{"id":16121,"date":"2014-10-28T09:55:38","date_gmt":"2014-10-28T13:55:38","guid":{"rendered":"https:\/\/itp.nyu.edu\/opportunities\/?p=16121"},"modified":"2014-10-28T09:55:38","modified_gmt":"2014-10-28T13:55:38","slug":"nime-call-2015-nime-first-call-for-participation","status":"publish","type":"post","link":"https:\/\/itp.nyu.edu\/opportunities\/2014\/10\/28\/nime-call-2015-nime-first-call-for-participation\/","title":{"rendered":"[NIME \/ CALL] 2015 NIME First Call for Participation"},"content":{"rendered":"

15th International Conference on
\nNew Interfaces for Musical Expression (NIME)
\nMay 31\u00a0\u2013\u00a0June 3, 2015
\nLouisiana State University
\nBaton Rouge, Louisiana, USA
\nhttp:\/\/nime2015.lsu.edu<\/a><\/p>\n

Introduction<\/b>
\nNIME (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\u00a0lectures, installations, concerts, and workshops.<\/p>\n

Visual | Aural | Tangible<\/b><\/p>\n

\nExperimental Music & Digital Media @ LSU<\/b>
\nLouisiana State University and the city of Baton Rouge are excited to present the 15th edition of NIME. The LSU School of Music and Center for Computation & Technology will host the 2015 NIME conference,\u00a0sharing all that we have to offer to the NIME community to creatively explore how music is made. The conference will bridge a bit of past and future, with opportunities to engage in the fantastic musical history of\u00a0Louisiana, as well as make use of the newly opened facilities at the LSU Digital Media Center including our 92-speaker immersive sound theatre. We are also excited to have the LSU Digital Art program\u00a0involved in an expansion of the sonic art installations category for extended exhibition at the Shaw Center for the Arts, LSU Museum of Art and Glassell Gallery.<\/p>\n

Laissez les bons temps rouler!<\/p>\n

Call For Participation<\/b>
\nOn behalf of the NIME 2015 Committee, we would like to invite you to be part of the 15th international conference on New Interfaces for Musical Expression.<\/p>\n

We invite submission of new works in the following categories:<\/p>\n

\u2022 Papers and Posters<\/div>\n
\u2022 Performances and Installations<\/div>\n
\u2022 Workshops and Tutorials<\/div>\n
\u2022 Demonstrations<\/div>\n
<\/div>\n

Important Dates<\/b>
\nArtistic program: Performances & Installation works<\/p>\n

\u2022 Submissions due:\u00a0December 1, 2014<\/div>\n
\u2022 Review Notification:\u00a0January 30, 2015<\/div>\n
<\/div>\n

Scientific program: Papers, Workshops, Demonstrations:<\/p><\/div>\n

\n
\u2022 Draft submission (mandatory):\u00a0January 23, 2015<\/div>\n
\u2022 Final submission:\u00a0January 30, 2015<\/div>\n
\u2022 Review notification:\u00a0March 20, 2015<\/div>\n
\u2022 Camera-ready paper deadline:\u00a0April 17, 2015<\/div>\n
<\/div>\n

The online submission system will open on\u00a0November 3rd, 2014\u00a0and its address will be published at\u00a0nime2015.lsu.edu<\/a><\/p>\n

Please note the following:<\/p>\n

\u2022 The artistic program deadlines (installation and performance) this year do not coincide with the paper deadline!<\/div>\n
\u2022 The scientific program consists of a mandatory draft submission followed by full submission. This system is implemented to address the perennial deadline extensions. There will be no deadline\u00a0extensions. On the date of the draft submission, the author must be registered on the online submission system and have submitted a full draft manuscript of their paper. Authors then have one week\u00a0to make minor edits to previously submitted manuscripts.<\/div>\n
<\/div>\n

Scientific Program<\/b><\/div>\n

<\/div>\n
Call for Papers\u00a0<\/b>
\nWe 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\u00a0indicative. The thematic focus of this year\u2019s edition is\u00a0Visual | Aural | Tangible\u00a0and is described in the introduction above. We also encourage submissions that extend, stretch, or challenge the NIME topics and\u00a0themes.<\/p>\n

Acceptance criteria: The paper under consideration must propose an original contribution to NIME research; it must cite prior related work and should demonstrate rigorous research methodology.<\/p>\n

There are three different paper submission categories:<\/p>\n

\u2022 Full paper (up to 6 pages in proceedings, longer oral presentation, optional demo)<\/div>\n
\u2022 Short paper\/poster (up to 4 pages in proceedings, shorter oral presentation or poster, optional demo)<\/div>\n
\u2022 Demo paper (up to 2 pages in proceedings, demonstration)<\/div>\n
<\/div>\n

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\u00a0archived 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\u00a0while under review for NIME 2015. 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.<\/p>\n

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.<\/p>\n

In the aim to constantly improve the conference, this year the papers and demos will go through a modified review, which was first employed by NIME last year. The complete process is detailed below.<\/p>\n

Call for Workshops<\/b>
\nWe invite submissions for half-day (3 hours) or full-day (6 hours) workshops and tutorials. These can be targeted towards specialist techniques, platforms, hardware, software or pedagogical topics for the\u00a0advancement of fellow NIME-ers and people with experience related to the topic. They can also be targeted toward visitors to the NIME community, novices\/newbies, interested student participants, people from\u00a0other fields, and members of the public getting to know the potential of NIME.<\/p>\n

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\u00a0limited 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.<\/p>\n

Review Process<\/b>
\nAfter you submit your paper, it will go through a rigorous review process that has been changed compared to the previous years. Overall, the review process comprises three layers of evaluation: reviewer, meta-reviewer, and paper chair.<\/p>\n

The process is as follows:<\/p>\n

\u2022 Each paper is assigned to one meta-reviewer who is a representative of the general research topic that the paper deals with.<\/div>\n
\u2022 The meta-reviewer together with the paper chair assign the papers to the reviewers that will evaluate it according to a set of criteria. Each paper has at least two reviewers.<\/div>\n
\u2022 The meta-reviewer writes a meta-review based on the reviewers\u2019 comments. The meta-reviewer may ask the reviewers to provide further details for reviews that were too concise.<\/div>\n
\u2022 The paper chair gathers reviews and meta-reviews. He or she discusses with the meta-reviewers and finalizes a decision for each paper.<\/div>\n
\u2022 The anonymity of the submission is preserved among the reviewers.<\/div>\n
<\/div>\n

Artistic Program\u00a0<\/b><\/p>\n<\/div>\n

Call for Performances\u00a0<\/b>
\nWe 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\u00a0performance program 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\u00a0they might suggest new modes of performing and the presentation of live music that go beyond existing practices while exploiting the unique affordances of interfaces and technologies.<\/p>\n

We encourage submissions that explore:<\/p>\n

\u2022 Novel and exploratory use of interfaces in performance<\/div>\n
\u2022 Both old and new interfaces<\/div>\n
\u2022 Use of innovative, imaginative and creative methods.<\/div>\n
<\/div>\n

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,\u00a0where an interface is central to the realisation of the music.<\/p>\n

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\u00a0and within the artists\u2019 capabilities. We particularly invite premieres from performers with a track record, or with interfaces that have been well tested.<\/p>\n

You should submit a PDF document, maximum 4 pages. The proposal must include the following:<\/p>\n

\u2022 Title and detailed description of the proposed performance.<\/div>\n
\u2022 A link to one primary video documentation of an example performance with the relevant interface. If video documentation is inappropriate for your performance, please explain why and instead send\u00a0an audio file with accompanying photographs (these do not need to be to marketing standard, they are more for explanation of how your performance will look).<\/div>\n
\u2022 Links to any relevant supplementary supporting media files (audio and video).<\/div>\n
\u2022 Number of performers and the instruments and technologies that will be used.<\/div>\n
\u2022 Names of all participants\/submitters, with a short bio for each (100 words).<\/div>\n
\u2022 Details of technical requirements for the venue. Diagrams of the preferred stage setup and signal routing are recommended.<\/div>\n
\u2022 Evidence of the feasibility of the performance. Include documentation and listings of past performances or related works that demonstrate the submitter\u2019s capabilities to implement the proposed\u00a0performance.<\/div>\n
\u2022 A list of any equipment that needs to be provided by the conference organizers.<\/div>\n
\u2022 Any instrumental performers that would need to be provided by the organizers. Note that the conference organizers may not be able to accommodate your request. Please also note that the\u00a0organizers cannot provide funding to support performers\u2019 travel or accommodation at the conference.<\/div>\n
\u2022 Please specify if the performance is a demo.<\/div>\n
\u2022 Please note whether performance would be better in club, bar or traditional concert environment.<\/div>\n
<\/div>\n

Performance proposals in conjunction with paper submissions are encouraged, but each must be submitted separately and will be judged on its own merit.<\/p>\n

Typical NIME performance pieces last for 5-15 minutes, but shorter and longer performance proposals may exceptionally be taken into consideration.<\/p>\n

Within reasonable limits, we may be able to provide musicians to perform pieces but this would be negotiated on a piece-by-piece basis.<\/p>\n

Documentation of the performances will be available online after the conference unless this is impossible due to the nature of the performance.<\/p>\n

Special Call \u2013 Digital Media Center Theatre
\n<\/b>The LSU Center for Computation & Technology\u2019s Digital Media Center Theatre is a custom-designed immersive audio and video environment. The theatre hosts a Christie 4k digital projector, and a Meyer\u00a0Constellation sound system, with 71 discrete channels and up to 40 directlyaccessibleaudiochannels. Weareinterestedinperformancesthatuse4kvideoand\/or massively large loudspeaker arrays as essential\u00a0components of the work. Also, demonstrations or papers that address massively large loudspeaker arrays are welcome. Contact us for more detailed specifications (nime-music@cct.lsu.edu<\/a>).<\/p>\n

Call for Installations<\/b>
\nNIME 2015 seeks installation and sculptural work to showcase at several locations in Baton Rouge. The theme for all venues will focus on an amalgamation of NIME topics listed below. Special consideration will\u00a0be given to projects that embody a combination of qualities that are visual, aural, and tangible. Submitted proposals will be subject to a peer review process by an international expert committee. Installations\u00a0picked to be shown at the LSU Digital Media Center will be exhibited during the length of the conference. Installations picked to be shown at the LSU Museum of Art and the LSU Glassell Gallery will be invited to\u00a0be part of a longer exhibition spanning a month. These pieces will be shown alongside several invited sound artists whose work addresses NIME.<\/p>\n

In order to present an installation for NIME 2015, please submit a proposal in the form of a PDF document, maximum 4 pages, containing the following information:<\/p>\n

\u2022 The title of the work<\/div>\n
\u2022 Names of contributing artists<\/div>\n
\u2022 A clear description of the proposed installation that will provide reviewers with a sense of its motivation and proposed realization. Pictures, schematic diagrams and\/or proposed floor plans would be\u00a0helpful here. You may also provide any documentation of previous presentations of this installation (if they exist).<\/div>\n
\u2022 Describe the space needed and the adaptability of the installation in terms of possible venues.<\/div>\n
\u2022 Provide a list of equipment required for the installation, clearly indicating what you will bring and what you would require the conference organizers to provide.<\/div>\n
\u2022 Finally, indicate if your piece is able to be shown only during the length of the conference or if is able to remain for an extended exhibition.<\/div>\n
<\/div>\n

Topics<\/b>
\nCore topics central to NIME include the following. In addition to submissions that address specific themes of this year\u2019s edition of the conference, original contributions are encouraged in, but not limited to, the\u00a0following topics:<\/p>\n

\u2022 Novel controllers and interfaces for musical expression<\/div>\n
\u2022 Novel musical instruments<\/div>\n
\u2022 Augmented\/hyper instruments<\/div>\n
\u2022 Novel controllers for collaborative performance<\/div>\n
\u2022 Sensor and actuator technologies<\/div>\n
\u2022 Haptic and force feedback devices<\/div>\n
\u2022 Motion, gesture and music<\/div>\n
\u2022 Interfaces for dance and physical expression<\/div>\n
\u2022 Multimodal expressive interfaces<\/div>\n
\u2022 Interfaces for musical expression for hearing or visually impaired people<\/div>\n
\u2022 Interactive game music<\/div>\n
\u2022 NIME intersections with game design<\/div>\n
\u2022 Robotic music<\/div>\n
\u2022 Mobile music technology and performance paradigms<\/div>\n
\u2022 Biological and bio-inspired systems<\/div>\n
\u2022 Musical mapping strategies<\/div>\n
\u2022 Embedded musical instruments and embedded sound art installations<\/div>\n
\u2022 Interactive sound art and installations<\/div>\n
\u2022 Musical human-computer interaction<\/div>\n
\u2022 Interaction design and software tools<\/div>\n
\u2022 Interface protocols and data formats<\/div>\n
\u2022 Sonic interaction design<\/div>\n
\u2022 Issues in perception, cognition, computational musicology and music analysis<\/div>\n
\u2022 Performance analysis<\/div>\n
\u2022 Performance rendering and generative algorithms<\/div>\n
\u2022 Machine learning in musical performance<\/div>\n
\u2022 Experiences with novel interfaces in live performance and composition<\/div>\n
\u2022 Surveys of past work and stimulating ideas for future research<\/div>\n
\u2022 Historical studies in twentieth-century instrument design<\/div>\n
\u2022 Artistic, cultural, and social impact of NIME technology<\/div>\n
\u2022 Novel interfaces in music education and entertainment<\/div>\n
\u2022 Reports on student projects in the framework of NIME-related courses<\/div>\n
\u2022 Practice-based research approaches\/methodologies\/criticism<\/div>\n
\u2022 User studies\/evaluations of NIME<\/div>\n
\u2022 Language and state in live interaction<\/div>\n
\u2022 Musicianship of new musical interfaces<\/div>\n
\u2022 Platforms and frameworks for musical interaction design<\/div>\n
<\/div>\n

Organizing Committee<\/b>
\nNIME 2015 is hosted by the Cultural Computing focus area, Center for Computation & Technology (avatar.cct.lsu.edu<\/a>), and the LSU School of Music Experimental Music & Digital Media program\u00a0(emdm.music.lsu.edu<\/a>) at Louisiana State University, Baton Rouge, Louisiana, USA.<\/p>\n

General Inquiries:\u00a0nime@cct.lsu.edu<\/a>
\nAcademic Inquiries:\u00a0nime-papers@cct.lsu.edu<\/a>
\nMusic Inquiries:\u00a0nime-music@cct.lsu.edu<\/a>
\nInstallation:\u00a0nime-art@cct.lsu.edu<\/a>
\nVolunteers:\u00a0nime-volunteer@cct.lsu.edu<\/a><\/div>\n","protected":false},"excerpt":{"rendered":"

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