Call for participation (ENG)

 

XXI Colloquium on Music Informatics
Cagliari, 28 September – 1 October 2016

 

AIMI – Italian Association of Music Informatics
www.aimi-musica.org

Associazione Spaziomusica – Festival Spaziomusica 2016
www.spaziomusicaproject.com

Promoted by

  • Regione Autonoma della Sardegna – Assessorato della P.I., Beni Culturali, Informazione, Spettacolo e Sport
  • Regione Autonoma della Sardegna – Assessorato del Turismo, Artigianato e Commercio
  • Comune di Cagliari – Assessorato alla Cultura e Spettacolo

with the support of the “Fondazione Banco di Sardegna”.

In collaboration with:

  • Conservatory “Pierluigi da Palestrina” of Cagliari, Italy
  • Conservatory “Luigi Canepa” of Sassari, Italy
  • University of Cagliari, Italy
  • CRS4 – Center for Advanced Studies, Research and Development in Sardinia
  • Amici della Musica – Cagliari
  • Associazione TiConZero Cagliari
  • Labimus – Laboratorio Interdisciplinare sulla Musica

Extending interactivity

The contemporary human body is constantly measured and monitored through sensing technologies, and its clinic history sampled and recorded. By inheriting the body-focused technologies developed in XXI century Biomusic, biomusic seeks to transform the human data flow into acoustic information.
The intrinsic risk of enhancing the human body through artefacts, that inherently serve as social support and control, is to strain it up to its dematerialization: the material categorization of the body capacities into economic functions.
The theme of the XXI CIM address the following questions: how is this complementary enhancement affecting the human body-computer interaction? Are there strategies to extend the expressive qualities of the human body, and go beyond the measurement of the physiological processes?

This 2016 edition welcomes scientific and artistic contributions that will reflect on the processes, practices and most significant aspects emerging at the intersection between music and computation  in the era of the new bodily technologies.


As usual the CIM program includes scientific/artistic communications, teaching activities, and artistic productions. All communications will be selected through a Call for papers, artistic works will be selected through a Call for scores/works.

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.

Call for scores/works

The present CIM edition includes six categories:

  1. instrumental scores and electronics
  2. solo sax (alto and soprano) scores and electronics
  3. video-musical and electroacoustic compositions
  4. interactive performances and multimedia installations
  5. launeddas ed electronics
  6. canto a tenores and electronics (https://www.youtube.com/watch?v=mMddrMMqm00)

Submissions must be accompanied by a manuscript and scanned (or printed) score in pdf format (calls 1, 2, 5, 6), a complete work in an audio or audio-video file (call 3),  an audio-video documentation of the performance or installations (call 4). Additional information for single calls:

1. The available instruments for the first call are

  • violin
  • flute (in C and/or in G)
  • clarinet (B flat)
  • piano

Any combination of the above ensemble is allowed, ranging from solo instrument + electronics up to the entire ensemble.

2. The second call includes works for solo sax (alto and soprano) and electronics.

3. Formats:

  • Submission of video-musical compositions: videos in any resolution in either .m4v or .mp4 formats.
  • Concert of video-musical compositions: Video HD 1080p in .mov format
  • Submission of electroacoustic compositions: stereo, 44.1 kHz, 16 o 24 bit.
  • Concert of electroacoustic compositions: from 1 to 8 interleaved channels, 44.1 kHz, 16 or 24 bit.

4. A detailed presentation of the project is requested, and audiovisual documentation is highly appreciated.

5 and 6. Selected composers will have the possibility to follow a day workshop together with the performers in order to focus any possible details before the concerts. In order to obtain the reference technical documentation of these sections, please contact spaziomusica [AT] gmail.com


Submission procedure and important dates

Please take note of the following important dates:

  • Submissions: May 31, 2016. June 10, 2016.
  • Review notifications to authors: July 31, 2016.
  • Final version of contributions: September 1 2016

The submission process will employ the conference management system EasyChair (http://www.easychair.org/). The web site for the XXI CIM is:
https://easychair.org/conferences/?conf=xxicim2016

For both the submission and the final version of the contributions, authors are required to employ these templates (LaTeX or MS Word): CIM_2016_templates. Languages can be Italian or English. Additional informations:

  • Scientific and artistic communications: a paper in the CIM prescribed format, 6 to 8 pages longfor an oral presentation, or 1-2 pages long for a poster.
  • Artistic productions: in addition to the formats specified in the call for scores/works, please include a description in the CIM prescribed format. Additional udio-video or audio documentation can be made 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.

“Aldo Piccialli” prize

The best contribution, independently from the presentation format, and by decision of the Program Committee, will be awarded the prize in memory of Aldo Piccialli, a symbolic acknowledgement to the originality and innovation brought to the italian research in musical informatics.


Topics

Particular attention will be given to works concerning the themes of the symposium. However, any other work related to music, science and technology and in particular to the following topics is welcome:

  • Aesthetics of Computer and Interactive Music
  • Algorithmic Composition
  • Auditory display and data sonification
  • Computational Ethnomusicology
  • Computer environments for sound/music processing
  • Computer Systems in Music Education
  • Gestures, motion and music
  • History of Electro-acoustic Music
  • Humanities in sound and music computing
  • Languages for Computer Music
  • Music Information Retrieval
  • Networked Music Performance
  • New Interfaces for Musical Expression
  • Perception and cognition of sound and music
  • Physical modelling of Musical Instruments
  • Sonic interaction design
  • Human-Computer musical interaction
  • Sound and music for VR and games
  • Sound/music and the neurosciences
  • Sound/music signal processing algorithms
  • Spatial sound & Spatialization Techniques
  • Technologies for the preservation, access and modelling of musical heritage

Committees

General chair:

  • Roberto Zanata

Scientific chairs:

  • Federico Avanzini
  • Stefano Delle Monache
  • Federico Fontana

Music chairs:

  • Fabrizio Casti
  • Stefano Bassanese
  • Roberto Zanata

Program committee:

  • Gianpaolo Antongirolami, Conservatorio di Perugia
  • Federico Avanzini, Università di Padova / direttivo AIMI
  • Stefano Bassanese, Conservatorio di Torino / direttivo AIMI
  • Paolo Bravi, Conservatorio di Cagliari
  • Fabrizio Casti, Conservatorio di Cagliari / Associazione Spaziomusica
  • Walter Cianciusi, Conservatorio di Sassari
  • Paolo Dal Molin, Università di Cagliari
  • Stefano Delle Monache, IUAV di Venezia / direttivo AIMI
  • Federico Fontana, Università di Udine / direttivo AIMI
  • Lucio Garau, Conservatorio di Palermo / Amici della Musica di Cagliari
  • Marco Lutzu, Università di Firenze
  • Giorgio Klauer, Conservatorio di Padova / direttivo AIMI
  • Ignazio Macchiarella, Università di Cagliari
  • Alessandro Olla, Conservatorio di Cagliari / Associazione TiConZero
  • Riccardo Sarti, Conservatorio di Sassari
  • Anna Terzaroli, Conservatorio di Roma / direttivo AIMI
  • Andrea Valle, Università di Torino / direttivo AIMI
  • Roberto Zanata, Associazione Spaziomusica, Conservatorio di Bolzano

Review committee (music program):

Andrea Agostini, Stefano Bassanese, Nicola Bernardini, Laura Bianchini, Paolo Bravi, Lelio Camilleri, Massimo Carlentini, Fabrizio Casti, Luigi Ceccarelli, Carmine Emanuele Cella, Antonino Chiaramonte, Walter Cianciusi, Fabio Cifariello Ciardi, Alessandro Cipriani, Giovanni Cospito, Riccardo Dapelo, Maria Cristina De Amicis, Franco Degrassi, Agostino Di Scipio, Marco Donnarumma, Francesco Galante, Daniele Ghisi, Francesco Giomi, Giorgio Klauer, Silvia Lanzalone, Carlo Laurenzi, Marco Liuni, Marcella Mandanici, Massimo Marchi, Marco Marinoni, Elio Martusciello, Alberto Novello, Alessandro Olla, Paolo Pachini, Lorenzo Pagliei, Simone Pappalardo, Pietro Polotti, Giorgio Sancristoforo, Riccardo Santoboni, Sylviane Sapir, Riccardo Sarti, Anna Terzaroli, Gianni Trovalusci, Gianluca Verlingieri, Massimiliano Viel, Andrea Vigani, Roberto Zanata, Paolo Zavagna.

Review committee (scientific program):

Giacomo Albert, Federico Altieri, Alessandro Altoè, Federico Avanzini, Stefano Baldan, Marco Braggion, Roberto Bresin, Antonio Camurri, Sergio Canazza, Luca Cossettini, Giovanni Costantini, Stefano D’Angelo, Amalia de Götzen, Giovanni De Poli, Fabio De Sanctis De Benedictis, Alan Del Piccolo, Michele Del Prete, Stefano Delle Monache, Carlo Drioli, Federico Fontana, Alessio Gabriele, Leonardo Gabrielli, Michele Geronazzo, Bruno Giordano, Nicola Giosmin, Roberto Girolin, Vincenzo Lombardo, Marco Lutzu, Ignazio Macchiarella, Enrico Marchetto, Fabio Morreale, Maddalena Murari, Nicola Orio, Stefano Papetti, Niccolò Pretto, Davide Rocchesso, Antonio Roda’, Simonetta Sargenti, Stefania Serafin, Simone Spagnol, Alberto Torin, Andrea Valle, Domenico Vicinanza, Gualtiero Volpe, Stefano Zambon.

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