Preserve | Engage | Advance

Computer Music

Conference Theme

44 years have passed since the first ICMC (1974). We missed it only once (1979) convening during difficult times including 911 (Cuba, 2001), SARS (Singapore, 2003), and Hurricane Katrina (USA, 2006).

Celebrating our 43rd ICMC, we invite the community to consider this year’s theme preserve | engage | advance as it broadly relates to the diverse field of computer music including auditory display, cognition, composition, digital audio effects, digital libraries, DSP, MIR, musicology, multimedia, NIME, performance, perception, soundscapes, and WebAudio. While developing this theme we have taken it to heart ourselves through two programs:

Soundscape Heritage capture, archive, and preserve soundscapes through a 3D lens: data-Driven, community-Driven, and art-Driven. We are launching a campaign to engage the community in Soundmapping our World to preserve our soundscape heritage and advance technologies to sense and help mitigate the global urban noise pollution phenomenon.

Computer Music Heritage capture, archive, and preserve annual ICMC works starting with ICMC 2018. Initial Step – Stop the leak so that the yearly curated works are no longer lost after each conference ends. Next Steps – Archive access and the what, how, and who to advance content-based music exploration for meaningful user engagement.

Soundscape Heritage

The Soundscape Heritage program is part of this year’s theme preserve | engage | advance where we are launching the S o u n d m a p p i n g   O u r   W o r l d campaign to capture, archive, and preserve soundscapes through a 3D lens: data-Driven, community-Driven, and art-Driven. As part of this campaign we will use the Citygram plug-and-sense sensor network system where practically any computing device can be transformed into a sensor node. This allows a mechanism for easy community engagement and repurposing of old/unused computing devices for soundscape sensing. Links will be shared shortly.

Noise Pollution Context
Noise pollution is the no. 1 complaint in cities like New York City as quantified via its 311 non-emergency hotline introduced 14 years ago. The spatiotemporal ubiquity of city noise – especially those coming from human activity – is something urbanites have learned to endure. Learning to deal with noise, however, comes with serious associated health risks: according to Bronzaft, one of the leading experts in environmental psychology, “It means you’ve adapted to the noise … you’re using energy to cope with the situation. That’s wear and tear on your body”. Such wear and tear does not only contribute to hearing impairment but impacts children’s learning, hypertension, sleep deprivation, cardiovascular complications, work productivity, and social behavior.

This situation is a non-trivial concern as expanding megacities worldwide are, for the first time in history, inhabited by more than 50% of the world’s population. in 30 years approximately 3/5 of the global population is expected to live in one of these megacities.

Our ultimate goal is to preserve and capture soundscapes so that we can contribute towards urban noise mitigation efforts and ensure that future generations will be able to experience, study, research, and use associated data for a plethora of multidisciplinary projects including artistic expression.

Computer Music Heritage

As part of this year’s theme preserve | engage | advance, we are launching a program to collect, archive, and preserve electro-acoustic music works curated by major festivals and conferences beginning with the ICMC. This effort is part of the electro-acoustic music mine (EAMM) project which aims to strategically crowd-source, archive, preserve, and provide music exploration and discovery interfaces specifically for the electro-acoustic music genre.

As a first step, in partnership with NYU Libraries, we will collect digital artefacts for works presented the 2018 ICMC. All of the collected data will be safely archived at the NYU Library. This initial step is to stop the leak where works that are painstakingly curated through credentialed peer-reviewing systems, are no longer lost after completion of each conference – 42 such ICMC conferences since 1974. This effort will continue beyond 2018 and for all future ICMC conferences. The next step, will entail broadening our scope to other conferences including SEAMUS and NYCEMF in order to address the diverse heritage of the field. For the third step, we will aim to develop a content-based electro-acoustic music discovery system to facilitate EAM exploration, study, and access. Steps two and three will executed after the completion of the 2018 ICMC and we hope to be able to collaborate and brainstorm through workshops and panel discussions at the conference.

Participating authors will retain all rights to their work.

Ultimately, we hope to contribute to preserving our computer music heritage and invite our community to join us in this long-term effort beginning with the 2018 ICMC.

PAPERS

DEMOS

INSTALLATIONS

MUSIC

WORKSHOPS

PANELS

Keynote Speakers

ICMC 2018 keynote speakers

Donoung Lee

Professor @ Seoul National University

Barry Truax

Professor Emeritus @ Simon Fraser University

Schedule

ICMC 2018 schedule at a glance

No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.
No schedule yet.

Registration

Registration will open soon. Stay tuned!

Partners

Our ICMC 2018 partners

Korea Tourism Org.
Daegu City
DCVB
Daegu Art Factory
Daegu Concert House
AO Valley
CATSNU
Citygram
Hanseo University
NYU Library
NYU Steinhardt
The Society of Music Composition and Research
VT
VT DISIS
VT SOPA