[MWS]: Call for Papers - Dublin Workshop on New Interfaces for Musical Expression (fwd)

[Bernd Enders]

---------- Forwarded Message ----------
Date: Freitag, 7. Dezember 2001 04:52 -0500
From: Joe Paradiso <joep at media.mit.edu>
To: nimecall at media.mit.edu
Subject: Call for Papers - Dublin Workshop on New Interfaces for Musical 
Expression

CALL FOR PARTICIPATION

Second International Workshop on NEW INTERFACES FOR MUSICAL EXPRESSION

May 24-26, 2002

Dublin, Ireland

http://www.nime.org


IMPORTANT DATES:

February 15, 2002  Submission deadline (Papers and performance proposals)
March 15, 2002     Notification of acceptance
April 1, 2002     Camera-ready papers due
May 24-26, 2002   Workshop and related events


THEMES

Acoustic musical instruments have settled into canonical forms, taking
centuries, if not millennia, to evolve their balance between sound
production, ergonomics, playability, potential for expression, and
aesthetic design.  As electronic music instruments liberate the action of
musical control from the sound production mechanisms, their form doesn't
need to be limited by the corresponding constraints and is free to move in
many other directions.  Electronic instruments have been around for only
the last century, during which rapid advances in technology have
continually opened new possibilities for sound synthesis and control,
keeping the field in rapid revolution. Today's sensor technologies enable
virtually any kind of physical gesture to be detected and tracked, while
new synthesis technologies provide multiple parameters that can direct and
continuously sculpt the detailed nuances of essentially any sound.
Inserting a computer into the loop between the musical controller and
synthesizer also enables any kind of gesture to be software mapped onto
essentially any musical response, from the most delicate and intimate
control of a virtuoso playing a fine instrument to the limited, high-level
direction of a child stomping through an interactive installation.  The
common availability of sophisticated sensing, processing, and synthesis
hardware and software has led to an explosion in the quantity and variety
of electronic music interfaces that are being developed.  But as this
field grows and builds traction, it also raises many questions.  What
forms will the musical controllers of tomorrow finally take, provided that
they settle at all?  Will they ever supplant the keyboard, string,
percussion, and wind form factors that still dominate the commercial
landscape?  What kind of musical mapping standards and algorithms will we
be developing and will common controllers ever become adaptive and
intelligent?  How deep a union will research in musical interfaces forge
with work in Human-Computer Interfaces?  Is this field becoming so broad
that it will fragment into subgenera with different goals and motivations,
or are there deep principles in common that can be applied throughout?
This workshop will explore the new directions that musical interfaces are
taking, addressing current research and evolving issues through presented
papers, discussions, and performances with technologists and artists
working at the cutting edge.

TOPICS

The workshop organizing committee invites original submissions on topics
related to new musical controllers including, but not restricted to:

- Design reports: novel controllers and interfaces for musical expression
- Surveys of past work and/or stimulating ideas for future research
- Performance Experience reports: Live performance and composition using
novel controllers
- Controllers for virtuosic performers
- Controllers for novices, education and entertainment
- Perceptual & cognitive issues in the design of musical controllers
- Musical mapping algorithms and intelligent controllers
- Novel controllers for collaborative performance
- Interface protocols, MIDI and alternative controllers
- Artistic, cultural, and social impact of new musical interfaces

We are also planning a public performance to be held in Dublin during the
evening of Saturday, May 25, and invite demonstration proposals from
Workshop presenters and performance proposals from artists using
alternative musical controllers in their work.

We are considering providing space to industrial vendors to show products
relating to new musical interfaces - a representative from interested
companies should email our industrial liaison organizer
(mlyons at mic.atr.co.jp).


WORKSHOP FORMAT

The workshop will be held onsite at the MediaLabEurope (MLE), located in
the heart of Dublin.  The workshop will consist of a highly interactive
two-day-long forum to encourage open dialogue between participants. During
the workshop, all participants will be allocated 15-20 minutes to make a
short presentation of their paper with following Q&A. Use of videos and
audio as well as live demos of controllers is highly encouraged. In
addition to paper presentations, we intend to reserve some time for group
discussion. We are planning to publish all accepted papers on the
conference website and in a hardcopy archival proceedings volume given to
attendees at the Workshop.

PRELIMINARY SCHEDULE

Friday, May 24: Registration at MLE site in afternoon - evening reception
and lecture

Saturday, May 25: Papers during the day at MLE site with evening
performance in Dublin

Sunday, May 26: Papers and discussion during the day at MLE site

PERFORMANCE PROPOSALS

We encourage artists and performers to submit proposals for performances
and live demonstrations that employ new musical controllers and/or mapping
systems that can be featured in the May 25 concert event.  Please contact
our artistic organizers for details: (nime-art at media.mit.edu).

PAPER SUBMISSION DETAILS:

Workshop participants are asked to submit a short paper.  Submissions will
be reviewed by the program committee and selected on the basis of quality.

Only electronic submissions in PDF format will be considered.  Papers
should be of publishable quality and be a maximum of 6 pages in length.

Additional materials (audio and video) are also encouraged and should be
published on the web with links included in the submission - we are also
exploring issuing a CD-ROM at the conference.

Authors planning to submit a paper are encouraged to send it to the
workshop organizers at:
 nime-mle at media.mit.edu as soon as possible.

Detailed instruction for submission and further information will be posted
at the following site:

http://www.nime.org


ORGANIZERS

Joe Paradiso, MIT Media Lab, Cambridge MA, USA (joep at media.mit.edu)
Sile O'Modhrain, MediaLabEurope, Dublin, Ireland (sile at media.mit.edu)
Marcelo Wanderley, McGill University, Montreal, Canada
(mwanderley at acm.org)
Atau Tanaka, Sony CSL Paris, France (atau at csl.sony.fr)
Mikael Fernstrom, University of Limerick, Ireland(Mikael.Fernstrom at ul.ie)
Michael Alcorn, SARC Queens University, Belfast (m.alcorn at qub.ac.uk)
Michael J. Lyons, ATR MIS Labs, Kyoto Japan (mlyons at atr.co.jp)


PROGRAM COMMITTEE

Curtis Bahn, Rensselaer Polytechnic Institute, Troy NY
Tina Blaine (Bean), CMU Entertainment Technology Center, Pittsburgh PA
Bert Bongers, Metronom (Electronic Arts Studio), Barcelona Spain
Richard Boulanger, Berklee School of Music, Boston MA
Bill Buxton, Alias Wavefront, Toronto Canada
Joel Chadabe, the Electronic Music Foundation (EMF)
Perry Cook, Computer Science, Princeton NJ
Sidney Fels, Electrical Engineering, UBC, Vancouver
Tomie Hahn, Tufts University, Medford MA
Andy Hunt, University of York, UK
Sergi Jorda, Pompeu Fabra University, Barcelona Spain
Teresa Marrin Nakra, Immersion Music, Boston MA
Axel Mulder, Infusion Systems, Canada
Kia Ng, ICSRiM, University of Leeds, UK
Miller Puckette, UCSD, San Diego, CA
Ivan Poupyrev, Sony/CSL Tokyo, Japan
Laetitia Sonami, Performer/instrument builder, Oakland, CA
Bill Verplank, CCRMA, Stanford and Interactive Institute, Ivrea, Italy
Todd Winkler, Brown University, Providence, RI


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Prof. Dr. Bernd Enders
Forschungsstelle Musik- u. Medientechnologie
Universität Osnabrück
www.musik.uni-osnabrueck.de/lehrende/enders
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