::::::::::::::::: SECOND CALL FOR PARTICIPATION :::::::::::::::::

ICAD 2010
SECOND CALL FOR PAPERS, POSTERS, SONIFICATIONS, COMPOSITIONS WORKSHOPS, PANELS, AND DEMONSTRATIONS.

The 16th International Conference on Auditory Display (ICAD)
Washington, D.C, USA
June 9-15, 2010

Please check the conference website for updates: www.icad.org/icad2010/index.html

ICAD 2010—the 16th International Conference on Auditory Display—will be held in Washington, DC at The George Washington University from June 9 to 15, 2010. Pre-conference workshops and ICAD’s graduate student ThinkTank (doctoral consortium) will be held on June 9 and 10, and the conference itself will run from June 11 to 15.

ICAD is a highly interdisciplinary conference with relevance to researchers, practitioners, artists, and graduate students working in the use of sound to convey information and ideas. The conference is unique in its specific focus on auditory displays and the range of interdisciplinary issues related to their use. Like its predecessors, ICAD 2010 will be a single-track conference, open to all, with no membership or affiliation requirements.

Consistent with this year’s theme, “Sonic Discourse—Expression through Sound,” ICAD 2010 invites the submission of new work and developments in all areas of interest to those who work with sound as a medium for conveying information and ideas. The conference emphasizes the concerns shared by those who work primarily with informational and affective aspects of sound including sonification of data and processes, synthetic and composed sound, musical sound, natural sound, and all issues related to interaction with sound, specifically, how it is presented to, and apprehended by, listeners. Thus, submissions are sought on topics that extend from basic research in auditory display, to application domains in the arts and sciences, mobile applications, accessibility, audio technology, information and communications technology, computer games, engineering analysis, medicine, and more.

Each year we aim to attract a wide variety of researchers and practitioners to the ICAD community who work in fields that are concerned with and/or related to computationally based, informational uses of sound. Thus, in addition to ICAD's core interests, we hope to attract submissions from composers and artists who use sonification, acoustic synthesis, spatialization, and/or interaction techniques for composition and performance purposes. Although we fully intend to maintain ICAD’s primary emphasis on the use of sound as information, we specifically want to encourage a wider and more collaborative dialogue between practitioners with disparate objectives in auditory display.

In keeping with the goal of enlarging the ICAD community, this year's conference will have a new aural submission category for sonifications and aural compositions that employ computational auditory display techniques. Submissions in this category will be presented to the full conference as part of the Concert program on the second night of the main conference.

ICAD 2010 is being jointly organised by the International Community for Auditory Display; VRSonic, Inc.; The George Washington University Department of Music; the Navy Center for Applied Research in Artificial Intelligence at the U.S. Naval Research Laboratory; and the University of Maryland Institute of Advanced Computer Studies. The venue for the conference is the Jack Morton Auditorium in the Media and Public Affairs Building on the George Washington University campus.

::::::::::::::::: KEY DATES :::::::::::::::::

5 February 2010 Submission Deadline for Papers, Posters, and non-aural Categories
19 March 2010 Acceptance Notification (Papers, etc.)
2 April 2010 Sonification / Composition Submission Deadline
3 May 2010 Camera-Ready Submissions Deadline
7 May 2010 Sonification / Composition Acceptance Notification
9-15 June 2010 ICAD 2010

::::::::::::::::: THEME: Sonic Discourse—Expression through Sound :::::::::::::::::

This year’s theme, “Sonic Discourse—Expression through Sound’’ is intended to underscore the perspective that effective uses of sound for informative purposes involve collaborations between creative and functional auditory objectives as well as between the display and the listener. We would like to invite the global ICAD community to accentuate this perspective in their work, and authors are especially encouraged to consider how they can incorporate auditory display into the presentation of their papers, for instance, by including auditory annotations and examples of the sounds used in their efforts and/or by sonifying their results. Just as it would be unusual for presentations of papers on graphics not to include some visual artefacts, we are aiming for it to be the norm that ICAD paper presentations employ sound in addition to the voice of the speaker. Additionally, we hope this theme will resonate in this year’s concert and sonification submissions and inspire new perspectives for interactive, real-time performances. The George Washington University’s Jack Morton Auditorium will serve as the meeting and concert venue for this year’s conference, and contributors will have access to a 12.2 loudspeaker array and auralization software. Composers and practitioners contemplating the submission of compositions and/or sonifications are encouraged to contact the Demonstrations/Compositions Chair or Concert Co-chairs to discuss their proposals and ideas as soon as possible.

::::::::::::::::: TOPICS :::::::::::::::::

The topics for ICAD include but are not limited to:

* 3D and Spatial Audio
* Aesthetics, Philosophy, and Culture of Auditory Displays
* Accessibility
* Applications
* Auditory Scene Design
* Design Theory and Methods
* Evaluation and Usability
* Human Factors and Interaction
* Mappings from Data to Sound
* Psychology, Cognition, Perception, and Psychoacoustics
* Sonification and Exploration of Data through Sound
* Sound as Art
* Technologies and Tools

::::::::::::::::: PAPERS :::::::::::::::::

Papers are oral presentations of a substantial contribution to the field. Full paper submissions should be 6-8 pages, including images and references, and should be accompanied by relevant sound files. Submissions will be subject to blind review by an international committee of peers in the auditory display community. One of the authors must present the paper at the conference for it to appear in the proceedings. Papers must not exceed 8 pages and must comply with ICAD’s formatting requirements. A template for papers and other written submissions can be downloaded from the conference website.

Latex Template: http://www.icad.org/icad2010/latex10.zip
MS Word Template: http://www.icad.org/icad2010/word10.zip

::::::::::::::::: POSTERS :::::::::::::::::

Posters are primarily a forum for discussion of work-in-progress. Submissions should be up to 4 pages, including images and references, and should be accompanied by any relevant sound files. An international panel will review submissions. Posters will be presented on a single A0 size sheet during the poster session. One of the authors must present the poster at the conference for it to appear in the proceedings.

::::::::::::::::: SONIFICATIONS / COMPOSITIONS:::::::::::::::::

Sonifications and Compositions are a new, aural submission category that provides participants with an opportunity to present and publish extended instances of auditory work that make a contribution to, and/or exemplify, important informational and listening practices in the field of auditory display. Pieces should be one to ten minutes in length and must be accompanied by a one-to-four page abstract that outlines the goals, informational context, and techniques used in the work (the paper-submission template should be used for this purpose). Submissions will be evaluated on the merits of these criteria by a committee of peers in the auditory display community.

Accepted pieces will be published in audio form (along with the abstract) in the conference proceedings and will be presented as part of the ICAD 2010 Concert program. A 12.2 loudspeaker array and auralization software from VRSonic will be available for participants who wish to spatially augment their work for the concert. Composers and practitioners contemplating submissions in this category are thus encouraged to contact one of the relevant conference chairpersons (e.g., the Demonstrations/Compositions Chair or one of the Concert Co-Chairs) to discuss their proposals and ideas well in advance of the conference. Finally, one of the authors must be present to provide a contextual description of the work on the night of its performance.

::::::::::::::::: WORKSHOPS / TUTORIALS / PANELS :::::::::::::::::

Workshops/Tutorials/Panels are an opportunity to share experiences with an international community of experts. Tutorials/Workshops will run for approximately 2-3 hours, Panels will run for 1 hour. Proposals for sessions in this category should be up to 4 pages including title, description, and brief biographies of the presenters. Suggested topics include software and hardware tools and systems, design and analysis of empirical experiments, psychological and perceptual issues, design methods, practical aspects of the process of developing an auditory display—difficulties encountered, problems solved, guidelines, etc. Submissions will be reviewed and selected by the organizing committee and ICAD’s governing Board. Workshops/Tutorials/Panels that are presented at the conference will appear in the proceedings.

::::::::::::::::: THINK TANK (DOCTORIAL CONSORTIUM) :::::::::::::::::

ICAD’s “ThinkTank” doctoral consortium will be held again this year. It will retain a similar format to previous consortia as a gathering of promising graduate students (at a range of stages in their program, both masters and doctoral level) and distinguished research faculty. The ThinkTank will be held in the Department of Music at The George Washington University in Washington, D.C. on Thursday June 10th, the day before the full conference. Further details about applying for this event and possible scholarship funds are forthcoming (please the conference website for updates: www.icad.org/icad2010/index.html).

::::::::::::::::: DEMONSTRATIONS :::::::::::::::::

The demonstration category presents an opportunity for students, researchers, practitioners, and artists, to tangibly and interactively exhibit, share, and discuss their efforts at ICAD. Additional details concerning the nature and submission of demonstrations are forthcoming. Those interested in submitting a demonstration are encouraged to contact the Demonstrations/Composition Chair to discuss their proposals and ideas well in advance of making their submission. Demonstrators will be expected to give a brief formal presentation about their work at the conference.

::::::::::::::::: ORGANIZING COMMITTEE :::::::::::::::::

For committee email addresses please check the conference website: www.icad.org/icad2010/index.html

Co-Chairs:
Derek Brock, U.S. Naval Research Laboratory
Hesham Fouad, VRSonic
Ramani Duraiswami, University of Maryland

Papers/Posters Chair:
Eoin Brazil, University of Limerick

Sonifications Chair:
Kelly Snook, NASA

Demonstrations/Compositions Chair:
Evan Rogers, VRSonic

Concert Co-Chairs:
Douglas Boyce, The George Washington University
Katharina Rosenberger, University of California, San Diego

ThinkTank (Student Consortium) Chair:
Paul Vickers, Northumbria University

Web Chair:
Brian McClimens, U.S. Naval Research Laboratory

Technical Chair:
Paul Oehlers, American University

Steering Committee:
David Worrall, worrall.avatar.com.au

Veronique Larcher, Sennheiser