June 30 – July 3, 2014
Goldsmiths University of London
London, UK
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INTRODUCTION
NIME (New Interfaces for Musical Expression) is the premier conference in designing human-computer interfaces and interactions for musical performance. NIME gathers researchers and practitioners around lectures, installations, concerts, and workshops. We are delighted to host NIME 2014 at Goldsmiths, University of London, bringing NIME for the first time to London and situating the conference within highly developed UK research networks in music computing, media, design, and HCI, and connecting NIME research to a thriving local music scene, art, and interaction design communities.
In its second decade, one can say that NIME, as a field, has “arrived.” Sensing technology is ubiquitous in consumer products like smart-phones and video game controllers. Computer-based music performance is no longer contained in specialised genres, but has become the norm in a broad range of musical styles. The success of interactive music technologies puts in question the very need for NIME to even exist.
The take-up of NIME techniques in all music causes the technology to disappear and forces us to focus on the music. This represents a double-edged sword. While the focus on musical quality is paramount, it can only be built upon foundations of solid craft and excellent science. In order to avoid re-inventing the wheel, and worse yet, repeating mistakes, NIME needs to build a legacy of reproducible results, citable references, and transferrable methods and techniques that can be transmitted to students, broader groups of musicians, and amateurs eager to engage in richer musical experiences.
New instruments and interaction are at the heart of NIME. Lutherie and composition combine to create the means to deliver compelling live performances. This is an ideal, and is more often than not, assumed. In between the science of interaction and the art of music-making are the cultural and theoretical considerations about what comprises an exciting performance.
With the theme Liveness, we draw upon Philip Auslander’s reading of this seemingly simple word as a way to look at issues of authenticity, experience, and the role that theatricality and mediatization might play in reinforcing or detracting from a successful performer/audience dynamic.
We will build upon a productive history of collaboration between Goldsmiths and Brunel University in the Brunel Electronic and Analogue Music (BEAM) festival to bring added excitement to the NIME 2014 concert and exhibition programme. We will partner with high profile venues such as Café Oto and DIY communities like London Music Hackspace to open up the NIME artistic programme to the general public and connect our research community to the thriving music scene in London.
On behalf of the NIME 2014 Committee, we would like to invite you to be part of the 14th international conference on New Interfaces for Musical Expression.
We invite submission of new works in the following categories:
Important dates:
Submissions due: December 1, 2013
Review Notification: February 1, 2014
Draft submission (mandatory): January 31, 2014
Review notification: March 28, 2014
Camera-ready paper deadline: April 18, 2014
N.B. Please note that the art programme deadline this year does not coincide with the paper deadline.
N.B. Please note the new system in the scientific programme for mandatory draft submission followed by full submission. We have implemented this new system to address the perennial deadline extensions. This year, we will not offer extensions. The Draft Submission deadline corresponds to previous years’ submission deadline. On this date, the author must be registered on the online submission system and have submitted a full draft manuscript of their paper. You will then have one week (the time of prior years’ extensions) to make minor edits to your manuscript.
CALL FOR PAPERS
We welcome submissions of original research on scientific and artistic use of new interfaces for musical expression. A non-exhaustive list of NIME related topics is found below. This list is inclusive, and indicative. The thematic focus of this year’s edition is Liveness, and is described in the introduction above. We also encourage submissions that extend, stretch, or challenge the NIME topics and themes.
There are three different paper submission categories:
Submitted papers will be subject to a peer review process by an international expert committee. All accepted papers will be published in the conference proceedings, under an ISSN/ISBN reference, and will be archived online after the conference to be tracked by citation tools. A manuscript submitted for review cannot be already under review for publication elsewhere, or be submitted for a second review elsewhere while under review for NIME 2014. Authors of both full and short papers are greatly encouraged to submit a video in support of their paper. A video is mandatory for demonstration submission.
Review process detailed here http://www.nime.org/
A best paper award will be presented to the individual(s) judged by the scientific committee to have written the best paper appearing in the conference proceedings.
Tutorial proposals should clearly indicate the audience and assumed knowledge of their intended participants to help us market to the appropriate audience. Workshops and tutorials can relate to, but are not limited to, the topics of the conference. This is a good opportunity to explore a specialized interest or interdisciplinary topic in depth with greater time for discourse, debate, and collaboration.
ARTISTIC PROGRAMME
We invite submission of proposals for performances and installations. Proposed performances should have a clear connection with the substance of the NIME conference. We expand the notion of NIME in the performance programme, to include the exploration of existing interfaces into new sounds, new methods or new ways of being physical. These performances might re-insert the body into digital performance, or they might suggest new modes of performing and the presentation of live music that go beyond existing practices whilst exploiting the unique affordances of interfaces and technologies.
We encourage submissions that explore:
We invite you to consider fully what a performance can be: you should go well beyond demonstrating the interface and we will consider any performance that is in the realm of live, electronically-produced sound, where an interface is central to the realisation of the music.
Submitted proposals will be reviewed by an expert committee. Preference will be given to submissions with strong evidence that the proposed performance has already been realized or is technically feasible and within the artists’ capabilities. We particularly invite premieres from performers with a track record, or with interfaces that have been well tested.
SUBMISSION FORMAT
TOPICS
Core topics central to NIME include the following. In addition to submissions that address specific themes of this year’s edition of the conference, original contributions are encouraged in, but not limited to, the following topics:
– Novel controllers and interfaces for musical expression
– Novel musical instruments
– Augmented/hyper instruments
– Novel controllers for collaborative performance
– Sensor and actuator technologies
– Haptic and force feedback devices
– Motion, gesture and music
– Interfaces for dance and physical expression
– Multimodal expressive interfaces
– Interfaces for musical expression for hearing or visually impaired people
– Interactive game music
– NIME intersecting with game design
– Robotic music
– Mobile music technology and performance paradigms
– Biological and bio-inspired systems
– Musical mapping strategies
– Interactive sound and multimedia installations
– Musical human-computer interaction
– Interaction design and software tools
– Interface protocols and data formats
– Sonic interaction design
– Perceptual and cognitive issues
– Performance analysis
– Performance rendering and generative algorithms
– Machine learning in musical performance
– Experiences with novel interfaces in live performance and composition
– Surveys of past work and stimulating ideas for future research
– Historical studies in twentieth-century instrument design
– Artistic, cultural, and social impact of NIME technology
– Novel interfaces in music education and entertainment
– Reports on student projects in the framework of NIME related courses
– Practice-based research approaches/methodologies/
– User studies/evaluations of NIME
– Language and state in live interaction
– Musicianship of new musical interfaces
General co-chairs
Atau Tanaka (Goldsmiths)
Rebecca Fiebrink (Goldsmiths)
Baptiste Caramiaux (Goldsmiths)
Koray Tahiroğlu (Aalto University, Helsinki)
Sarah Nicolls (Brunel University)
Adam Parkinson (Goldsmiths)
Marco Donnarumma (Goldsmiths)
Alessandro Altavilla (Goldsmiths)
Marco Gillies (Goldsmiths)
Alex McLean (University of Leeds)
Jean-Baptiste Thiebaut (ROLI/Music Hackspace)
Peter Mackenzie (Goldsmiths)
Anna Weisling (Goldsmiths)
Stephanie Horak (Goldsmiths)