSION, PUBLICATION AND PERFORMANCE DETAILS
Submission must be sent via EasyChair:
Templates are available here: http://www.aisb.org.uk/convention/aisb08/download.html
We request that full papers are limited to eight pages. An extended abstract of up to four pages and a link to online examples are required for the demonstration session. Performance notes of up to four pages, links to online examples and a list of technical requirements are required for performance applications (you can also provide details of any relevant partnership with a particular musician).
Each application will receive at least two reviews. Selected papers, extended abstracts and performance notes will be published in the general proceedings of the AISB convention (with an ISBN) and with the proviso that at least ONE author attends the symposium in order to present the paper and participate in general symposium activities.
Applicants are welcome to participate in more than one session; please let us know if this is the case.
- Submission deadline: 3rd January 2014
- Notification of acceptance/rejection decisions: 3rd February 2014
- Final version of accepted papers/abstracts/performance notes (camera ready copy): 24th February 2014
- Convention: 1-4 April 2014 (confirmation of LAM 2014 symposium tbc)
Please note that there will be separate proceedings for each symposium, produced before the convention. Each delegate will receive a memory stick containing the proceedings of all the symposia. In previous years there have been awards for the best student paper, and limited student bursaries. These details will be circulated as and when they become available. Authors of a selection of the best papers will be invited to submit an extended version of the work to a journal special issue.
Department of Computing
Goldsmiths, University of London
London SE14 6NW
Department of Music
Goldsmiths, University of London
London SE14 6NW
LAM 2014 WEBSITE
Gerard Assayag, IRCAM France
Oliver Bown, University of Sydney, Australia
Nick Collins, Durham University
Roger Dean, MARCS Institute, University of Western Sydney
Bill Hsu, San Fransisco State University, USA
Alex McLean, University of Leeds
Eduardo Miranda, Plymouth University
Francois Pachet, SONY, France
Philipe Pasquier, Simon Fraser University, Canada
Andrew Robertson, Queen Mary, University of London
Diemo Shwarz, IRCAM France
Dan Stowell, Queen Mary, University of London
Atau Tanaka, Goldsmiths, University London
The Jamoma 0.6 alpha version development continues, and alpha 25 has just been released. More info here.
Bergen Academy of Art and Design are pleased to launch the new publication “Hybrids” by Eamon O’Kane, Professor of Visual Art and Artistic Research Leader at Department of Fine Art. For the occasion of launching the publication Eamon O’Kane will be in dialogue with Dr. Barbara Bader. The discussion takes place Wednesday October 30th at 4pm at Litteraturhuset in Bergen.
The publication “Hybrids” presents two bodies of work that has ran parallel in O’Kanes artistic work. The first body of work uses his parents’ house, the house he grew up in, as its main subject. The second body of work examines among other things the legacy of Friedrich Fröbel on modern society.
The publication comprises three texts and a rich photographic documentation of his work. In the first text Eamon O’Kane contextualises several strands within his art practice to reflect on his most current artwork and how it relates to contemporary society. In an interview researcher and writer Gideo Fink Shapiro questions Eamon O’Kane about how architecture and design are adressed in relation to sources of inspiration in O’Kane’s artwork. Dr. Angelica Nollert examines how the artworks relate to Eamon O’Kane’s earlier practice and situates them in relation to contemporary art with references to relational artwork and the history of interactive installations in art.
About the Participants
Eamon O’Kane is Professor in Visual Art at Department of Fine Art at Bergen Academy of Art and Design (2011-). O’Kane exhibits widely and is the recipient of many awards and scholarships including the Taylor Art Award, The Tony O’Malley Award and a Fulbright Award. He has shown in exhibitions curated by Dan Cameron, Lynne Cooke, Klaus Ottman, Salah M. Hassan, Jeremy Millar, Mike Fitzpatrick, Sarah Pierce, Jeanne Greenberg-Rohatyn, Angelika Nollert, Yilmaz Dziewior and Apinan Poshyananda. O’Kane has taken part in EV+A, Limerick, Ireland seven times including 2005 when he received an EV+A open award from Dan Cameron. In 2006 he was short-listed for the AIB Prize and received a Pollock Krasner foundation grant.
Barbara Bader, Dr., Professor of Art Education and Educational Sciences at Akademie der Bildenden Künste, Stuttgart. Previously Head of Department Art Education and Design at the Berne University of the Arts (2006-2013). Barbara Bader is project leader of several research projects on social, cognitive and visual learning in the subject area of Visual Arts as well as their documentation and verification. Bader lives and works in Bern, Switzerland.
This must be the place: I love the passing of time (part II)
Eamon O ́Kane / Line Bøhmer Løkken
Sandnes kunstforening 24/10 – 24/11 2013
Åpning torsdag 24/10 kl. 19.00
Sandnes kunstforening er samlokalisert med KINOKINO senter for kunst og film
And time begins again av den irske kunstneren Eamon O’Kane tar utgangspunkt i et forlatt gartneri i Danmark og består av en serie videoarbeider av interiøret i drivhusene. Tittelen er hentet fra Samuel Becketts ‘Text for nothing’ (1958). Denne teksten, lest av Jack MacGowan, ledsager opptak av ulike deler av gartnerikomplekset, og belyser friksjonen mellom natur og det menneskeskapte, og da særlig arkitektur.
Tøyen Sentrum er en serie fotografier av Line Bøhmer Løkken. Da Tøyen Sentrum ble oppført på begynnelsen av 1970-tallet var ambisjonene store. Stedet skulle ta vare på kvaliteter i den klassiske byformen ved å ha et avgrenset felles offentlig rom som selve kjernen. Tøyen var et sted der framskrittstanken stod sterkt og materialiserte seg i den fysiske strukturen. Tøyen Sentrum anno 2013 er på mange måter et vrengebilde av den fagre visjonen som ble proklamert da det ble åpnet. Vi finner få spor av de visjonene som dannet utgangspunktet for planleggingen av stedet, men hva har erstattet det? Hva slags byrom representerer dette stedet i dag?
Åpningen i Sandnes kunstforening inngår også i programmet til Screen City, en festival med videokunst og film på bygningsfasader, i butikkvinduer og andre offentlige rom. Screen City utfordrer hva offenltige rom kan være, og bruker dem som lerret for historier om urbane visjoner. Screen City er kuratert av Daniela Arriado og Mirjam Struppek. www.screencity.no
Dette er den andre av to ustillinger som viser arbeider utviklet innenfor rammen av “Re:place”, et kunstnerisk utviklingsprosjekt i samarbeid mellom Kunst- og designhøgskolen i Bergen (KHIB), Kunsthøgskolen i Oslo og Griegakademiet, Institutt for musikk, Universitetet i Bergen, i samarbeid med Atelier Nord, BEK, Fotogalleriet, KINOKINO, Sandnes kunstforening og Screen City. Det sentrale temaet i prosjektet er hvordan “sted” oppstår, rekonfigureres, dekonstrueres, utvides, diskuteres, beskrives og oppleves. Prosjektet undersøker forhold mellom sted, tid og minne slik de manifesteres som kunst i bilder, lyd og tekst – eller kombinasjoner av disse. “Sted” som tema undersøkes gjennom kunstpraksiser som arbeider med faktiske steder, men også i forhold til hvordan kunstnerisk virke kan skape steder. Kunstnerne i prosjektet representerer begge disse posisjonene, og posisjonene kombineres også i undersøkelser av komplekse sammenhenger mellom bilde, representasjon og minner som levd erfaring på et bestemt sted.
Utstillingen er støttet av Program for kunstnerisk utviklingsarbeid, Norsk kulturråd og Kunst- og designhøgskolen i Bergen.