[Call for Papers/Performances] Live Interfaces

 

LIVE INTERFACES
Performance, Art, Music
http://icsrim.org.uk/liveinterfaces/
7th-8th September, 2012

CALL FOR PAPERS AND PERFORMANCES

Live Interfaces is a conference on live, technology-mediated
interaction in performance. The conference seeks to investigate
cross-disciplinary understandings of performance technology with a
particular focus on issues related to the notion of ‘liveness’ in
interaction.

Live Interfaces will consist of paper and poster presentations,
performances and workshops over two days. Researchers, theorists and
artists from diverse fields are encouraged to participate, including:
digital performance, live art, computer music, choreography, music
psychology, interaction design, human computer interaction, digital
aesthetics, computer vision, smart materials and augmented stage
technology.

We invite submissions addressing the conference theme of
technology-mediated live interaction in performance, and suggest the
following indicative topics:

– Audience perception/interaction
– Biophysical sensors
– Brain-computer interfaces
– Computer vision/real-time video in performance
– Cross-modal perception/illusion
– Digital dramaturgy/choreography/composition
– Digital performance phenomenology
– Gesture recognition and control
– Historical perspectives
– Live coding in music, video animation and/or dance
– Participatory performance
– Performance technology aesthetics
– Redefining audience interaction
– Tangible interaction

Paper submissions should be in extended abstract form, with a
suggested length of 500 words. Please format all submissions using
either the Word or LaTeX template available from the website.

Performance proposals should include a description of the performance
and the live interaction technology used, as well as a list of
technical requirements. Attaching recordings of past performances is
strongly encouraged.

We hope to announce a journal special issue on performance technology
following the conference as a publication opportunity for extended
papers.

Extended abstracts must be submitted electronically via the website by
midnight (GMT+1) on the 17th June 2012. All submissions will be
subject to cross-disciplinary peer review, and notified of acceptance
by 1st July.

Please address all queries to liveinterfaces@icsrim.org.uk

Key dates:

– 5th May – Call for extended abstracts
– 17th May – Submissions system open
– 17th June – Submission deadline
– 1st July – Notification of selected papers/performances
– 29th July – Camera-ready deadline for accepted papers
– 7-8th September – Conference

Registration will open nearer the date, with a fee in the region of
£25, including lunch for both days.

Please keep an eye on one of the following for updates, including
information on conference workshops and co-located events.

Website: http://icsrim.org.uk/liveinterfaces/
Facebook: http://facebook.com/liveinterfaces/
Twitter: http://twitter.com/liveinterfaces/
Identica: http://identi.ca/liveinterfaces/

Planning committee:
Alex McLean, University of Sheffield, University of Leeds (from August)
Kate Sicchio, University of Lincoln
Maria Chatzichristodoulou, University of Hull
Scott Hewitt, University of Huddersfield
Ben Dornan, University of Sheffield
Stephen Pearse, University of Sheffield
Phoebe Bakanas, ICSRiM, University of Leeds
Ash Sagar, York St Johns University

Senior advisor:
Kia Ng, Director of ICSRiM, University of Leeds

Supported by Vitae Yorkshire, the University of Leeds and the Arts and
Humanities Research Council 

 

[cfp] eContact!: Biotechnological Performance Practice

eContact! extends an open call for contributions to an issue focussing on the use of the body in electroacoustic performance practice, coordinated by Guest Editor Marco Donnarumma. Performers, composers and others are encouraged to contribute their perspectives on the role or position of the body in experimental practices of musical performance.

Submission deadline: 31 January 2012
Publication: 29 February 2012
Submission Guidelines can be found here.

Suggestions for contributions include, but are not limited to the following ideas:

  • Use of Mechanical Myography (MMG), Electromyography (EMG) and other similar biological signal measurements in performance
  • Scoring / notation of body-related performance
  • Sound Art dealing with the body and biological aspects of performance
  • Development of DIY, biological-based, Interactive Musical Systems (IMS)
  • The definition / augmentation of Self on stage by means of biotechnologies
  • Cognitive aspects of embodied interaction between the biological body and computer
  • Composer—Technology—Performer: definition of roles?
  • Live electronics vs. fixed media in biotechnological performance practice
  • Historical overviews and reflections
  • Critical perspectives on gesture-based “human-computer interaction”
  • The sound of flesh…

We also welcome other contributions that engage in a discourse on the relation between biophysics and music. Feel free to propose other ideas!

To state your interest in contributing or for further information, contact Guest Editor Marco Donnarumma.

New and/or unpublished materials are preferred but reprints of previously published materials are also possible (eContact! will credit and link to original publications). The author is responsible for securing all permissions and clearing any copyrights related to the submission.

The inclusion of audio and video support documentation, photos, technical diagrammes and sketches is strongly encouraged. Audio and video examples should be submitted in the highest quality possible.