Call for Papers/ Posters, Extended Abstracts, Music/ Installations, Workshops/ Tutorials

Areas of Interest

Relevant areas for ICAD include but are not limited to:

Auditory Display:

  • Aesthetics, Culture, & Philosophy
  • Design, Theory & Methods
  • Technology: Tools & Applications
  • Perceptual and Cognitive Aspects
  • Usability & Evaluation
  • Accessibility

 

Special Focus of ICAD15:

  • Sonification:

    • Exploration of Data through Sound
    • Sonification as Art

  • Sonic Interaction Design

    • Interaction design
    • Input technologies
    • Auditory Information Design

  • Spatial Audio

    • Binaural virtual acoustics
    • Loudspeaker-based sound field synthesis

Submission Types

The types of submissions solicited for ICAD15 include:

Papers and Posters

Extended Abstracts

Music and Installations

Workshops

Sonification Contest

Student Think Tank

Submission of Papers/ Posters/ Music/ Installations:
15 February 2015
Submission for Student Think Tank:
3 April 2015
Submission of Workshops:
15 March 2015
Submission of Extended Abstracts // Notification of Acceptance for Workshops:
15 April 2015
Notification of acceptance for Papers/ Posters/ Music/ Installations/ Student Think Tank:
1 May 2015
Notification of acceptance for Extended Abstracts:
15 May 2015
Camera-Ready Papers:
1 June 2015
Start of Sonification Contest:
8 July 2015
Submission for Sonification Contest:
10 July 2015, 17:00

Get the complete call in PDF format.

Papers and Posters

Paper and poster submissions will be 4-8 pages in length, including all figures and references. Typical paper contributions are between 6 - 8 pages, and typical poster contributions are 4 - 5 pages long. Full papers should describe work that offers a substantial contribution to the field of auditory display. Authors of accepted papers will be invited to give an oral presentation of their work, and aleast one author must present the work at the conference for the paper to appear in the proceedings. Poster submissions should describe both finished work and work in late stages of progress. Work that is complete enough that meaningful conclusions can be drawn at the time of submission are encouraged. Authors of accepted submissions will be invited to participate in a poster and/or demonstration session, and at least one author must present the work at the conference for the paper to appear in the published proceedings. When weighing the decision to submit to poster and demonstration sessions, we encourage authors to consider their work in relation to the potential positive benefits (both to authors and their audiences) afforded by the personal interactions that occur in this type of session.

Authors of selected full papers will be invited to submit an extended version (up to 12 pages) of their papers for publication in a Special Issue of the Journal on Multimodal User Interfaces (JMUI): Auditory Display.

Accepted papers will be included in the published proceedings and made publicly available in the Georgia Tech SMARTech system

Templates for Papers and Extended Abstracts are available in Microsoft Word and LaTeX format.

Extended Abstracts

Extended abstracts include, but are not limited to late-breaking results, works in early stages of progress, novel methodologies, unique or controversial theoretical positions, and discussions of unsuccessful research or null findings. Submissions for extended abstracts require a proceedings paper of up to 2 pages in length. Authors of accepted abstracts will be invited to give a short presentation of their work, and at least one author must present the work at the conference for the abstract to appear in the published proceedings. The deadline of the extended abstracts is later to allow very recent contributions in the field.

Templates for Papers and Extended Abstracts are available in Microsoft Word and LaTeX format.

Music and Installations

We invite submissions of music and sound installations. Sonification should be a constitutive element of the proposed works. Priority will be given to works employing space and interaction as additional dimensions to an artistic data exploration. We therefore especially encourage the submission of multichannel electroacoustic or acousmatic pieces and interactive sound installations.

Submission should include:

  1. Title of the work.
  2. Authors list.
  3. Programme Notes (max 150 words).
  4. Description of work, data and sonification processes used (pdf, max 1000 words).
  5. Detailed description and diagrams of staging, setup, spatial and technical requirements.
  6. Link to download of any supplementary media files: multichannel audio files, videos and photos (for installations) etc.

 

The works will be reviewed by an international panel of sound and sonification experts. Preference will be given to submissions that are technically feasible and have a clear documentation of the setup. At least one of the authors who wish to have their works presented at ICAD15 must register and attend to the conference.

As we would like to extend the presentation of these works beyond the time limits of the conference, authors of accepted works are encouraged to present their work also online using the Research Catalogue, an international database for artistic research. The conference page will provide a portal to these presentations.

Have a look at the Concert and Installation Venues.

Workshops and Tutorials

ICAD workshops and tutorials provide in-depth opportunities for conference attendees to discuss and explore important topics in the field of auditory display with like-minded researchers and practitioners.  Please submit concepts for “hands-on” workshops or discussion platforms, possibly allowing participants to contribute, but no paper sessions on their own.  Focus areas can range from applications and programming methodologies to interdisciplinary research skills, emerging concepts, and challenge problems.

Space, facilities, technical support, and the number of sessions that can be accepted are limited, so early submission of proposals is encouraged.  Workshop and tutorial organizers are expected to collaborate with the conference committee, issue calls for participation, gather and review contributed materials (if appropriate), and decide upon the final program for their session.

Proposals should be about one page in length and should include the following:

  • Title, brief abstract, outline of objectives (e.g., tutorial syllabus, organized discussion, presentations, submissions, etc.), relevance for ICAD attendees
  • Proposed duration (full day or half day)
  • Invited speakers (if any)
  • List of organizers, a designated contact person, and contact information for all organizers (address, email, and phone)
  • Technical requirements and space requirements

 

Workshop and tutorial proposals should be submitted via email to ICAD 2015 workshop chairs by March 15th, 2015.  Proposal acceptance decisions will be notified by April 15th, 2015.

An advance decision can be requested if proposers would like extra time to organize their session.  Workshop and tutorial organizers will be expected to work with the conference committee, issue calls for participation, gather and review submissions (if appropriate) and decide upon the final program for their session.

Have a look at the Workshop Venues.

Student Think Tank

The Student Think Tank is a full day meeting for students doing Doctoral or Masters projects in auditory display. It will be held on 7 th July, one day before the ICAD 2015 conference in Graz, Austria. It will be free of charge for all participants and refreshments will be provided throughout the day.

The Think Tank is your chance to set a whole roomful of auditory researchers to work on your particular research issue, to help you choose which method, tool or technique to use to save you from heading down a dead end. Besides providing breakthrough insights into your particular project the Think Tank will foster friendships and networks that are essential in an international community for
auditory display.

Attendees will be selected from those who make a submission by 3rd April 2015.

What to Submit

  1. Cover Letter for ThinkTank Proposal Packet
    Your cover letter should include the following information:

    • Statement of interest in participating in the ThinkTank
    • Full name of School and Department in which you are taking your degree
    • Current stage in the your academic program (e.g., completed MS, 2 years into PhD)
    • Name of the supervising professor
    • Your full contact information: address, phone number, and email address
    • Title of the research and keywords pertinent to the research
    • The URL of your web page (if any)

  2. Two-page Research Interest Summary
    The body of the research summary should provide a clear overview of the research that the student has already conducted; is in the process of completing; has planned; or ideas for research that the student would like to pursue. The statement should discuss the relevance and potential impact of the research on the field, and discuss its broader impact in the world. You are encouraged to include the following sections:

    • Introduction and problem description
    • Brief background and overview of the existing literature
    • Goal of the research
    • Current status of the research
    • Preliminary results accomplished, if any
    • Broader Impact of this research
    • Open issues, topics to be discussed at the ThinkTank, and expected outcomes from participating in the ThinkTank. For example, you might want to discuss choosing the right tools and techniques, to choosing research topics, to how to organize your thesis, to philosophical or aesthetic issues - anything where you could benefit from the perspectives and experience of other students and expertise from the panel.

  3. Letter of Recommendation
    Enclose a letter of recommendation written by the by your Graduate Advisor/Thesis Advisor/Supervisor. Your advisor/supervisor is asked to verify that you are a graduate student, working in the area of sonification or auditory display. Advisors are also encouraged to include an assessment of the current status of the your research and an indication of the expected date of its completion. In addition, your advisor is encouraged to indicate what she/he hopes you would both gain and contribute by participating in the ThinkTank.
  4. CV
    Please prepare a 1-page CV that relates your background, relevant experience, and research accomplishments.

 

Selection and Notification

Twelve of the submissions will be selected by the Panel for formal presentation and “think-tanking”. Notifications of selection will be emailed by 30th April, 2015. The selected problems will be representative examples of a widespread problem, or will be particularly interesting or difficult (as determined by the expert Panel). Each student whose problem is selected will prepare a 15 minute presentation for the Think Tank which will be followed by a 15 minute discussion by everyone in attendance. The Panel will present a report on the think-tank in the ICAD 2015 conference program.

All those who submit a problem may participate in the Think Tank to watch the presentations and join in the discussions; however, only the twelve selected submissions will be able to make a formal oral presentation. Even if your problem is not selected you will leave with a sense of what other students are doing and how they are approaching problems in auditory display, as well as new friends to talk about your project with during the rest of the ICAD 2015 conference and in the future. If your problem is selected you may also leave with the breakthrough you need!

If you are selected to participate you will also be asked to prepare a poster and extended abstract. The poster will be displayed during the conference and the abstract will be included in the conference proceedings. Full details on the conference can be found on the conference website icad15.iem.at. The website will be kept up to date (including details of all the confirmed panel members).

Financial assistance

Financial assistance is available as follows:

  1. Thanks to funding from the NSF, students based in the USA who are selected to present at the Think Tank will receive air fare (from within the US), ICAD conference registration, and funding towards 6 nights accommodation.
  2. Students from outside the USA who are selected to present are not eligible for the NSF travel and accommodation subsidy, though they will be given free ICAD conference registration.
  3. Any other students (US-based or not) who are not selected to make a formal presentation and get formal feedback, are still invited to participate in the Think Tank to watch the presentations and join in the discussions; they are not eligible to receive any funding.

 

Think Tank Panel

The Think Tank Panel comprises six international researchers who work across a range of disciplines covered by auditory display. The confirmed Panel members are:

  1. Dr Paul Vickers [Chair] (Northumbria University, UK)
  2. Univ.-Prof. Dr. Robert Höldrich (Kunstuniversität Graz, Austria)
  3. Dr Bruce Walker (Georgia Institute of Technology, USA)
  4. Dr David Worrall (Fraunhofer AudioLabs, Germany & Australian National University, Canberra)
  5. TBC
  6. TBC

 

How to Submit

Please submit your proposal by 3rd April, 2015. Notifications of selection will be emailed back to the addresses used for submission by 30th April, 2015.

Contacting us

If you have any questions about the ThinkTank please feel free to email the Panel Chair.

This text is available as PDF.

Review process

Review of scientific submissions

The review process is organized by the paper chairs and supported by the Program Committee. Each full paper (submitted for oral or poster presentation) is reviewed by 3-4 reviewers in double-blind mode. The pool of reviewers is recruited by the program committee based on previous conferences. The decision on acceptance lies with the paper chairs and the program committee.


Review of artistic submissions

Concert pieces are reviewed by at least two members of the music jury. Additionally, each piece is listened to and discussed by the local music jury, who accepts or rejects pieces and assigns them to the two different concerts. Criteria for acceptance are the aesthetic quality, the sonification methodology and the originality of the data used; furthermore practical considerations on the composition of the concert play a role.

The installation works are reviewed by the installation chairs, taking into account the same criteria as above, but due to the limitations of the exhibition venue with a stronger focus on technical issues and adaptability with the other pieces.