ACMC 2018
Reflecting Worlds: The Promise and Limitations of Mimesis in Electronic Music
- Date: 6-9 December 2018
- Where: WAAPA ECU Perth Australia
Refereed Papers
- Thomas Connell: GAME SOUND - WHAT DO WE GAIN? (PDF)
- Louise Devenish, Cat Hope and Aaron Wyatt: SHUFFLE OVER: ALEATORIC ELECTRONIC SCORES FOR PERCUSSION NOTATION 14 REPRESENTING BOTH SOUND AND GESTURE (PDF)
- David Hirst: HACKING MUSIC NOTATION WITH BACH AND CAGE (PDF)
- Jonathan Maltman and Lindsay Vickery: THE FOUNDATIONS OF SPEECH MELODY COMPOSITION AND THE DAWN OF DIGITAL MUSIC ERA (PDF)
- Ryan Martin: DIGITAL MONKEYS: HOW AN INTERNET-BASED PERFORMANCE CAN REFLECT THE DEVELOPMENT OF RULES IN SOCIETY (PDF)
- Peter McNamara: CONTRASTING APPROACHES: THE CONTINUED RELEVANCE OF PRE-RECORDED LIVE ELECTRONIC MUSIC (PDF)
- Tom O’Halloran: A CASE FOR INNOVATION IN JAZZ THROUGH INTEGRATION OF THE DIGITAL/MOVING IMAGE (PDF)
- Daniel Pitman: SOUNDS IN SPACE: A FOLIO OF SPATIAL WORKS AND PRODUCTIONS USING GAME TECHNOLOGY (PDF)
- Tracy Redhead: THE EMERGING ROLE OF THE DYNAMIC MUSIC PRODUCER (PDF)
- Ryan Ross Smith, Cat Hope and Justin Yang: SOL LEWITT IN ANIMATED NOTATION: A STUDY OF COMPOSITIONS BY SMITH, YANG AND HOPE (PDF)
- Scott Stickland, Nathan Scott and Rukshan Athauda: A FRAMEWORK FOR REAL-TIME ONLINE COLLABORATION IN SOUND PRODUCTION (PDF)
- Thomas Studley, Jon Drummond, Nathan Scott and Keith Nesbitt: DESIGNING FOR STOCHASTIC GAME-BASED COMPOSITION WITH MAX & UNITY (PDF)
- Kai Ren Teo, Teck Seng Ng, Balamurali B T and Jer-Ming Chen: EXPLORING DÍZI PERFORMANCE PARAMETERS WITH MACHINE LEARNING (PDF)
- Michael Terren: SILICEOUS: SPECULATIVE MIMESIS AND THE GRAIN OF THE DIGITAL AUDIO WORKSTATION (PDF)
- Aaron Wyatt, Lindsay Vickery, and Stuart James: INTRODUCING THE DECIBEL SCOREPLAYER “CANVAS MODE” (PDF)
Non-refereed Abstracts
- Roger Dean: DEEP IMPROVISER: TURNING A MACHINE LEARNING PARTNER AGAINST MIMESIS
- Donna Hewitt: #ME TWO: APPROACHES TO COLLABORATION: MERGING TWO PERFORMERS AND THEIR GESTURE CAPTURE SYSTEMS, VOICES AND MOVEMENT
- Donna Hewitt: REFLECTIONS UPON COMPOSING FOR AND PERFORMING WITH GESTURAL CONTROLLERS
- Jean-Michel Maujean: THE INTEGRATION OF CYMATICS WITH AUDIO/VISUAL COMPOSITION, USING THE HYDROWOOFER
REFEREED CREATIVE WORK PROGRAM NOTES
- Jesse Austin-Stewart - 8x5 Speaker Array [2018] for 8-channel speaker wall made up of 40 speakers
- Daniel Blinkhorn - Kibuyu [2017] acousmatic work
- Ryan Burge - I am Sitting in a Simulacra [2017] acousmatic work
- Simon Charles - Murrindindi [2016] for electric guitar and electronics
- Roger Dean - Digging Deep [2018] for acoustic piano, generative algorithms, and electroacoustic processing
- Donna Hewitt and Mary Mainsbridge - #Me Two [2018] for voice, eMic, wearable controller, Kinect, Ableton Live and Video projection
- David Hirst - Imaginação de vise [2016] acousmatic work
- Cat Hope and Stuart James - Their Lives are Stripped of Meaning [2018] for trumpet, voice and electronics
- Marcus Jackson - Wet Dream II [2018] for electric guitar and electronics
- Stuart James - Noise in The Clouds [2017] for laptop (running customised chaos oscillator software) with viola, cello, bass flute, clarinet, 2 percussionists and electronics
- Rodrigo Kendrick - Production // Re-Production [2018] 121 installation
- Jean-Michel Maujean - Aguardente [2018] for Hydrowoofer
- Peter McNamara - Amplitude [2013] for solo percussion & pre-recorded electronics
- Barry Moon - Hex [2016] for six guitars with electronics
- Jos Mulder - Stolen Goods (Stocketus) [2017] for acoustic ensemble and loudspeakers
- Josten Myburgh - The silver morning shifts their birds from tree to tree [2017) for three performers and electronics
- Ryan Smith - Study No. 55 [2016] for 5 to 15 Perfomers
- Michael Terren - Silicious [2017] acousmatic work
- Cissi Tsang - Water Study [2018] for field recording, electronics and video
- Lindsay Vickery - takadanobaba [2018] for voice, violin, trumpet, alto saxophone, bass clarinet, electric guitar, prepared piano and percussion.
- Lindsay Vickery - Thalweg [2018] for electric guitar and electronics
- Martin Wesley-Smith - X [1999] for clarinet and computer
- Martin Wesley-Smith - Weapons of Mass Distortion [2003] 125 for clarinet and computer
- Martin Wesley-Smith - Papua Merdeka [2005] bass clarinet and computer
Call for Contributions
The Conference of the Australasian Computer Music Association will hold its annual conference in conjunction with 41st MSA Conference 6-9 December 2018 at the Western Australian Academy of Performing Arts, Edith Cowan University. The Association invites composers/sound artists, performers, academics, engineers, and technologists to present research and creative works on all aspects of electronic music, but especially work relevant to the conference theme “Reflecting Worlds: The Promise and Limitations of Mimesis in Electronic Music.” The conference theme encourages – but is not limited to – papers addressing the following sub-themes:
- Computer music performance practices
- Computational analysis and digital musicology
- Digital signal processing
- Digital scores, score delivery, and notation
- Sound design and sound recording
- Development of computer music software
- Telematic and internet-based performance
- Web-development for streaming audio and multimedia
- AI in composition and performance
- Sonic analysis-resynthesis
Papers and presentations may be in any of the categories outlined below, including creative works (ACMC only). Abstracts of up to 250 words are due by Midnight AEST Friday 25 May 2018 and are submitted via the MSA conference website. Please be sure to tick the box noting your intention for your paper to be considered for ACMC 2018. Note that the inclusion of creative work is encouraged as a means of research reporting. Stereo playback, and data projection facilities will be made available to all presenters.
CREATIVE WORK (ACMC proposals only) Note that ACMC also invites the submission of creative works for inclusion in concerts or a multi-channel listening room. Both the concert venue and listening room will be equipped with 8 channel surround systems. This may include multi-channel electroacoustic live performances, interactive and/or fixed media, or installations. Creative works are submitted via the same online abstract submission process. Please be sure to provide a link to the creative work (or supporting material) within the body of the abstract.
Guidelines for submission of full papers (subsequent to abstract acceptance) A double-blind refereed conference proceedings will also be produced in advance of the conference. On acceptance to ACMC 2018 (on the submission of an abstract), authors will be invited to submit a full paper for consideration in the proceedings. Full papers will be due by Friday 14 September 2018.
Guidelines for authors: The text should be single-spaced; use a 12-point font; employ italics, rather than underlining (except with URL addresses); and all illustrations, figures, and tables should be placed within the text at the appropriate points, rather than at the end.
The text should adhere to the stylistic and bibliographic requirements outlined in the ACMC submission templates.
Enquiries for ACMC2018: Lindsay Vickery l.vickery@ecu.edu.au