Fwd: Organised Sound - Call for Papers - Interactivity

Subject: Fwd: Organised Sound - Call for Papers - Interactivity
From: Yves Gigon (ygigon@videotron.ca)
Date: Tue Aug 17 1999 - 12:34:32 EDT

Recu a la CEC:
Received at the CEC:

> Organised Sound
> An International Journal of Music and Technology
>Volume 5, Number 1
>Issue thematic title: Interactivity
>Date of Publication: January 2000
>Publishers: Cambridge University Press
>Articles to be considered for publication in the named issue are now
>Despite the activity of recent decades in the fields of Live
>Electronics, Human-Computer Interfacing, Gestural Sensing, Motion
>Tracking, Virtual Reality and other forms of interactivity between
>humans and their machines, most of us still use the mouse and ASCII
>keyboard to communicate with our musical computers. If you don't, write
>an article for Organised Sound and tell us why you don't and how you
>manage not to?
>Cross-arts work has inspired a good deal of innovation in
>human-computer interaction to allow dance, sculpture, video and public
>events to be closely linked with musical creation and performance, and
>to allow extra-musical events to be mapped into a musical domain. Do
>you map events to music or write music which can only be performed
>interactively? Do you produce mechanisms or write programs that allow
>this type of interaction to take place?
>Are you working with new materials which allow information to be
>transduced from people or events in a form suitable for artistic
>Real-time computing, once a goal of all music applications, is now only
>a special case in time since many of our most complex musical processes
>can be realised "faster than sound", or at least faster than many
>performers. What forms of interaction will be possible with computer
>music applications in future electronic music performances?
>How will new computer resources effect the necessity for the
>out-of-time compositional processes of electroacoustic music? Will
>electroacoustic music become a performance based music, where an
>audience might visit concert halls to enjoy a certain performer's
>interpretation of a piece?
>Complex scenarios like those described above require years of
>development work in hardware, software, creative processes,
>compositional techniques and in audience awareness or desire to
>interact with artists. If you are making a contribution in any of these
>fields Organised Sound would be delighted to consider your work for
>SUBMISSION DEADLINE: 15 November 1999
>Notes for Contributors can be obtained from the inside back cover of
>published issues of Organised Sound or from:
>Articles and other material for the editors' consideration should be
>by 15 November 1999. Hard copy to:
> The Editors
> Organised Sound
> Centre for Technology and the Arts
> De Montfort University
> Leicester LE1 9BH, UK.
>Email submissions should be mailed to (please see SUBMISSION FORMAT above):
> os@cage.york.ac.uk
>Further details about Organised Sound are available at:
>Editors: Ross Kirk, Leigh Landy, Tony Myatt, Richard Orton.
>Corresponding Editors:
> Lelio Camilleri, Daniel Oppenheim, Miller Puckette, Barry Truax,
> David Worrall
>International Editorial Board:
> Marc Battier, Francois Bayle, Peter Castine, Alcedo Coenen,
> Francis Dhomont,Simon Emmerson, Rajmil Fischman, Takayuki Rai,
> John Rimmer, Jean-Claude Risset, Francis Rumsey, Conrado Silva,
> Christiane Ten-Hoopen, Daniel Teruggi, Jukka Tiensuu,
> Trevor Wishart, Scott Wyatt, Iannis Xenakis.


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