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[NIME community] Music, Mind, and Invention: Call For Submissions

Call for Submissions:
Music, Mind, and Invention
Creativity at the Intersection of Music and Computation

Important Dates:
Submission of abstracts and creative work January 8, 2012
Notification of acceptance February 8, 2012
Camera-ready paper submissions March 9, 2012
Workshop dates March 30-31, 2012

Workshop Description:
The Music, Mind, and Invention Workshop will take place March 30 and 31, 2012 at The College of New Jersey. Its purpose will be to explore the rich interconnections between music, cognition, computation, and creativity, addressing themes such as: creativity across disciplines, ways of thinking about music, and music as a medium for improvement. The workshop will feature a keynote address by Marvin Minsky, invited talks by Noam Elkies, Tod Machover, and Dmitri Tymoczko, panel discussions, and presentations of peer-reviewed papers and creative work . Submissions that present novel theories, late-breaking results, and new ways of addressing unresolved questions are welcome. Special efforts will be made to recruit submissions and reviewers from a broad range of disciplines. The workshop will be open to the public.

Workshop Themes:
The topics of the workshop have been designed to provide a framework for presentations and discussions about fundamental and unresolved questions in the contributing disciplines, drawing upon aspects of Marvin Minsky’s article, “Music, Mind and Meaning” [1] :

· Creativity across Disciplines – In what ways can musicians and scientists contribute to each other’s disciplines? Can listening to or creating music help us find more imaginative and effective solutions to scientific and computational problems? Can scientific methods help musicians to be more effective? How to foster and evaluate different types of creativity and creative outcomes. Can musical concepts or ways of thinking influence and improve other pursuits? Definitions and types of creativity, how creativity can be measured, and whether it is possible to enhance creativity through musical activities and musical thinking.

· Ways of thinking about Music — Synergistic relationships between music and computation/AI. Robotics as a platform for modeling and simulating human musical behaviors so as to better understand them. Music as embodied computation. Computational descriptions for musical gestures and movement. Theoretical frameworks and conceptual models of musical cognition, gesture, and expression.

· Music as a Medium for Improvement – Why is music capable of motivating and increasing mental focus and physical stamina? Music’s effects on psychomotor processes and emotion. Music as an effective technique and therapy for brain and speech disorders. Healing and motivational functions of music. Recent brain research in music.

Contributions are welcome from intellectual disciplines including (but not limited to): Music Perception/Cognition, Artificial Intelligence, Computational Musicology, Mathematics, Music Theory, Computer Science, Music Information Retrieval, Aesthetics, Creativity, Computer Music, Musical Robotics, New Interfaces for Musical Expression, and Affective Computing.

Paper Submissions:
We encourage submissions of 1-2 page extended abstracts on topics related to the workshop themes. Authors of accepted abstracts will be asked to submit camera-ready papers and present 30-minute talks at the workshop in single-track sessions. All abstracts will be peer-reviewed according to their novelty, technical content, clarity, and contribution to the overall balance of topics and disciplines. Peer reviewers will be selected from a broad range of related disciplines, to ensure that papers and creative work are reviewed equitably. Approximately ten papers among the workshop submissions will be invited to submit an expanded paper toward publication in a shared volume after the workshop. Guidelines will be available at

Creative Work Submissions:
We also encourage submissions of new creative work in areas related to the workshop themes. All submissions will be peer-reviewed according to their quality and relevance to the workshop topics. Work may be submitted as either Stage Performances or Demonstrations. Performances will be presented in the TCNJ Mayo Concert Hall on the evening of March 30; they may complement a paper submission, or stand alone as independent works. Demonstrations will be presented in spaces adjacent to the Concert Hall on March 31; they should have an interactive or audio/visual component and may complement a paper submission. Guidelines will be available at

General Chair : Teresa Marrin Nakra, The College of New Jersey (
Program Chair: Andrea Salgian, The College of New Jersey (
Performance Chair: Roger Dannenberg, Carnegie Mellon University (

Performance Committee:
Dan Trueman, Princeton University
Gary Fienberg, The College of New Jersey

Program Committee:
Chris Ault, The College of New Jersey
Juan Bello, New York University
Winslow Burleson, Arizona State University
Brett BuSha, The College of New Jersey
Elaine Chew, Queen Mary, University of London
Parag Chordia, Georgia Institute of Technology
Morwaread Farbood, New York University
Rebecca Fiebrink, Princeton University
Michel Galante, Argento New Music Project / The College of New Jersey
Grady Gerbracht, The College of New Jersey
Fabien Gouyon, INESC Porto / University of Porto
Ozgur Ismirli, Connecticut College
Youngmoo Kim, Drexel University
Miroslav Martinovic, The College of New Jersey
Andrew McPherson, Queen Mary, University of London
Kazuhiro Nakadai, HONDA Research Institute / Tokyo Institute of Technology
Doug Riecken, Columbia University
Robert Rowe, New York University
Meredith K. Stone, The College of New Jersey
Jennifer Wang, The College of New Jersey
Gil Weinberg, Georgia Institute of Technology

[1] Minsky, M. (1981). Music, Mind and Meaning. Computer Music Journal 5(3): 28-44.