DESFORM 2019 | DESIGN AND SEMANTICS OF FORM AND MOVEMENT, XI EDITION - Call for papers
OCTOBER 9-11, 2019
In recent decades, design has faced great challenges and profound transformations. Its traditional approach to crafting and shaping the tangible world has been revolutionized by the way this very world has changed, becoming infused with digital technologies that have made it smarter, more interactive, and more connected.
Recent technological developments have generated even more rapid and extreme changes. The emergence of AI, machine learning, flexible electronics, miniaturized and implantable sensors, and hybrid synthetic- biological materials have not only provided designers with new design ingredients, but also generated new cultural and social landscapes in which they must design.
This edition of the DeSForM conference will explore the implications of these recent and emerging technological transformations in the practice of design, with a particular focus on the aesthetics and human experience of these new systems.
Designing beyond intelligence means that the design of such advanced and smart ecosystems should consider issues beyond mere algorithmic thinking and functionality. Scholars in the design field should start reflecting on the connections and mutual relations between the performance of these intelligent ecosystems and their physical appearances, aesthetics, interaction modalities, and personalities. In doing so, they will be able to address the design of ecosystemic user experiences.
DeSForM has traditionally dealt with the design of new, dynamic and interactive artifacts supported by the rise of intelligent systems (sensors, processors, algorithms, actuators, smart materials, etc.). Such systems are becoming more and more complex and sophisticated, giving birth to new forms of digital-physical hybridizations, i.e. dynamic ecosystems where advanced materials, sensing technologies, artificial intelligences, data, and humans are deeply interconnected and mutually shaped. These emerging hybrid ecosystems have already reached a point where their understanding, design, and evaluation ask for the development of new approaches and tools, as the experiences they create are far more complex to foresee and assess.
In this edition, we challenge scholars in this field to start thinking beyond designing for and with intelligence embedded into single artifacts, to broaden their focus and start addressing designing for distributed, hyperconnected, and complex intelligent ecosystems, and how their meaning, experience, and ethics can be approached in this new landscape.
This evolving context of design calls for new design skills and ways of thinking that go beyond the traditional field of design, as well as the creation of multi-disciplinary and adaptable teams able to envision new interactive, interconnected and even unpredictable systems.
The emergence of AI, robotic solutions, and big data connected with the spaces, objects and people we interact with everyday, will create new landscapes for future generations of designers. This will require designers to adopt new lenses in the design and evaluation of emerging technology, and it will necessitate that designers equip themselves with new ethical paradigms.
This conference will face the need to explore new frontiers for design, where emerging forms of distributed intelligence become design material. This material should be fully investigated in terms of tangible manifestations, implications and impact on the design process, user experience, and social consequences. The conference will be structured around four main topics: Experiencing Complexity, Interacting with New Intelligences, Societal Impacts & Design Ethics, and Future Roles of Designers.
Submissions should be focused on one or more of the following themes. In addition to these topics, contributions addressing the general conference interests (i.e. designing meanings, semantics and aesthetics of smart, dynamic and interactive artifacts) are also accepted.
The role of aesthetics in dynamic digital-physical ecosystems
Designing and evaluating user experience in complex digital-physical ecosystems
Design tools to tackle complexity in technology-enriched systems
SOCIETAL IMPACTS & DESIGN ETHICS
Algorithmic decision making, autonomous systems and their impact on user experience and behavior
Designing for transparency and reliability
Emerging technologies and their effects on society
Design tools for ethics
Future challenges for design
INTERACTING WITH NEW INTELLIGENCES
How artificial intelligence transforms artifacts (objects, spaces) and their interaction modalities.
Embodying artificial intelligence through design; tangible forms and appearances of AI
How products’ aesthetics and user experience will change through AI:
At home, living experience in the private domain
At work, working experience in the semi-public domain
In society, connected experience in the public domain
FUTURE ROLES OF DESIGNERS
In designing for complexity
In creating new forms of artificial intelligence and interactions with them
In designing for society
In designing with technology for social innovation
We invite authors to submit high-quality, previously unpublished, original contributions that explore one or more conference topics. Submitted papers (both full and short) will be assessed through a double-blind review process and accepted papers will be published in the conference proceedings. Contributions can fall into one of the following categories:
Full papers (Oral presentation)
Full papers should be up to twelve pages (including references). Submissions should be anonymized for double-blind review. Accepted papers will be given a 20 minute presentation slot at the conference and will be included in the proceedings.
Short papers (Demonstration + Poster)
Short papers should be up to six pages (including references). Submissions should be anonymized for double-blind review. Short papers should describe actual design or art projects, which will be presented through live demos and posters during the conference. Submitters of short papers are also encouraged to provide in their papers a link to download media demonstrating their results, whether images, videos, or other media types. All content should be anonymized for double-blind review. Short papers will be included in the proceedings.
How to submit your paper
Please submit your proposal through the Easy-Chair platform. If you are a new user of Easy-Chair, you will be required to create an account. Once you are logged in, click again on the below link to ensure that you are visualizing the DeSForM 2019 page. The uploaded file must be in PDF format and should not exceed 20 MB.
See https://desform19.org for more information.
NOV 15, 2018
MARCH 1, 2019
Full/Short paper submission deadline
MAY 1, 2019
Notification of acceptance
MAY 1, 2019
Conference registration opening
MAY 31, 2019
Camera ready paper deadline
MAY 31, 2019
Early bird registration closing
SEPT 15, 2019
Conference registration closing
SEPT 30, 2019
Seminar/Workshop registration closing
URBAN SOUND SYMPOSIUM | April 3-5, 2019 in Ghent, Belgium - Soundscape hackathon
The organizing committee of the International Urban Sound Symposium is proud to announce the first Soundscape Hackathon! This hackathon is held as a satellite event to the main symposium, and will take place in parallel to the symposium in De Krook, the new media centre of Ghent.
Goal and objectives
The goal of the soundscape hackathon is to generate awareness and create support for the design of urban soundscapes, and ultimately to foster the introduction of urban soundscape design in education and practice.
During the soundscape hackathon, teams of up to 4 people compete to redesign and improve the soundscape at selected urban open spaces worldwide. Teams are provided with high-quality immersive audiovisual recordings (360-degree video and spatial audio), collected within the framework of the Urban Soundscapes of the World project, in cities such as Berlin, Montreal, Hong Kong, Chicago or New York. Teams are required to develop software to alter the spatial audio recordings by adding or suppressing sounds originating from various directions, and subsequently to design a series of scenarios that present an improvement of the soundscape based on the original recordings.
An international jury will evaluate the designed sound environments and the way they are presented in VR to lay persons and professionals, and will award the winning team.
Teams will be given a detailed task description and all materials on Wednesday April 3 at 9 am, and they will have time to actively work on their project until Friday April 5 at noon. Participants of the soundscape hackathon are free to attend any of the lectures at the Urban Sound Symposium if they desire to do so.
On Friday April 5 in the afternoon, the teams will present their results to the jury and to any interested participants of the Urban Sound Symposium, during a demo session at De Krook.
Note that teams cannot claim ownership of their designs or of the supporting software.
Where will it take place?
The soundscape hackathon will take place in the brand new media centre of Ghent, called De Krook. This venue houses the library of Ghent, together with the media labs of Ghent University and imec. It is located within the city center of Ghent, only a 10-minute walk from Het Pand where the main symposium takes place. The media lab will provide one computer and one set of VR glasses for each team. Furthermore, the media lab is equiped with a state-of-the-art Iosono wave field synthesis system provided by Barco Audio Technologies (see pictures on the right), which can be used by the teams to test their acoustic designs. Technical staff will be available to support playback of spatial audio on this system.
Who can participate?
Teams of up to 4 people are invited to apply for the soundscape hackathon. We specifically target master students, PhD students and postdocs in acoustics, architecture, computer science, urban design or any related field, with an interest in soundscape design and virtual reality. The hackathon is open to people of all nationalities.
How to apply?
To apply for the soundscape hackathon, please send the following to firstname.lastname@example.org before January 31, 2019:
- The name of the team
- The names of the members of the team (4 members maximum)
- A short CV of each team member (1 page maximum per CV)
- A joint motivation letter (1 page maximum)
A limited number of teams will be selected on the basis of their CV’s and motivation letter; selected teams will be announced in the course of February 2019, and will be provided with the detailed regulations of the hackathon in due time.
Participation to the hackathon is free of charge. Participants have to cover travel and accommodation expenses themselves, but several alternative accommodation options close to the hackathon venue will be proposed by the organizers.
The winning team will receive an award in cash of 1.500 euro.
Research Fellow: Making Sense of Soundscapes
University of Salford - School of Computing, Science and Engineering
Permanent or length of contract: Fixed Term - 10 months
Applications are invited for a Research Fellow to join an EPSRC-funded project “Making Sense of Sounds” for 10 months starting January 2019. The project is investigating how to make sense from sound data, focussing on how to convert sound recordings into understandable and actionable information, and specifically how to allow people to search, browse and interact with sounds. We have several outcomes for individual sounds and we now wish to investigate time-varying real urban soundscapes.
You will be responsible for measuring and modelling how people perceive urban sound scenes, using quantitative and qualitative methods.
Your work will lead to new representations of human processing of everyday sound, and will be exploited by machine listening researchers on the project.
You will have a PhD in experimental psychology, psychoacoustics, audio perception or a research topic with significant content directly relevant to understanding perception. You are expected to have significant research experience in designing perceptual studies, preferably for sound and in multidimensional statistical analysis. Research experience in physiological response to sound and programming in Matlab, Python or R are desirable.
The project is led by Prof Mark Plumbley in the Centre for Vision Speech and Signal Processing (CVSSP) at the University of Surrey. You will be based in the Acoustics Research Centre (ARC) at the University of Salford and work under the direction of Prof Bill Davies and Prof Trevor Cox.
The ARC is one of the two large acoustics research groups in the UK. Key areas include human response to sound and vibration, audio signal processing and reproduction, building and architectural acoustics, environmental noise, soundscapes, outdoor sound propagation, remote acoustic sensing of metrological conditions and transducer design. The Centre has state-of-the-art acoustics laboratories, including an anechoic chamber, two semi-anechoic chambers, a listening room and a spatial audio booth.
Informal enquires are welcome, to: Prof Bill Davies (email@example.com) or Prof Trevor Cox (firstname.lastname@example.org).
Expected start date: As soon as possible
Please note the vacancy closes at 23:59 on the date provided.
All appointments will be made on merit, and as an equal opportunities employer, we welcome applications from all suitably qualified persons.
In recognition of our commitment to create a diverse team that draws from our widest talent pool we would particularly encourage applications from groups who are currently under-represented at this level, which in this case is our female applicants.
For more information and to apply for this vacancy please visit: www.jobs.salford.ac.uk
Interview date: TBC
At the University of Salford we are committed to an inclusive approach to promoting equality and diversity.
Call for Papers | SONOLOGIA 2019: I/O – International Conference on Sound Studies
SONOLOGIA 2019: I/O – International Conference on Sound Studies
April 9-12, 2019 – São Paulo, Brazil
DEADLINE: November 1 st , 2018.
In 2016 we had the first edition of SONOLOGIA: International Conference on Sound Studies, a transdisciplinary event attended by researchers from seventeen countries and five continents with contributions from fields of study as broad as music, sound art, anthropology, visual arts, theatre, literature, architecture, history, sociology, media studies, gender studies, among others. This second edition of the event proposes the theme I/O. An acronym which, metaphorically mobilized, provides a powerful way of addressing the diverse and problematic relations between the “I” and the “other”, as well as “inside” and “outside”.
This second edition of SONOLOGIA: International Conference on Sound Studies proposes the theme I/O. An acronym which, metaphorically mobilized, provides a powerful way of addressing the diverse and problematic relations between the “I” and the “other”, as well as “inside” and “outside”. By focusing on matters of alterity, subjectivities, limits, boundaries and crossings – either cultural, territorial or disciplinary – we invite papers devoted to particular and contingent relations that take to task hegemonic theories and practices in sound studies. Although the pairing of categories may indicate opposing notions, by retaining the slash [/] we intend to focus on inquiries that disrupt the limits of each category and suggest possible continuities, exchanges and intertwinements between the terms of the relation.
• Politics of sound and sound making. Institutionalization of artistic practices and research. Sound activism. Violence, war, control tactics and sonic torture.
• The role of technique and technology in listening and sound making. Critical perspectives on the repurposing of technology, precariousness, experimental lutherie.
• Discourses on listening and sound practices. Aspects of legitimacy, politics, place, alterity, gender or race, from the perspective of non-binary, non-normatives, post-colonial or counter-hegemonic epistemologies.
• Identity and alterity in sound practices in Latin America. Discussions regarding hybridity, interculturalism, miscegenation, transnationality.
• Sound materiality and immateriality. Critical inquiries regarding sonic materialisms and the limits of aurality. Ontological debates about sound and audio culture.
• Sound and territoriality. Politics of space and poetics of memory and forgetting within practices such as site-specific art, installations, soundscapes, sound walks, field recording, sonic cartographies.
• Crossovers between sound, voice, body and visuality. Studies on presence, performances and artistic practices related to theatre, dance, audiovisual, performance and literature, regarding its contingencies and particularities.
• (In)disciplines of sonic creative processes. Limits and ruptures in collective or individual creative practices. Human/non-human interaction. Alternative proposals of documenting and sharing creative processes.
Confirmed keynote speakers:
Jonathan Sterne (McGill University) and Susan Campos-Fonseca (Universidad de Costa Rica) The conference will happen in São Paulo, Brazil, in April 9-12, 2019. Activities will be held at the Centro de Pesquisa e Formação of SESC.
Language and format
The official language of the event is English. However, inspired by the theme of the conference – I/O – we encourage that participants strive to relate in a flexible and inclusive manner with the language issue during the conference. In line with this perspective, we invite submissions of extended abstracts in either English, Portuguese or Spanish. Afterwards selected participants shall submit their complete papers, and present them in the conference, in English.
We accept alternative formats of papers that reflect critical and creative necessities of theoretical, practice-based or artistic research. However, the use of special technical resources needs to be evaluated jointly with the organizing committee. Paper presentations should last 20 minutes followed by up to 10 minutes of questions.
Please submit your extended abstract (in Portuguese, Spanish or English) of a max. 800 words, and a short bio (50 words) no later than November 1st, 2018 by 11:59pm Pacific Standard Time (GMT -3) to email@example.com. Please allow 24-48 hours for confirmed reception.
Selected presentations will need to submit camera-ready papers (in English) by February 25th 2019 with a provided (by us) ODT/ MS Word templates (max. 7000 words in A4 format). The papers will be published online in the conference proceedings.
• Submissions deadline: November 1, 2018
• Selection results: December 17, 2018
• Camera-ready paper deadline: February 25, 2019
For more information: