Category: Konferenser

Call for papers: Sound studies konference in Århus, september 2010

Sound as Art – Sound in History, Sound as Culture – Sound in Theory
Conference on sound studies
University of Aarhus, Denmark
September 23–25, 2010

Call for papers

Today, sound studies provide an important framework for furthering cultural research related to a broad range of historical and contemporary issues. Also, sound studies contribute to the understanding of currents in social and global activity increasingly determined by auditory, sonic, and communicative materiality. At the same time, the exploration of auditivity and auditory cultures raises a series of significant aesthetic, medial, historical, cultural, and theoretical questions.

Cultural changes related to globalization and digital media have questioned traditional paradigms of vision containing notions of visual representation, semiotics, and a hermeneutics based on reading. Such changes suggest an auditive paradigm in which modes of interaction, mobile communications, and spatial and geographic fluidity lead to a renewed sense of orality and listening. In research this new paradigm is establishing itself as the interdisciplinary field of sound studies. It draws on disciplines such as musicology, performance studies, art history, anthropology, cultural studies, urban studies, and histories of technology and media while influencing these disciplines with new modes of reflection on and examination of their respective methodologies and subsequent political effects.

The aim of the conference is to profile contemporary sound studies as an interdisciplinary field of studies and to contribute to the discussion and development of the auditive paradigm in general. Key concepts like ‘acoustemology’, ‘acoustic space’ or ‘sonic environment’ might be reflected upon and developed as well, both at a theoretical level and with regard to specific cultural, medial and aesthetic contexts.

The programme of the conference will consist of keynote lectures, plenary roundtables, thematic workshops and individual presentations. Individual presentations and entire workshops may draw inspiration from the following array of questions:

  • What is the experiential framework of listening and auditive culture, and how is the world constituted (identity, locality, sociality, culture etc) through auditive practice?
  • How has musical and technological sound production and perception changed through the last century and how has it contributed to everyday soundscapes, the concert hall, and the media?
  • What can we know, i.e., what types of knowledge, identity and meaning are made possible through acoustic practice – are there any limits to sound taken as an experiential framework and as cognition?
  • What perspectives might arise from current studies of auditory modes of relating to space, of appropriating, expressing and designing social environments?
  • How does sound help define urban environments, and how might issues related to urban planning, architectural design, and noise benefit from a deeper and more complex understanding of sound?
  • What are the correlations between listening and other sensory modalities, the body, sociality, materiality, technology and media (sound viewed as a cognitive paradigm isolated from actual resonating sound).
  • How do auditive practices appear to be conventional or normative? How do auditive practices, in conjunction with other sensory modalities, articulate value, aesthetics, ethics and morals in culture?
  • How do we further the development of academic terminologies for dealing with sound?
  • How can transgressions of traditional distinctions between sound, music and art be understood in a socio-cultural perspective?
  • What do the specific aesthetic aspects of sound art seek to achieve in contrast to the predominance of visuality and modes of seeing within the arts?
  • How is artistic and academic education in sound competence developing?

Proposals for presentations (20/10 mins) or workshops (90 mins) must be submitted to the conference organisers/programme committee by April 1, 2010 as an email attachment (rtf/pdf/doc) to soundstudies@hum.au.dk.

Please include the following information: Paper abstract and title (max. 200 words), name(s), affiliation, e-mail, and technical equipment required (PC/DVD/CD/data projector/over-head projector/etc.).

Notifications of acceptance will be sent no later than May 3, 2010.

Keynote speakers are Dr. Penelope Gouk (University of Manchester), Dr. Jean-Paul Thibaud (CRESSON), and professor Adam Krims (University of Nottingham).

The official language of the conference is English. The conference fee is 1.000 D.Kr/€135. Please contact one of the organisers mentioned below in case you need more information.

The conference is organized by the “National Research Network on Auditive Culture”(http://auditiveculture.ku.dk/), the research project “Audiovisual Culture” (http://www.ak.au.dk/en), and the Nordic Branch of the International Association for the Study of Popular Music.

Some upcoming conferences 2010

The second International symposium on ambisonics and spherical acoustics will be held on May 6-7, 2010, at IRCAM, Paris. Read the call for participation for information on how to submit papers and demos. The previous conference was held in Austria 2009. Proceedings are available online.

The 7th Electroacoustic music studies conference will take place in Shanghai, June 21-24, 2010. This year’s theme is “Teaching electroacoustic music”. Read the call for papers for more information. Proceedings from previous conferences are available.

The 7th Sound and music computing conference, Barcelona, July 21-24, 2010, is open for both paper and music contributions. The concert hall has an octophonic system. Earlier proceedings are searchable online.

The 13th International conference on digital audio effects will be held in Graz, Austria, September 6-10, 2010. For more info, see call for papers; links to previous conferences/proceedings are at the main DAFx web site.

Updated December 6, 2009; originally posted November 23, 2009.

Vilken nytta har vi av ljud? – 4 november 2009

An invitation to a conference, “What use is sound?”, of interest to Swedish readers only.

Inbjudan utskickad på BIBLIST, men konferensen verkar vara öppen för alla intresserade.

“Vi i det nybildade nätverket Östgötaljud bjuder in till en dag som syftar till att informera om och diskutera det som idag görs både här i Östergötland och nationellt. Vi vill även blicka framåt och se hur vi tillsammans kan arbeta med ljudet i framtiden.

Nätverket Östgötaljud är en ABM-samverkan i länet.

Målgruppen för denna konferens är arkiv, bibliotek, museer och andra intresserade.

Vi kommer att under dagen diskutera: Vad är ljud? Vem arbetar med att bevara ljud och ljudmiljöer för eftervärlden? Hur gör man för att spara på ljud och kan man återskapa ljud som försvunnit? Hur tar vi idag hand om ljud på våra arkiv, bibliotek och museer och vad kan och vill vi göra? På vilka sätt kan vi tillgängliggöra ljudet och hur kan vi använda det i utställningar och gestaltningar?

Program och anmälan:

http://www.kulturarvostergotland.se/ostgotaljud

Senast 12 oktober vill vi ha din anmälan.

Välkommen!”

3rd International Workshop on Interactive Sonification

April 7, 2010
KTH, School of Computer Science and Communication, Stockholm, Sweden
http://interactive-sonification.org/ISon2010/

The overall number of attendees will be *strictly limited* (to about 40), and priority will be given to attendees that submit and present novel and interesting work on Interactive Sonification.

It would help us to hear very early if you plan to attend or/and to submit work.

This workshop is intended as a forum for newcomers and all those interested in tightly-closed loop human-computer systems involving sonification. Work in progress is also very welcome, if there are relevant novel ideas, new approaches, techniques or applications to report.

Deadline for abstracts: October, 31 2009

Please see the above website for full details, and the call for papers.

Call for papers: EvoMUSART 2010

EvoMUSART 2010
8th European Workshop on Evolutionary and Biologically Inspired Music, Sound, Art and Design

7-9 April, 2010, Istanbul, Turkey

http://www.evostar.org

INTRODUCTION

EvoMUSART 2010 is the eight workshop of the EvoNet working group on Evolutionary Music and Art. Following the success of previous events and the growth of interest in the field, the main goal of EvoMUSART 2010 is to bring together researchers who are using biologically inspired techniques for artistic tasks, providing the opportunity to promote, present and discuss ongoing work in this area.

The workshop will be held from 7-9 April, 2010 in Istanbul, Turkey as part of the EvoStar event.

Accepted papers will be presented orally at the workshop and included in the EvoWorkshops proceedings, published by Springer Verlag in the Lecture Notes in Computer Science series.

EvoMUSART 2010 important dates are:

Submission deadline: November 4, 2009
Conference: 7-9 April, 2010

TOPICS OF INTEREST

The papers should concern the use of bio-inspired techniques (Evolutionary Computation, Artificial Life, Artificial Neural Networks, Swarm Intelligence, etc.) in the scope of the generation, analysis and interpretation of art, music, design, architecture and other artistic fields. Topics of interest include, but are not limited to:

– Generation
o Biologically Inspired Design and Art-Making Systems that create drawings, images, animations, sculptures, poetry, text, objects, designs, webpages, buildings, etc.;
o Biologically Inspired Sound-Generators and Music-Systems that create music, aggregate sound, or simulate instruments, voices, effects, etc;
o Robotic Based Evolutionary Art and Music;
o Other related generative techniques;
– Theory
o Computational Aesthetics, Emotional Response, Surprise, Novelty;
o Representation techniques;
o Comparative analysis and classification;
o Validation methodologies;
o New biologically inspired computation models in art, music and design;
– Computer Aided Creativity
o New ways of integrating users into evolutionary computation art and music frameworks;
o Analysis and evaluation of: the artistic potential of biologically inspired art and music; the artistic processes inherent to these approaches; the resulting artifacts;
o Collaborative distributed artificial art environments;
– Automation
o Techniques for automated fitness assignment;
o Systems that exploit biologically inspired computation to analyze artistic objects and artifacts;

ADDITIONAL INFORMATION AND SUBMISSION DETAILS

Submit your manuscript, at most 10 A4 pages long, in Springer LNCS format no later than November 4, 2009. Formatting instructions available at:

http://www.springer.com/computer/lncs?SGWID=0-164-7-72376-0

The papers will be peer reviewed by at least three members of the program committee. Authors will be notified via email on the results of the review by 20 December 2009.

The authors of accepted papers will have to improve their paper on the basis of the reviewers’ comments and will be asked to send a camera ready version of their manuscripts, along with text sources and pictures, by 10 January 2010. The accepted papers will appear in the workshop proceedings, published in Springer LNCS Series, which will be available at the workshop.

Further information, including the Online Submission Details, can be found on the following pages:
Evo*2010: http://www.evostar.org
EvoMUSART2010: http://dces.essex.ac.uk/research/evostar/EvoMUSART.htm

IMPORTANT DATES

Submission: 4 November 2009
Workshop: 7-9 April 2009

Architectones II conference 3-5 July 2009

ARCHITECTONES II (3-5 July 2009)
ROYAL SALTWORKS OF ARC ET SENANS, SOUTH EAST FRANCE

In July 2008, the first edition of Architectones brought together a number of leading artists, architects, curators and theorists for a two-day conference on sound art. The conference addressed topics such as sound and architecture, curating sound and the role of sound in contemporary art via presentations and discussions relating essentially to artistic practice. Architectones II will take an in-depth look at the topic that elicited the most interest among participants – the relationship between sound and architecture. It will do so not from the point of view of practice but by examining the theory and thinking underpinning these practices. The event will consist of a day-long discussion on Saturday 5 July designed to stimulate in-depth exchanges between the speakers and the audience. Each speaker will prepare a short text and five questions that will form the basis for the discussion. These will be posted on the Architectones website in the weeks leading up to the event.

The programme will include a sound walk as well as installations and film screenings on the subject of sound and architecture, taking place on the Friday, Saturday and Sunday.

Speakers/moderators: Pascal Broccolichi (France), Gregoire Chelkoff (CRESSON) France, Seth Cluett (USA), Sabine von Fischer (Switzerland), Raviv Ganchrow (The Netherlands), Rahma Khazam (UK France), Claudia Martinho (PT France), Colin Ripley (Canada), Edwin van der Heide (The Netherlands)

Contact: www.architectones.net

DAFx 2009 call for papers

Digital Audio Effects Conference DAFx 2009
http://dafx09.como.polimi.it/

The 2009 edition of the DAFx conference will be held on September 1-4, 2009 in the beautiful city of Como, Italy, at the Conference Area of the Politecnico di Milano’s Como Campus. DAFx provides an opportunity for experts and students of audio from all over the world to show their research achievements, present and attend tutorials, and exchange ideas on the most recent developments in the audio world.

Papers are solicited for, but not limited to, the following topics:

– Audio Effects
– Sound Synthesis
– Physical Models and Virtual Musical Instruments
– Virtual Analog Models
– Sound Representation and Sound Modeling
– Time-frequency & Spectral Processing
– Audio Coding
– Audio Analysis and Feature Extraction
– Synthesis, Reproduction and Perception of Spatial Sound
– Perception, Cognition, and Psychoacoustics
– Software and Hardware Implementations
– Audio-Based Music Information Retrieval Systems
– Automatic Transcription and High-level Features
– Space-Time Audio Processing
– Networked Audio and the Internet
– Compositional Issues, Sound Design and Sonic Interaction Design
– Audio in Mobile Applications

Prospective authors are invited to submit full-length papers before April 6, 2009 according to one of the following two papers formats:

– Oral: up to 8 pp. in the Proceedings, 20-min presentation
– Poster: up to 8 pp. in the Proceedings, recommended length 4 pp.

All submissions are subject to peer review. The accepted contributions will be published in the Conference Proceedings, which will be made freely accessible on the conference website.

Important dates

– Full-Paper Submission: April 6, 2009
– Notification of Acceptance: May 22, 2009
– Final Paper Submission: June 19, 2009
– Early-bird registration deadline: July 1, 2009

The event is organized by the Sound and Music Computing Lab of the Politecnico di Milano, Como Campus, and by the Image and Sound Processing Group, with the Help of the Conservatory of Music in Como.

Sound and Music Computing Conference 2009: Call for Music

The 6th Sound and Music Computing Conference (SMC) is glad to announce an open call for works. This year’s SMC will happen in Porto at Casa da Música, Porto’s most recent architectural landmark located in the new center of the city.

There will be five concerts at the conference that include a network performance. Three of the concerts will be at Casa da Música and the other two at a venue to be announced.

We particularly encourage submissions of works of electronic music that have a performance aspect to it, such as works for instrument(s) and electronic music, laptop performances, live electronic music, live coding, circuit bending, interactive installations, audio-visual performance, and interactive dance.

The conference concert programme will be selected by curators (Evan Parker, Nicolas Collins, Pauline Oliveros and Robert Rowe) in coordination with the Music Chairs (Carlos Guedes and Pedro Rebelo). The conference will provide a professional ensemble with soloists in the following instruments: Flute, Clarinet, Saxophones, Double Bass, Piano and Percussion.

All submissions must be made through an online system at http://smc2009.smcnetwork.org/. Please note there is a limit of 100MB per submission (please used compressed formats, e.g. mp3, ogg, mp4). If you wish to send larger files you should mail us a CD/DVDs to the following address:

SMC 09 C/O Carlos Guedes
INESC-Porto
Rua Dr. Roberto Frias 378
4200-465 Porto
Portugal

Call for Student works
The 6th Sound and Music Computing Conference is also glad to announce a call for student works. Undergraduate and Postgraduate students from all European Schools are encouraged to submit works, following the guidelines proposed in the main call for music. When submitting the works for the student call, you have to submit a proof of enrollment at a European School or University.

Important dates for both submissions:
Submission deadline: April 17
Notification of acceptance: May 15

All questions should be addressed to Carlos Guedes cguedes[at]inescporto[dot]pt or to Pedro Rebelo p[dot]rebelo[at]qub[dot]ac[dot]uk.

Call for participation, sound designs, posters, demos: Sonic Interaction Design Workshop

Sonic Interaction Design and its relation to Film and Theatre sound design

SID Workshop at the University of York

Date: 2 April 2009 (followed by SID Management Committee on 3 April 2009)

Registration to the Workshop:
Please send an email by the 15 March 2009 with the subject line Registration York SID Workshop at sp148@york.ac.uk

Introduction
The discipline of Sonic Interaction Design (SID) investigates ways of conveying information, data and object characteristics through sound in interactive contexts. This field of research has become increasingly important and urgent as the technology available has become more powerful and mobile due to the process of miniaturization. Research regarding SID is relatively new, however, the practice of designing sounds to accompany, represent or evoke actions and objects has a longer history since Sound Designers have been creating new sounds for objects in Theatre and Film for many, many years. This knowledge and practical experience is the logical starting point for the new research field of SID.
The aim of this workshop is to bring together practitioners in the fields of Film and Theatre and researchers in Sonic Interaction Design to discuss and exchange knowledge and practice in the field. This is a rare opportunity for a highly interdisciplinary meeting of people who usually work in different contexts, but who are interested in similar issues. We hope that this meeting will stimulate discussion and produce fruitful collaborations.

Workshop Invited Speakers
Prof Mary Luckhurst, Department of Theatre, Film and TV, The University of York
Daniel Hug, Vertiefungsrichtung Interactiondesign, Interaction Design Program | Game Design Program, University of Applied Sciences and Arts Zurich
Annabelle Pangborn, Head of Editing, Sound and Music, National Film and TV School (UK)

Others to be confirmed

Call for Sound Designs

Experimenting with Sonic Interaction Design
A difficult question in Sonic Interaction Design is to identify ways in which design ideas can be sketched, tested, represented and discussed. One possibility is to set a scene or context in which a person interacts with objects. For this scene, a variety of sounds may be appropriate although, this will depend on the particular interactive experience the designer is attempting to create via sound for the person interacting with the objects. Only the people interacting directly with the objects (and perhaps external observers) can then tell the designer if their experience effectively related to the initial intentions of the designer communicated via the sounds.

Following this idea, in this workshop, we have set a small theatrical scene, involving interactions with sounding objects, which is open to different interpretations and performances, and we set out to perform it with different sets of sounds. The designers will have a context, objects and a setting for which to create appropriate sounds, the actor will respond and react to the sounds (and therefore the objects) as a person could do when using those objects in a real situation and finally the audience will be able to observe the scene and then discuss how well the sounds have communicated the intended experience. In this workshop, we will explore this “theatrical” representation of sonic interaction designs with a twofold aim:

– To discuss the effectiveness of the sonic interaction designs proposed in light of the original designer’s intentions and the feedback produced by the actors and the audience;

– To evaluate the advantages and limitations of this “theatrical” method as a tool for testing and evaluating sonic interaction designs.

We invite submissions of originally designed sounds (in .wav or .aiff format) for the actions and objects of the following theatrical scene (download scene text ).

The sound files should be accompanied by:

1) a document clearly stating which sound file corresponds to which action/object in the scene;

2) a second document which should report briefly the sound designer’s interpretation and setting (time and place) of the scene, the designer’s intentions for the design of each sound and the technical strategies used to design each sound.

Actors will perform the scene with the selected sound designs on the day of the workshop. The actors will rehearse the scene a few days in advance but only knowing the setting (time and place) decided by the sound designer for the scene. The performance of the scene will depend upon the response from the actors to the sounds proposed for the scene. The actors will then prepare a document reporting their understanding of the sounds.

After the performance, during the workshop, audience, actors and designers will be given some time to discuss how successfully the sounds were at communicating the initial designer’s intentions, which will be revealed to both the actors (interacting directly with the objects) and the audience (observers of the interaction).

A final discussion will draw conclusions on this “theatrical” method of testing and evaluating sonic interaction designs.

Submission details
Format: see details above.
Submission deadline: 9 February 2009
Acceptance notification: 28 February 2009
Submission of sound files and documents via http://www.mediafire.com/ and email to sp148@york.ac.uk

Call for Posters/Demos
We invite demos and poster presentations on the subject of Sonic Interaction Design that are also of interest in the contexts of theatre, or more generally the performing arts, and cinema.

Submission details
Format: an abstract of max 500 words
Submission deadline: 31 January 2009
Acceptance notification: 28 February 2009
Email submission to: sp148@york.ac.uk

DIMEA 2008

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CALL FOR PAPERS AND ARTWORKS/GAMES/DEMOS

3rd ACM International Conference on Digital Interactive Media in Entertainment and Arts
DIMEA 2008

10-12 September 2008
Athens Information Technology (AIT), Athens, Greece
Conference Web site: http://www.dimea2008.org

Full Papers and Art Works/Games/Demos Submission Deadline: May 12th, 2008
Workshop Proposals Deadline: April 15th, 2008
Tutorial Proposals Deadline: April 18th, 2008

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The advances in computer entertainment, multi-player/online gaming, technology-enabled art, culture and performance have created new forms of entertainment that attract, immerse and absorb their participants. The phenomenal success of such a “culture” to initiate a mass audience in patterns and practices of its own consumption has supported the evolution of an enormously powerful mass entertainment, digital art and performance industry extending deeply into every aspect of our lives, leading further to major societal and business contacting changes.

The International Conference on Digital Interactive Media in Entertainment and Arts (DIMEA), in cooperation with ACM, is the premier forum for the presentation of societal, business and technological advances and research results in cross-disciplinary areas related with digital interactive media in entertainment, art and creative technologies. This conference is dedicated to build common ground between research, design and development, learning and collaboration in its myriad digital media forms: one of its many objectives is the exploration of ‘play & learn’, demonstrating new arenas and applications for digital gaming and incorporating leading edge technologies, designs and models in our changing views about what is involved in gaming.

DIMEA 2008 is jointly organized by Athens Information Technology (AIT), ACM Special Interest Group on Computer Human Interaction (ACM SIGCHI, Singapore Chapter) and the Society for Excellence and Innovation in Interactive Experience Design (InExDe).

DIMEA 2008 will bring together academics, technologists, artists, designers, and industry representatives to address and advance the leading edge of new digital and interactive media.

Who should attend:
——————
Academics, Animators, Artists, Designers, Developers, Educators, Engineers, Game Designers, Industry Professionals, Media Industry, Video Producers, Directors, Writers, Performers, Photographers, Videographers, Researchers, Students. Anyone who wants to be inspired to adopt advanced ways in industry, society, business, research and teaching, expand their knowledge on a wide variety of topics within the field of digital media, network with cross-disciplinary experts from digital media professionals to academic experts, and evolve with this ever-changing field!

DIMEA 2008 is one of the few conferences that combines full technical papers as well as artwork/game/demo submissions, to accomodate, after evaluation and selection, both technical oral sessions as well as artwork/game/demo exhibition sessions. For each one of the two tracks of the conference further information is separately provided below.

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Technical Conference Track
==========================

The following, non exclusive, topics are called for:

* Entertainment, Art and Technology
Location-based and Pervasive Gaming, Mobile Entertainment, Digital Games in Practice, Computer Entertainment Research, Open-Source Gaming Engines, Implications for Multimedia and Web Design, Artistic Games, Commercial Games, Edutainment, Educational/Serious Games, Interactive Games, Games as Pedagogy, Analysis of Games, e-Performance (e-Opera,e-Theatre, e-Concert, …), Virtual Exhibitions and Museums

* New Media Emerging Technologies
Personal Broadcasting (Podcasting and Vlogging), Novel Applications for Mobile Phones, Social and Interactive Computing Applications, Collaborative Spaces/Environments, Innovative Applications of Technology in the Arts, Mixed Reality and Enhanced Visualization, Context-aware Environments and Devices, Immersive Learning Experiences, Communication Technologies and Systems for Digital Media, Advanced Authoring and Composition of Media, Advanced Interaction, Targeted/Personalized Media, Adaptable Media and AI

* Code Art
Algorithmic Art, Software Art, Net Art, Installation Art, Tangible Computing, Sonic Art

* Digital Visual and Auditory Media
Digital Photography, Digital Imaging as Art, Advances in 3D Modelling, Digital Printing, Non-Photorealistic Rendering, Digital Sound and Music, Digital Music Synthesis and Composition, Graphics and Animations, Digital Comics

* Moving Media
Digital Video, Distance Collaboration/Performance, Computer Animation, Interactive Movies

* Culture of New Media
Network Culture, Philosophy of New Media, Digital Identity

* Interactive Stories
Digital Narrative, Digital Asset Management, Semantic Web Technologies, Interactive Television and Cinema, Game Design and Storytelling

Full Paper Submissions
———————-
Prospective authors are invited to submit full technical papers of not more than 8 pages, including tables, figures and references at the conference online paper submission system. Prospective authors should adhere to the conference full paper submission guidelines. Full Papers should present original research related to the above mentioned scientific areas, not published elsewhere. Please refer to the conference Web site (http;//www.dimea2008.org) for detailed submission guidelines. Full papers will be peer-reviewed by at least three reviewers from the International Technical Program Committee in a single-blind process, judging on their relevance, novelty and technical quality.

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Art Work/Game/Demo Exhibition Conference Track
==============================================

DIMEA 2008, with the participation of the MEDIATERRA FESTIVAL, aims to offer the opportunity to artists, independent creators, multimedia authors, programmers and theorists to exhibit their digital interactive rich-media works in art and entertainment, and at the same time to create a forum of communication, discussion and collaboration on advances in the already deployed practices.

We cordially invite artists, creators, designers, game developers, generally practitioners working with digital interactive media to submit their original contributions to the DIMEA2008 Artworks/Games/Demos exhibition track, in the context of the following five DIMEA 2008 subject art-related areas:

* Entertainment, Education, Art and Technology
Location-based and Pervasive Gaming, Mobile Entertainment, Digital Games in Practice, Computer Entertainment Research, Open-Source Gaming Engines, Implications for Multimedia and Web Design, Artistic Games, Edutainment, Educational/Serious Games, Interactive Games, Games as Pedagogy, e-Performance (e-Opera, e-Theatre, e-Concert, …), Virtual Exhibitions and Museums

* New Media Emerging Technologies
Personal Broadcasting (Podcasting and Vlogging), Novel Applications for Mobile Phones, Social and Interactive Computing Applications, Collaborative Spaces/Environments, Innovative Applications of Technology in the Arts, Virtual and Augmented Reality, Mixed Reality and Enhanced Visualization, Context-aware Environments and Devices, Immersive Learning Experiences, Communication Technologies and Systems for Digital Media, Advanced Authoring and Composition of Media, Advanced Interaction, Targeted/Personalized Media, Adaptable Media and AI, Semantic Web Technologies, Digital Identity

* Code Art
Algorithmic Art, Software Art, Net Art, Installation Art, Tangible Computing, Sonic Art, Artificial Entities

* Digital Visual and Moving Media
Computer Animation, Interactive Movies, Advances in 3D Modeling, Semantic-based Approaches, Real-time 3D

* Interactive Media
Digital Narrative, Interactive Television and Cinema, Interactive Drama, Interactive Storytelling

Art Work/Game/Demo Submission Guidelines
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Practitioners in the above areas are invited to submit not more than 1 page short description of their Art Work/Demo/Game at the conference online paper submission system to be considered for demonstration at DIMEA2008. Submitting practitioners should adhere to the conference art work/game/demo submission guidelines, found at the conference Web site at http://www.dimea2008.org. Art Work/Game/Demo submissions will be reviewed by the respective Chairs and their formulated committees.

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General Information
===================
Accepted full papers or artworks/games/demos will be indexed at the ACM Digital Library and included in the Conference Proceedings.

At least one author/practitioner is required to attend the conference and present the accepted paper or demonstrate the selected digital artwork/game.

Tutorials and Seminars, Special Sessions and Industrial Exhibitions will additionally be organized during DIMEA2008.

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IMPORTANT DATES
===============
Full Paper Submission: May 12, 2008
Art Work/Game/Demo Submission: May 12, 2008
Notification of Acceptance: June 20, 2008
Camera-ready Submission: June 30, 2008

Workshop Proposals Deadline: April 15, 2008
Notification of Acceptance: May 16, 2008

Tutorial Proposals Deadline: April 18, 2008
Notification of Acceptance: May 19, 2008