NIME 2011 - Call for participation

11th International Conference on New Interfaces for Musical Expression (NIME 2011)
30 May - 1 June 2011, Oslo, Norway

We invite you to be part of the International Conference on New Interfaces for Musical Expression. The core purpose of the NIME conference is to present the latest results in design, development, performance and analysis of/for/with new interfaces/instruments for musical use. In 2011 we will put an extra emphasis on performance aspects related to NIME, something which will also be addressed in a symposium, workshops and master classes in the days leading up to the conference.

We invite for the following types of submissions (see below for details):
- Paper (oral/poster/demo)
- Performance
- Performance Plus Paper
- Installation/exhibition
- Workshop

IMPORTANT DATES
- SID exhibition proposals: 5 November 2010 (22:00 CET)
- Paper/performance/installation/workshop submission: 31 January 2011 (22:00 CET)
- Review notification: 18 March 2011
- Final paper deadline: 26 April 2011

TOPICS
- Novel controllers and interfaces for musical expression
- Novel musical instruments
- Augmented/hyper instruments
- Novel controllers for collaborative performance
- Interfaces for dance and physical expression
- Interactive game music
- Robotic music
- Interactive sound and multimedia installations
- Interactive sonification
- Sensor and actuator technologies
- Haptic and force feedback devices
- Interface protocols and data formats
- Motion, gesture and music
- Perceptual and cognitive issues
- Interactivity design and software tools
- Sonic interaction design
- NIME intersecting with game design
- Musical mapping strategies
- Performance analysis
- Performance rendering and generative algorithms
- Machine learning in performance systems
- 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
- Experiences with novel interfaces in education and entertainment
- Reports on student projects in the framework of NIME related courses
- Artistic, cultural, and social impact of NIME technology
- Biological and bio-inspired systems
- Mobile music technologies
- Musical human-computer interaction
- Multimodal expressive interfaces
- Practice-based research approaches/methodologies/criticism

CALL FOR PAPERS
We welcome submissions on all above mentioned (and other) topics related to development and artistic use of new interfaces for musical expression. There are three different paper submission categories:
- Full paper (up to 6 pages in proceedings, longer oral presentation,
optional demo)
- Short paper/poster (up to 4 pages in proceedings, shorter oral
presentation or poster, optional demo)
- Demonstration (up to 2 pages in proceedings)
All accepted papers will be published in the conference proceedings.
Paper submission information: http://www.nime2011.org/submission/#papers

CALL FOR PERFORMANCES
We welcome submission of pieces for three different types of performance venues:
- Concert hall performance
- Club performance
- Foyer "stunt" performance
Any type of NIME performance pieces are welcome, but we would particularly like to encourage the use of motion capture techniques in performance. For this we can make available several different types of motion capture systems (Qualisys, XSens, Optitrack, Mega). Network pieces and mobile music pieces are also encouraged. Within reasonable limits, we may be able to provide musicians to perform pieces. Performance submission information: http://www.nime2011.org/submission/#performances

CALL FOR PERFORMANCE PLUS PAPER
To support more cross-disciplinary work between scientific and artistic research, we highly encourage submission of performance pieces related to papers. Here the scientific presentation may be the basis for the artistic presentation, or vice versa. Submissions within this category will have to be done for both the piece and the paper, with a clear note that paper and piece belongs together. Evaluation will be done on the combined quality of both submissions.

CALL FOR INSTALLATIONS
In connection with NIME 2011 an exhibition on sonic interaction design will be curated in collaboration with the EU COST IC0601 Action on Sonic Interaction Design (SID). For the exhibition we are looking for works using sonic interaction within arts, music and design as well as examples of sonification for research and artistic purposes. The exhibition will take place at the Norwegian Museum of Science, Technology and Medicine and run for three months over the summer 2011. We also aim to include works in public spaces to be presented at various locations in Oslo (possibly) for a shorter duration in parallel with NIME. This is a curated exhibition, and there is a possibility for funding and assistance to be provided for selected artists. Note that there is an early deadline for submissions within this category (5 November). Further enquiries concerning the SID exhibition should be addressed to the curators (exhibition@nime2011.org).

In addition to the exhibition, we also call for installations to be presented during the NIME conference only. These may be foyer location installations or room-based installations. Installation submission information: http://www.nime2011.org/submission/#installations

CALL FOR WORKSHOPS
We call for short (3 hours) or long (6 hours) workshops and tutorials. These can be targeted towards specialist techniques, platforms, hardware, software or pedagogical topics for the advancement of fellow NIME-ers and people with experience related to the topic. They can also be targeted towards visitors to the NIME community, novices/newbies, interested student participants, people from other fields, and members of the public getting to know the potential of NIME.

Tutorial proposers 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, collaboration. Admission to workshops and tutorials will be charged separately from the main conference. Proposer(s) are responsible for publishing any workshop proceedings (if desired) and should engage in the promotion of their event amongst own networks. Workshops may be cancelled or combined if there is inadequate participation. Workshop submission information: http://www.nime2011.org/submission/#workshops

If you have any inquiries, please email us at post@nime2011.org. Please feel free to forward this message to others. On behalf of the NIME 2011 committee, Alexander Refsum Jensenius (University of Oslo)
Kjell Tore Innervik (Norwegian Academy of Music)

New books and CDs in EMS' library

New books

• Lamers, Maurits (ed.): Proceedings of the Linux Audio Concerence 2010
• Prieberg, Fred K.: Musica ex machina; über das Verhältnis von Musik und Technik
• Rodgers, Tara: Pink noises : women on electronic music and sound

New CDs

• Bennett, Gerald: Chrysopée électronique 31
• Bertilsson, Andreas: Paramount
• Biffarella, Gonzalo: Mestizaje (Chrysopée électronique 10)
• Boeswillewald, Pierre: Chrysopée électronique 3
• Boeswillewald, Pierre: Chrysopée électronique 27
• Clozier, Christian: Chrysopée électronique 7
• Cochini, Roger: Chrysopée électronique 6
• Compendium international : Bourges 2004 (Chrysopée électronique 26)
• Di Scipio, Agostino: Paysage historiques : musique electroacoustique 1998-2005 (Chrysopée électronique 25)
• López, Francisco: Through the looking-glass
• Messiaen, Olivier: Turangalîla-symphonie
• The Radiophonic Workshop
• Riley, Terry: In C
• Les saisons (Chrysopée électronique 23)
• Savouret, Alain: Chrysopée électronique 28
• Serra, Luis Maria: Musica electroacustica (Chrysopée électronique 19)
• Skog, Ylva: Terra firma
• Vaggione, Horacio & Mead, Philip: Musiques pour piano et electroacoustique (Chrysopée électronique 5)
• Wishart, Trevor: Fabulous Paris : a virtual oratorio

Call: Seventh International Conference on Music Since 1900

The theme of the Biennial Conference is music since 1900, conceived in the broadest possible terms. Proposals for papers may be submitted on any topic relating to 20th- and 21st-century musics (of any genre), drawing on scholarly approaches from any relevant intellectual discipline.

The Music Analysis Conference welcomes papers on any aspect of theory and analysis relating to music of any genre and historical period.

Editorial representatives from Music Analysis and twentieth-century music will be keen to discuss the possibility of developing conference papers into articles for their respective journals.

In addition to open sessions, the Programme Committee warmly invites proposals for papers to be read at the sessions devoted to the following themes:

• computing and contemporary musicology
• curating the new
• electroacoustic music and intermedia
• film music
• the future of the digital economy
• the impact of technology on music
• jazz
• new historiographies
• phenomenology
• popular music
• temporalities
• timbre

Proposals in the following categories will be considered:

• Papers (20 minutes maximum, with 10 minutes for discussion)
• Paper sessions (three or four papers, each of 20 minutes maximum, with 10 minutes for discussion)
• Roundtable discussions (up to 6 participants, each giving a short position paper, followed by a general discussion)
• Recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings

Programme Committee: Dr Paul Archbold, Dr Arved Ashby, Prof. Rachel Cowgill, Prof. William Drabkin, Dr Nicholas Gebhardt, Prof. Adam Krims, Dr Alan Marsden, Prof. Deborah Mawer, Prof. Peter Nelson, Dr Nicholas Reyland, Prof. Michael Spitzer, Dr Edward Venn (Chair), Dr Charles Wilson.

Proposal Instructions/Guidelines
Abstracts and proposals should be prepared as follows:

• For individual papers: up to 250 words
• For paper sessions: 250-word (maximum) summary and up to 250 words for each session participant
• For roundtable discussions: 250-word (maximum) and up to 150 words for each panel participant
• For recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings: 250 word (maximum) summary, plus participant CVs and recordings / scores / other details of works to be included in the event

Further information for applicants:

• Only one proposal of each type is permitted per applicant
• Proposals should not substantially duplicate presentations being given at conferences or other events proximate in time or place to ICMSN 2011 / LancMAC
• All proposals must be sent by email as a MS Word attachment to msnmac2011@lancaster.ac.uk

DEADLINE FOR PROPOSAL SUBMISSION: 3 DECEMBER 2010

Successful applicants will be informed by 17 January 2011

Hz calls for submissions

On-line journal Hz is looking for articles on New Media, Net Art, Sound Art, Electro-Acoustic Music, Virtual World/Machinima. We accept earlier published and unpublished articles in English. Please send your submissions to hz-journal@telia.com

Deadline: 5 September, 2010

Hz is published by the non-profit organization Fylkingen in Stockholm. Established in 1933, Fylkingen has been known for introducing yet-to-be-established art forms throughout its history. Nam June Paik, Stockhausen, Cage, Stelarc, etc. have all been introduced to the Swedish audience through Fylkingen. Its members consist of leading composers, musicians, sound artists, dancers, performance artists and video artists in Sweden.

For more information on Fylkingen, please visit http://www.fylkingen.se/about or http://www.hz-journal.org/n4/hultberg.html

SuperCollider workshop in Bergen

Tuesday 28. September – Friday 1. October, Bergen, Norway

BEK, the Bergen center for electronic arts, invites musicians, programmers and composers to a four-days workshop focusing on the software MODALITY. It’s free to attend, but you have to cover your own travel and stay.

Modality is a tool for building electro-instruments in SuperCollider under construction by Jeff Carey og Bjørnar Habbestad. The workshop will elucidate this development through presentations, discussions and open code-sessions.

Invited participants are Jeff Carey, Alberto di Campo, Wouter Snoei and Marije Baalman, Trond Lossius and Bjørnar Habbestad. themes to be covered are: Modal Control strategies, sensor input, DBAP spatialisation, Proxy Space, Quark, Mapping strategies etc.

The workshop is open for participants skilled in working with SuperCollider.

Contact BEK v/ Lars Ove Toft for registration. lars.ove.toftATbek.no

New books in EMS' library

Please note that some of these "new" books (especially the reports on sound synthesis) are in fact old ones, found in EMS' archives.

• Banks, J.D. ; Berg, P. ; Rowe, R. ; Theriault, D.: SSP : a bi-parametric approach to sound synthesis (Sonological reports ; no. 5)
• Bayle, François: Erosphère
• Beauchamp, James W.: A computer system for time-variant harmonic analysis and synthesis of musical tones (Technical report ; no. 15 / University of Illinois, School of Music, Experimental Music Studio)
• Beauchamp, James W.: A report on the Magnavox sponsored research investigation ”The development of new electronic systems for generating musical sound” (Technical report ; no. 10 / University of Illinois, School of Music, Experimental Music Studio)
• Beauchamp, James W.: A statement of progress on the research investigation, ’Generation and creation of new electronic sounds’
• Bennett, Gerald: Research at IRCAM in 1978 (Rapports IRCAM ; 19/79)
• Bilbao, Stefan: Numerical sound synthesis : finite difference schemes and simulation in musical acoustics
• Bjurman, Jens: Elektronmusikstudion : ett förteckningsarbete
• Bjurman, Jens: EMS arkivförteckning
• Bäckström, Per: Vårt brokigas ochellericke! : om experimentell poesi
• Cooke, Lynne & Kelly, Karen (red.): Max Neuhaus : Times Square, Time Piece Beacon
• Demers, Joanna: Listening through the noise : the aesthetics of experimental electronic music
• Fucks, Wilhelm: Mathematische Analyse der Formalstruktur von Musik (Forschungsberichte des Wirtschafts- und Verkehrsministeriums Nordrhein-Westfalen ; Nr. 357)
• Gardner, John: Computer facilities for music at IRCAM, as of October, 1977 (Rapports IRCAM ; 3/78)
• Hansen, Sven & Wedin, Aaby: Mikrofoner för TV-film (Tekniska Utbildningens serie / Sveriges Radio ; nr 6)
• Hiller, Lejaren A.: Report on contemporary experimental music, 1961 (Technical report ; no. 4 / University of Illinois, School of Music, Experimental Music Studio)
• Hiller, Lejaren A.: Seven electronic studies for two-channel tape recorder (1963) (Technical report ; no. 6 / University of Illinois, School of Music, Experimental Music Studio)
• IRCAM: Annual report 1990
• Jensen, Erik Granly & LaBelle, Brandon: Radio territories
• Küpper, Leo: Couleurs sinusoidales et potentiels d’attraction des sons sinusoidaux
• Nyquist, Bengt & Valentin, Karl-Otto: Musikteknik (Tekniska Utbildningens serie / Sveriges Radio ; nr 12)
• Nösselt, Volker: Die Tonhöhenbewegungsinformation und ihre Perzeptionsverhaltensweisen in Geräuschen : intern rapport : Maart 1966. Deel I
• Nösselt, Volker: Die Tonhöhenbewegungsinformation und ihre Perzeptionsverhaltensweisen in Geräuschen : intern rapport : Maart 1966. Deel II
• Peters, G. David: Research and development in computer-assisted instruction in music at the University of Illinois
• Reynolds, Roger: Explorations in sound/space manipulation, I (1975) (Reports from the center : an occasional series of publications by the Center for Music Experiment and Related Research, University of California at San Diego ; vol. 1, no.1)
• Risset, Jean-Claude: Hauteur et timbre des sons (Rapports IRCAM ; 11/78)
• Risset, Jean-Claude: Paradoxes de hauteur (Rapports IRCAM ; 10/78)
• Rydbeck, Olof: I maktens närhet : diplomat, radiochef, FN-ämbetsman
• Sicko, Dan: Techno rebels : the renegades of electronic funk
• Statens kulturråd: Uppföljning av Access (Kulturrådets skriftserie 2010:1)
• Stenberg, Ulf: Den allvarsamme skrattaren
• Struycken, Peter: Linarc (Sonological reports ; no. 3)
• Toop, David: Sinister resonance : the mediumship of the listener
• Trautmann, Lutz & Rabenstein, Rudolf: Digital sound synthesis by physical modeling using the functional transformation method

New proceedings online

7th Sound and Music Computing Conference
The papers presented at the 7th Sound and Music Computing Conference that took place at the UPF from the 21st to the 24th on July 2010 are now online at http://smcnetwork.org/resources/smc2010. The papers have been published on the smcnetwork.org website under a Creative Commons license.

Interactive Sonification workshop - ISon 2010
The proceedings of the Interactive Sonification workshop - ISon 2010 are now available on-line at http://www.interactive-sonification.org/ISon2010/proceedings/. The proceedings are licensed as an Open Access publication.

Call for abstracts: Sound Experience – Experiencing Sound

A new open access journal, SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience, calls for articles:

Call for abstracts: Sound Experience – Experiencing Sound
The first issue of SoundEffects raises the question of the epistemological potential of sound. How does sound provoke and influence the way in which we experience the world? How can we talk about the phenomenological, bodily experience that sound produces? More than ever, everyday life is mediated by a multitude of digitized and mechanically reproduced sounds. In Michael Bull's words: "Waking, walking, driving, working and even falling asleep are all done to music or some other acoustic accompaniment" (Bull, 2003). Never has urban life been noisier. Yet within philosophical, sociological, and aesthetic frameworks, the world is still mostly conceived of as a visual reality. Sound produces meaning in numerous ways, both through the phenomenological, bodily experience of sound and through emerging and changing discourses of cultural practice. Responding to this condition, contemporary sound research must reflect upon the various ways in which the world is experienced through sound.

We welcome scholars from any discipline within the humanities and the social sciences to reflect upon this complex yet crucial aspect of contemporary life.

Topics of interest may include (but are not limited to):

• Sound experience within the arts
• Sound in media and communication
• Sound and social interaction
• Historical perspectives on sound
• Cross-modal experiences of sound

An abstract of 300 words should be sent by e-mail to aestng(at)hum.au.dk no later than October 15, 2010. Full articles are due on January 15, 2011.

Poet and text-sound artist Bengt Emil Johnson dead

Bengt Emil Johnson was born 1936 in Saxdalen, Dalecarlia, and was one of the pioneers of Swedish text-sound composition and electroacoustic music. He studied piano and composition for Knut Wiggen, but later become more interested in poetry. Johnson worked at Sveriges Radio (the Swedish national radio), and edited the contemporary music journal Nutida Musik for many years. He passed away on July, 14, 2010.

Johnson's text-sound compositions have been released on e.g. Text-Sound Compositions - A Stockholm Festival and The Pioneers (PSCD 63) from Phono Suecia, and some of them are available at UbuWeb. There are also some material available at konkretpoesi.se (in Danish/Swedish).

Update 2010-07-25. Some press voices (in Swedish only):

• Poesins gossen Ruda tog sig an det svåra enkla by Tommy Olofsson
• Bengt Emil Johnson till minne by Jonas Ellerström
• Blues för Bengt Emil by Ulf Lundén
• Poet full av djärvhet by Per Svensson
• Över sista gränsen by Magnus Haglund

There is also a recent dissertation (in Swedish) on Johnsons poetry: "Tro mig på min ort" : Oöversättligheten som tematiskt komplex i Bengt Emil Johnsons poesi 1973-1982 by Johan Alfredsson, published by Holzweg.

The archive of EMS and related archives

Note July, 30, 2014: For an updated and extended version, see Electronic music archives in the collection of The Swedish Performing Arts Agency.

The archives of EMS and Fylkingen were donated to the Music and Theatre Library of Sweden in 2009. Archivist Jens Bjurman processed the EMS archive during spring 2010, and the inventory (in Swedish) is now published on the library website (his master's thesis on the processing can be found here). For EMS's tape archive, see below. The Fylkingen tape archive is partly digitised and available for research at Fylkingen.

The Music and Theatre Library also holds some other archives of interest to researchers in Swedish electronic music (links are to the inventories, if available. Please note that most of them are in Swedish):

• Sven-Erik Bäck (1919-1994). Autographs, correspondence etc. can also be found in:
• the Lars Frydén archive;
• the Birgitta Nordenfelt archive;
• the Silverstolpe collection;
• the Bo Wallner archive.
• Elektronmusik. Sources used by Olle Olsson for his work list Electroacoustic music in Sweden : musique concrete, computer music, live-electronic, text-sound composition (1986?).
• Ulf Grahn. Autographs, sketches, correspondence etc.
• Bengt Hambraeus (1928-2000). The main Hambraeus archive is in Canada: Bengt Hambraeus fonds, but there are some autographs and other manuscripts in the Bo Wallner archive.
• Ralph Lundsten (b. 1936) and his fan club, the Andromeda Fan Society. Autographs, sketches, correspondence, tapes etc.
• Arne Mellnäs (1933-2002). Autographs, sketches, correspondence etc.
• Ákos Rózmann (1939-2005). Autographs, sketches, music scores. Tapes, cd:s and dvd:s are also available for research, but are not listed in the inventory.
• SEAMS (The Society for Electroacoustic Music in Sweden). The former Swedish section of ICEM/CIME.

The Swedish Museum of Performing Arts stores some of the former studio equipment of EMS, Ralph Lundsten and Ákos Rózmann (information only in Swedish).

In addition, the National Library of Sweden holds the archives of Karl-Birger Blomdahl (1916-1968) and Åke Hodell (1919-2000), and a small Öyvind Fahlström (1928-1976) archive (the main one is in Barcelona at the Museum of Contemporary Art). For more information, search for these names in Ediffah. The Hodell tape archive is in SMDB. The archive of his father, Björn Hodell, is at the Music and Theatre Library.

The EMS tape archive
EMS's music archive ("bandarkivet", the tape archive) has been donated to the National Library of Sweden for long-time preservation (except for commercially released records, which will be kept in the EMS library). The digitised content will be accessible through the Swedish Media Database (SMDB).

There are three ways to search the EMS music archive:

1. For digitised materials only, search SMDB with 'collection:"EMS bandarkiv"' to see all available items. Currently, SMDB holds only about 80 works, but more will come. One can listen to these works at the National Library of Sweden/Audiovisual Media, but not online, due to copyright restrictions (what else?).
2. To search the entire archive, use DISMARC, which I've blogged on elsewhere. The metadata is limited, and one can't listen to the music, but one sees all content, whether digitised or not.
3. Visit EMS and search the full database. It has some additional functionality compared to SMDB and DISMARC, e.g. an hierarchic display of a composer's works, their versions and audio carriers (based on FRBR). The EMS database is also the most frequently updated, and one can listen to all of the digitised music, including CD:s and DVD:s that haven't been migrated to the database yet.