[spectre] SONIC SYNESTHESIA - XIX CIM - call for scores/works - call for papers

[Giorgio Klauer]

SONIC SYNESTHESIA - XIX CIM - Music Informatics Symposium (Trieste,  
Italy)

call for scores/works - call for papers
deadline: July 23, 2012
http://www.aimi-musica.org/?page_id=104

The subjects of the 2012 edition are multimodality and interactivity.  
By means of the digital technologies, the different forms of art tend  
to establish strong aesthetical connexions and cohabitation grounds.  
In particular sound is more and more present and felt as necessary in  
any kind of artistic expression. In a recent call for papers by the  
Leonardo Music Journal, one can read: “Art is getting noisier every  
day. Whether made by sculptors, video artists, composers, printmakers  
or installation artists, there’s no question but that “Sound Art” is  
a genre ascendant.” The sound is, thus, integrated in a multimodal  
sense within the artistic discourse and, often, the technological  
means is the most effective tool in order to achieve such goal. In a  
similar fashion, nowadays technology steers the emergence of artistic  
works, where the interaction between the machine and a performer, or  
the public, becomes increasingly and dynamically related to the body  
and to what happens in the surrounding environments, where the work  
is situated. The idea of embodiment and of recovering a physical  
relation with the machine fosters new forms of expression and  
relationship with the technology, not only in an artistic context but  
also in our everyday life.

AIMI - Italian Association of Music Informatics

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CALL FOR SCORES/WORKS

The present CIM edition includes three calls for:
1. instrumental scores with electronics
2. interactive performances
3. video-musical and electroacoustic compositions

1. The available instruments for the first call are accordion and  
percussion (one performer; available instruments: 1 vibraphone, 5  
temple blocks, 1 tam tam medium size, 1 suspended cymbal medium  
size). Only works for a single performer and electronics are  
eligible, i.e.: accordion and electronics or percussions and  
electronics. Other instruments are welcome, even in larger ensembles,  
if entirely provided by the authors.

2. The second call involves works for one or more performers, which  
employ any kind of New Interface for Musical Expression (NIME).

3. Formats for the submission of video-musical compositions:  PAL  
4:3  or  16:9, codec MPEG2 or MPEG4 _ audio ST 48kHz.
For the concert, one of the following formats: PAL 4:3 or 16:9, codec  
DV, MPEG2 or MPEG4 _ audio ST 48kHZ no compression; HD 720 25p or  
50i, codec MPEG2 or MPEG4 _ audio ST 48kHZ no compression - HD 1050  
25p or 50i, codec MPEG2 or MPEG4 _ audio ST 48kHZ no compression.
Formats for the submission of electroacoustic compositions: stereo,  
44.1 or 48 kHz,  16 or 32 bit.
For the concert: 2 to 8 channels, 44.1 or 48 kHz,  16 or 32 bit.

Participants must send a description of the work in the format  
previewed by CIM. Languages can be Italian or English. In addition:  
the score in pdf format (call 1), an audio-video documentation of the  
performance (call 2), the complete work as an audio or audio-video  
file (call  3).

CALL FOR PAPERS

Participants are invited to present and discuss the results of their  
artistic and/or scientific research as an oral communication or a  
poster.
Furthermore, students and Ph.D. students in Music and Technologies  
programs are encouraged to present their research projects as work in  
progress, even if not yet concluded: in this case we do not expect  
the presentation and discussion of results. This kind of works will  
be presented as poster and/or demo. Admitted languages are Italian  
and English.

HOW TO SUBMIT

The submission process will employ the conference management system  
EasyChair (http://www.easychair.org). The web site for the XIX CIM  
call is http://www.easychair.org/conferences/?conf=cim20121
Papers, musical work descriptions and musical scores will have to be  
uploaded in pdf format. Audio-video or audio documentation will have  
to be available on some website provided by the authors. Whenever  
necessary and appropriate, the scientific committee will have the  
right to ask to convert oral presentations in poster presentations  
during the review process.

TOPICS

Particular attention will be given to works concerning the subjects  
of the symposium. However, any other work related to music, science  
and technology and in particular to the following topics is welcome:
perception and cognition of sound and music
computer environments for sound/music processing
live coding
distributed musical performance
interaction and improvisation
new interfaces for musical expression
mobile music computing
physical computing
applied electroacoustic
3D sound/music
digital audio effects
sound/music signal processing algorithms
automatic separation, recognition, classification of sound and music
music information retrieval
artificial intelligence and music
music performance analysis and rendering
automatic music generation/accompaniment systems
computational systems for musical education
history and aesthetics of electroacoustic music
humanities and sound and music computing

IMPORTANT DATES

Submission deadline: July 23, 2012
Communication of the results to the authors: September 23, 2012
Final version of the paper for publication on the Proceedings:  
October 22, 2012
XIX CIM – Music Informatics Symposium: November 21-24, 2012

PROCEEDINGS

For both the submission and the final version of the papers to be  
published in the online proceedings, the authors are required to  
employ the attached templates (latex or MS Word).
- The page number is fixed to 6-8 for oral presentations and 1-2 for  
posters.
- Only the pdf file must be submitted by means of the EasyChair system.
- Admitted languages are Italian and English.
CIM 2012 Template http://www.aimi-musica.org/wp-content/uploads/ 
2012/05/CIM_2012_templates.zip

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PAPER AND MUSIC PROGRAM COMMITTEE:

Federico Avanzini, University of Padova
Stefano Bassanese, Conservatory of Torino
Nicola Buso, Conservatory of Trieste
Antonio Camurri, University of Genova
Sergio Canazza, University of Padova
Giovanni Cospito, Conservatory of Milano
Riccardo Dapelo, Conservatory of Genova
Amalia De Gotzen, SaMPL, Conservatory of Padova
Stefano Delle Monache, University IUAV of Venezia
Agostino Di Scipio, Conservatory of Napoli
Roberto Doati, Conservatory of Genova
Carlo Drioli, University of Udine
Federico Fontana, University of Udine
Giorgio Klauer, Conservatory of Como
Michelangelo Lupone, Conservatory of L’Aquila
Paolo Pachini, Conservatory of Trieste
Stefano Papetti, ICST, Zurich University of the Arts (CH)
Fábian Pérez Tedesco, Conservatory of Trieste
Pietro Polotti, Conservatory of Trieste
Veniero Rizzardi, Conservatory of Castelfranco Veneto
Davide Rocchesso, University IUAV of Venezia
Corrado Rojac, Conservatory of Trieste
Sylviane Sapir, Conservatory of Como
Stefania Serafin, Aalborg University, Copenhagen (DK)
Domenico Scjaino, Conservatory of Trapani
Andrea Valle, University of Torino
Alvise Vidolin, Conservatory of Padova
Gualtiero Volpe, University of Genova
Laura Zattra, Conservatory of Padova

General chair:
Pietro Polotti

Scientific program chairs:
Carlo Drioli, Federico Fontana

Musical program chairs:
Nicola Buso, Giorgio Klauer, Paolo Pachini