AM 2014 - Audio Mostly Conference

Audio in all its forms holds tremendous potential for interaction design. Sound can engage, inform, convey narrative, dramatize, create attention, affection and adventure. However, the abilities to interact with computer systems through and with sound are still not sufficiently explored. The Audio Mostly Conference provides a venue to explore and promote the untapped potential of audio for interaction design by bringing together audio experts, content creators, interaction designers, behavioural researchers and others.
The area of interest covers new interactive applications for sound that demand or allow for some kind of interactive response from the users/listeners. It can for example be in scenarios where screens and keyboards are unavailable, unsuitable or disturbing, but it can also be in contexts where sound in combination with other modalities form new and innovative interfaces between users and machines. The area implies cognitive research and psychology, design methodology and practice, as well as technological innovations in audio analysis, processing and rendering. The aim is to both describe and push the boundaries of sound-based interaction in various domains, such as industry, mobile applications, computer games, education, entertainment, safety and digital arts.
The theme this year is “Imagining Sound and Music”
How does one design the sound of an imaginary creature and what is the relationship between the artist and the engineer when turning musical imagination into reality? Whether composing musical scores, creating fantastical sonic spaces, or creating monster sounds, the resultant interaction with such imaginary sonic artefacts plays no less a significant role than the realization of the aural imaginary.
Topics of Interest:
The Audio Mostly conference series is interested in sound interaction design in general, is strongly interdisciplinary, and provides a space for alternative creative approaches. Hence, prospective contributions are not limited to specific methodological approaches and papers dealing with the theme from either a philosophical or an empirical viewpoint are welcome along with those with a more mixed method. Contributions may address a number of sound- and music-based topics related to the theme that include, but are not limited to:
shared and individual imagination
user experience
fantastical sounds and spaces
creativity
technology
future interfaces for new experiences
interaction
sensory and perceptual modalities
conceptualization
drafting
implementation
Important Dates
Deadline for paper submission ? May 9, 2014
Notification of acceptance ? June 20, 2014
Camera-ready paper submission ? July 25 2014
Early registration deadline ? September 1 2014
Conference ? October 1-3 2014
Paper submission
Researchers, composers, game developers, sound artists, audio engineers, etc. who are interested in sharing their results, perspectives and insight to a multidisciplinary audience are invited to submit electronically full papers. Poster papers are also allowed, providing a venue for researchers and practitioners to discuss their work-in-progress.
Full papers: up to 6-8 pages, anonymised, in ACM Proceedings Format with up to 150 word abstract.
Poster papers: submit a 2-6 page extended abstract or short paper prepared using ACM CHI Extended Abstracts format (Microsoft Word Template and LaTeX files).
Authors are required to classify their contributions according to the ACM Computing Classification System. A majority of the work will probably be classified under the H.5, I.5.2, I.6, J.4, J.5, J.7, K.3, K.4.1, K.4.2, K.8.0 classes.
Submitted papers will be reviewed by at least two referees and all accepted ones will be published in the Conference Proceedings and will be available in ACM digital library. In addition to the technical program, a social program will be offered to the participants and their companions.
Authors of accepted articles will be required to fill out and send in a copyright form for approval by ACM. Complete instructions will be sent to them after the final review notifications.
ACM has made important changes to its publishing policies that affect both authors and readers. Working with the computing community, ACM leadership has responded to calls to make scholarly articles more openly accessible, to enable authors to exercise greater control of their published works, and to comply with the increasing demands placed on authors by funding agencies.
ACM authors now have three ways to manage their publication rights with ACM:
A license granting ACM non-exclusive permission to publish ? by choosing to pay for perpetual open access from the ACM Digital Library, authors can opt to manage all rights to their work themselves.
A new Publishing License Agreement granting ACM exclusive publication rights ? in choosing this license authors grant ACM the right to serve as the exclusive publisher of their work and to manage on-going rights and permissions associated with the work, including the right to defend the work against improper use by third parties. This exclusive license is roughly the equivalent of ACM’s traditional Copyright Transfer Agreement except that the author continues to hold copyright.
ACM’s traditional Copyright Transfer Agreement ? for authors comfortable with the existing copyright transfer agreement.
Under all options, ACM authors always hold these permanent rights to:
Exclusive ownership of patents and trademarks
Reuse of any portion of the work without fee or need for permission in future work
Creation of major revisions wholly owned by author
Freely posted author-prepared Accepted Versions in personal bibliographies and on their own institutions’ repositories
These policy chan