Call For Participation

Where & When

ICAD 2019, the 25th International Conference on Auditory Display, will be held at Northumbria University, Newcastle-upon-Tyne, UK, June 23–27, 2019. The Student ThinkTank (Student Research Consortium) will be on Sunday, June 23, before the main conference.

Why ICAD 2019?

ICAD is a highly interdisciplinary academic conference with relevance to researchers, practitioners, musicians, and students interested in the design of sounds to support tasks, improve performance, guide decisions, augment awareness, and enhance experiences. It is unique in its singular focus on auditory displays and the array of perception, technology, and application areas that this encompasses. Like its predecessors, ICAD 2019 will be a single-track conference, open to all, with no membership or affiliation requirements.

Submission Dates

Theme

Digital technology and artificial intelligence are becoming embedded in the objects all around us, from consumer products to the built environment. Everyday life happens where People, Technology, and Place intersect. Our activities and movements are increasingly sensed, digitised and tracked. Of course, the data generated by modern life is a hugely important resource not just for companies who use it for commercial purposes, but it can also be harnessed for the benefit of the individuals it concerns. Sonification research that has hit the news headlines in recent times has often been related to big science done at large publicly funded labs with little impact on the day-to-day lives of people. At ICAD 2019 we want to explore how auditory display technologies and techniques may be used to enhance our everyday lives. From giving people access to what’s going on inside their own bodies, to the human concerns of living in a modern networked and technological city, the range of opportunities for auditory display is wide. The ICAD 2019 committee is seeking papers, extended abstracts, multimedia, concert pieces, demos, installations, workshops, and tutorials that will contribute to knowledge of how sonification can support everyday life.

Topics of interest include (but are not limited to):

Art & Design

  • Sonification-inspired music composition, integrative arts, and performing arts.
  • Culture-specific sonification
  • Speculative, aspirational, and prototype designs
  • Sonic information design paradigm, theory, and taxonomy
  • Design methodology, design examples, case studies, and real-world applications
  • Users, experiences, and contexts of using sonification
  • Philosophical perspectives on sonification, particularly as it impacts upon everyday life, but also in terms of more foundational ontological, aesthetic, and epistemological issues.

Science & Engineering

  • Methods, processes, and tools for sonification
  • Participatory approaches
  • Auditory user interfaces
  • Design of new a sensor, device, or platform for auditory displays & sonification
  • Psychology, cognition, perception and psychoacoustics
  • Computational/algorithmic approaches·
  • Accessibility, inclusive design, and assistive technologies
  • Human Factors, Ergonomics and Usability
  • Spatial/3D sound
  • Soundscapes and auditory scene analysis
  • Sonification in Health and Environmental Data (soniHED)
  • Sonification in the Internet of things, big data, & cybersecurity
  • Sonification in automated vehicles

Where to Submit

ICAD 2019 will be using the EasyChair system for managing some of the submissions categories. Please follow this link to access the submission system: https://easychair.org/conferences/?conf=icad2019.

Form of Submission and Assessment Criteria

Submission Templates

For Paper, Poster and other written material:
The safest way to obtain the correct format is to paste your text, etc. into a copy of the template. Please ensure that your submission is formatted correctly, with the headers and footers included in the template. For reference, please consult the PDF of the .doc template (coming soon.)

Download .doc template.
Download Latex template (.zip archive).

Audio and other Media files.

Submissions should contain a link to audio and other media files in Dropbox, iCloud Soundcloud, Vimeo or other online site, and provide a password if the link is not public.

Submission Accessibility

Making conference materials accessible promotes equal access for researchers in our field. We highly encourage researchers to provide accessible submissions and require that camera-ready papers be accessible.

Checking Your PDF is Accessible

If you can, use the Adobe Acrobat Pro Accessibility Checker (Full Check) to verify the accessibility of your PDF. See Adobe’s detailed instructions for more information.

If you don’t have access to Adobe Acrobat Pro, there are some free accessibility checkers available online that may be able to help.

Fixing Accessibility Problems

A lot of accessibility problems can be fixed directly in Acrobat’s Accessibility Checker. However, Microsoft Word for PC can generate PDFs with many accessibility features and it’s often easier to correct issues in the Word source file. SIGACCESS provides detailed instructions. Unfortunately, Word for Mac and Latex users will need to manually add accessibility features.

At a minimum, make sure your document is tagged, tab order follows the document structure, figures and inaccessible equations have alternative text, table headers are marked, and the document language is specified. As a note, the built-in auto-tagging feature of Acrobat is not 100% reliable with our templates. Please manually check that any auto-generated tags are logical.

More Information

ACM SIGACCESS has a number of resources http://www.sigaccess.org/welcome-to-sigaccess/resources/ for making conference materials and presentations more accessible.

Please contact ICAD2019’s Accessibility Chair Katie Wolf if you have any questions on submitting accessibility.

Algorave (1-2 pages)

This submission category is intended to provide a framework for the presentation of live beat-based audio and audio-visual performances including sonification. The Sonification Algorave will be held on the evening of 24 June in the Culture Lab at the neighbouring Newcastle University. Works in stereo or for up to eight separate channels can be supported for playback/amplification. Two projectors will be provided for projection of code and/or visuals.

About Algorave:

“Algoraves focus on humans making and dancing to music. Algorave musicians don’t pretend their software is being creative, they take responsibility for the music they make, shaping it using whatever means they have. More importantly the focus is not on what the musician is doing, but on the music, and people dancing to it. Algoraves embrace the alien sounds of raves from the past, and introduce alien, futuristic rhythms and beats made through strange, algorithm-aided processes. It’s up to the good people on the dancefloor to help the musicians make sense of this and do the real creative work in making a great party.” (https://algorave.com/about)

Given their algorithmic nature, Algorave performance systems naturally lend themselves to easy integration with data sonification practices, with the flexibility to rewrite the sonification algorithm at performance time. This was explored previously in Newcastle at the Chemical Algorave which took place at Culture Lab, Newcastle University in 2017, using simulations of chemical processes as the source data for algorithmic dance music performances. Still much ground exists for exploring live sonification in the context of Algorave, with its potential to reach new audiences, bringing awareness of scientific research to new contexts.

The peer review is of the combination of the written and media submission.

  • Written content
    The written component of the submission should include a discussion of the goals and aesthetics of the performance and the motivations for the performance system design choices. Details of the underlying dataset should be provided together with an outline of the sonification approach/methodology used. You should use the ICAD 2019 papers format.
  • Media content
    Submissions should contain a link to audio and/or video files in Dropbox, iCloud Soundcloud, Vimeo or another online site, and provide a password if the link is not public. For review purposes the file should be limited to 2-channel audio.
  • Important considerations
    1. Algorave performances should last no longer than 30 minutes; note, this is a maximum duration and not an expectation — shorter performances are also welcome.
    2. To be accepted for the Algorave and to be included in the proceedings, authors agree to register for and attend ICAD 2019. Performances will not take place in the author’s absence.

Authors should not anonymize the submission for reviews.

Please submit your proposal by 12 May, 2019 by email to icad2019algorave@icad.org.  Also please direct any queries about the Algorave  to this email address.

Sonification Concert (1-2 pages)

This submission category is intended to provide a framework for the presentation of artistic works involving sonification. The sonification concert will be held on Tuesday 25 June. Works in stereo or for up to eight separate channels can be supported for playback/amplification.

The peer review is of the combination of the written and media submission.

  • Written content
    The written component of the submission should include a discussion of the goals and aesthetics of the work and the motivations for the design/compositional choices. A review should be made of other relevant works and how the submitted work fits into these references. Details of the underlying dataset should be provided together with an outline of the sonification approach/methodology used. A technical discussion should be provided concerning computational or display issues. User reactions, experience, and feedback should be discussed. Any other forms of representation necessary for reviewers to obtain an understanding of the logistical and contextual issues involved and an evaluation of the perception difficulty may be included. You should use the ICAD 2019 papers format.
  • Media content
    Submissions should contain a link to audio and other media files in Dropbox, iCloud Soundcloud, Vimeo or other online site, and provide a password if the link is not public. For review purposes this file should be limited to 2-channel audio. If accepted, a copy of the submitted file will be included in the proceedings archive. Review of the work will consider the “coherence” of the sound with the practitioner’s explanation of what was intended.
  • Important considerations
    1. If the concert piece involves any live performance elements, these must be indicated in the written content, and authors must make their own arrangements to bring performers and any necessary instruments or required equipment themselves.
    2. Concert pieces should last no longer than 15 minutes; note, this is a maximum duration and not an expectation — short compositions are as welcome as longer ones.
    3. To be accepted for the concert and to be included in the proceedings, authors agree to register for and attend ICAD 2019. No concert pieces will be played in the author’s absence.

Authors should not anonymize the submission for reviews.

Please submit your proposal by 18 April, 2019 to https://easychair.org/conferences/?conf=icad2019. NOTE: please ensure you choose ‘Concert’ in the Category selection drop-down list in the ‘Other Information and Files’ section of the submission form.

If you have any queries about the concert please contact the Concert Committee at icad2019concert@icad.org

Installations and Demonstrations (1-2 pages)

The peer review considers the combination of the written and media submission.

  • Written content statement
    The context statement should include a discussion of the goals and aesthetics of the work and the motivations for the design/compositional choices. A review should be made of other relevant works and how the submitted work fits into these references. A technical discussion should be provided concerning computational or performance issues. Listener reactions, experience, or feedback should be discussed. Any other forms of representation necessary for reviewers to obtain an understanding of the logistical and contextual issues involved in the public presentation of the work: manuscript scores and an evaluation of the performance difficulty, spatial layout diagrams, sound levels and ideal ambient noise and isolation conditions etc. may be included. You should use the ICAD 2019 papers format.
  • Media content
    An example representing the work must be provided. Submissions should contain a link to audio and other media files in Dropbox, iCloud Soundcloud, Vimeo or other online site, and provide a password if the link is not public. For review purposes this file should be limited to 2-channel audio.
    Review of the work will consider the “coherence” of the sound with the practitioner’s explanation of what was intended. It must be noted that it may not be practical for aural submissions to be performed, played, or rendered at or during the conference due to complexity, length, or other factors determined by the Program Committee. If the submission is accepted, the submitted file will be included in the proceedings archive. Acceptance of the submission does not imply an obligation of host organization to perform the work.
  • Important considerations
    1. To assist with the reviewing and curation process, authors must also make clear what their expectations are in terms of the kind and size of space required for the installation. Installations cannot be accepted until the exact requirements are agreed with the organisers.
    2. It is up to the artist/installation author to install and set up the piece and to bring the necessary equipment.
    3. Attendance at ICAD 2019 is mandatory

Authors should not anonymize the submission for reviews.

Please submit your proposal by 18 April, 2019 to https://easychair.org/conferences/?conf=icad2019. NOTE: please ensure you choose ‘Installation/Demo’ in the Category selection drop-down list in the ‘Other Information and Files’ section of the submission form.

If you have any queries about the concert please contact the Installations and Demos Committee at icad2019installations@icad.org

Full Papers (5-8 pages)

  • Full papers represent the core of the ICAD conference and they are judged accordingly. Works in any content category should be self-contained, and withstand objective criticism.
  • To ensure integrity in the reviewing process, 
please ensure that full paper submissions have no indications of author and/or institutional affiliation.
  • At least two external reviews, by reviewers outside of the Program Committee, will be carried out.
  • Acceptance is determined solely on the merits of the submitted work.
  • In the review process, there is no distinction between whether the presentation mode will be oral or a poster.
  • Attribution of accepted papers to either oral or poster presentation is determined by the Program Committee although submissions may indicate a preferred method of presentation.
  • Accepted papers will appear in the proceedings and will be archived accordingly.
  • Please note, presentations of sonification research work so much better when accompanied by relevant audio or audio-visual material, therefore, the review criteria will include an assessment of the quality and relevance of media files (or links) included in the submission. Submissions without accompanying media may not be reviewed as favourably as those that do (though this will depend on the type of paper being submitted).

Hyundai Motor Company Design Challenge on Auditory UX Design for Autonomous Vehicles and Future Mobility

The organizing committee is pleased to announce a special call for papers, videos and demonstrations of prototypes for the Hyundai Motor Company-sponsored design challenge on “Auditory User eXperience Design for Autonomous Vehicles and Future Mobility”. Submissions to this special category could cover:

  • Auditory applications for infotainment for autonomous vehicles
  • Auditory interactions between connected vehicles
  • Auditory situation awareness in autonomous vehicles
  • Auditory interactions between autonomous vehicles and pedestrians
  • Auditory user interfaces for blind drivers in autonomous vehicles
  • Auditory displays for hand-over/take-over request in semi-autonomous vehicles
  • Sonification for emotion regulation/meditation of drivers in autonomous vehicles
  • Sonic interaction to build the feeling of trust as well as safety
  • Sonification for the use cases of electric/hybrid vehicles (e.g., charging, low battery, etc.)
  • Driver (or occupant) & vehicle agent dialogue design
  • Driving as playing instruments (driving sonification)
  • In-vehicle application of spatial (or 3D) sounds for new experience

Extended Abstracts (2-4 pages)

  • Extended Abstracts are used to present “works in progress” for which a discussion with the community is of interest and could be beneficial to the development of the work in question.
  • Authors are not allowed to anonymize the submission for reviews.
  • As Extended Abstracts are not presenting completed work, they are expected to be reviewed principally for thematic pertinence to the ICAD community.
  • A single review is necessary and can be carried out by the Program Committee.
  • Extended Abstracts may be archived in a separate supplement to the conference proceedings, so as to clearly indicating that they have not been peer reviewed. They will not be assigned DOI numbers.
  • Extended Abstracts will be assigned to the either oral or poster presentation mode.
  • Please note, presentations of sonification research work so much better when accompanied by relevant audio or audio-visual material, therefore, the review criteria will include an assessment of the quality and relevance of media files (or links) included in the submission. Submissions without accompanying media may not be reviewed as favourably as those that do (though this will depend on the type of paper being submitted).

Workshops & Tutorials

ICAD workshops and tutorials provide in-depth opportunities for conference attendees to discuss and explore important aspects of the field of auditory display with like-minded researchers and practitioners. Sessions can range from applications and programming methodologies to interdisciplinary research skills, emerging research areas, and challenge problems.

General topic areas for focused workshops and tutorial sessions include, but are not limited to:

  • Sonification/Compositional Maker sessions
  • Applications, usability, accessibility, and evaluation
  • Auditory rendering techniques, technologies, and tools
  • Design theory, methods, philosophy, and culture
  • Psychology, Cognition, Perception, and Psychoacoustics
  • Sonification of data:
    • Context, range of scale, and utility
    • Motivations, frameworks, methodologies, and techniques

Proposal format and submission information

Proposals should be one page in length and include the following:

  • Title, brief abstract, outline of objectives (e.g., tutorial syllabus, organized discussion, presentations, submissions, etc.), relevance for ICAD attendees.
  • Proposed duration (full day or half day).
  • Invited speakers (if any).
  • List of organizers, a designated contact person, and contact information for all organizers (address, email, and ‘phone).
  • Technical and space requirements.

Note that workshops inviting extended abstracts and/or papers can arrange to have their contributions included in the ICAD 2019 Conference Proceedings as a supplementary section of non-referreed submissions. These materials will be accessible online via the DOI number for the 2019 proceedings volume.

Workshop and tutorial proposals (as well as inquiries) should be submitted via email to the Workshop Chair.

Space, facilities, technical support, and the number of sessions that can be accepted are limited, so early submission of proposals is encouraged. Workshop and tutorial organizers are expected to collaborate with the conference committee, issue calls for participation, gather and review contributed materials (if appropriate), and decide upon the final programme for their session.

Student ThinkTank

The Student ThinkTank (Student Research Consortium) is a full day meeting for students doing Graduate or Undergraduate work on auditory display. It will be held on Sunday, June 23rd, before the main conference. Selected students will give formal presentations and have the opportunity to discuss research ideas and problems with fellow researchers in the field. The program will also include career-related activities.

The ThinkTank is your chance to set a whole roomful of auditory researchers to work on your particular research issue, to help you choose which method, tool, technique, or principle to use to save you from heading down a dead end. Besides providing thoughtful insights into your particular project, the ThinkTank will foster friendships and networks among fellow students and researchers that are essential in an international community for auditory display.

Financial assistance may be available for selected applicants from US Universities from ICAD and the NSF. Any registered ICAD participants can join as an observer free of charge. If you’d like to attend as an observer, please send an email to icad2019thinktank@icad.org

How to apply

To apply please submit the following 4 items:

1. Cover Letter

Your cover letter should include the following information:

  • Statement of interest in participating in the ThinkTank.
  • Full name of the School and Department in which you are studying.
  • Current stage in your academic program (e.g., completed MS, 2 years into PhD).
  • Name of the supervising professor.
  • Your full contact information: address, phone number, and email address.
  • Title of the research and keywords pertinent to the research.
  • The URL of your web page (if any).

2. Two-page Research Interest Summary

The body of the research summary should provide a clear overview of the research that you have already conducted; is in the process of completing; has planned, or ideas for research that you would like to pursue. The statement should discuss the relevance and potential impact of the research on the field and discuss its broader impact in the world. You are encouraged to include the following sections:

  • Introduction and problem description.
  • Brief background and overview of the existing literature.
  • Goal of the research.
  • Current status of the research.
  • Preliminary results accomplished, if any.
  • Broader Impact of this research.
  • Open issues, topics to be discussed at the ThinkTank, and expected outcomes from participating in the ThinkTank. For example, you might want to discuss choosing the right tools and techniques, to choosing research topics, to how to organize your thesis, to philosophical or aesthetic issues – anything where you could benefit from the perspectives and experience of other students and experts.

3. Letter of Recommendation

Enclose a letter of recommendation written by your Graduate Advisor/Thesis Advisor/Supervisor. Your advisor/supervisor is asked to verify that you are a graduate student, working in the area of sonification or auditory display. (In case of undergraduate student’s submission, please verify the enrolled student status and include information about the undergraduate research project.) Advisors are also encouraged to include an assessment of the current status of your research and an indication of the expected date of its completion. In addition, your advisor is encouraged to indicate what she/he hopes you would both gain and contribute by participating in the ThinkTank

4. Curriculum Vitae (CV)

Please prepare a 1-page CV that relates your background, relevant experience, and research accomplishments.

Selection and Presentation:

Up to 15 proposals will be selected for formal presentation and “think-tanking”. The selected problems will be representative examples of a widespread problem or will be particularly interesting or challenging (as determined by the expert Panel). Each participant will prepare a 15-minute presentation for all ThinkTank attendees. The Panel will present a report on the ThinkTank in the ICAD 2019 conference program.

All those who submit a problem may participate in the ThinkTank to watch the presentations and join in the discussions; however, only the selected submissions will be able to make a formal oral presentation. Even if your problem is not selected you will leave with a sense of what other students are doing and how they are approaching problems in auditory display, as well as new friends to talk about your project with during the rest of the ICAD 2019 conference and in the future. If your problem is selected you may also leave with the breakthrough you need!

ThinkTank Panel:

The ThinkTank Panel comprises several international researchers who work across a range of disciplines covered by auditory displays. The confirmed Panel members are:

  • Areti Andreopoulou (chair), University of Athens
  • Dr Bruce Walker, Georgia Institute of Technology
  • Matti Gröhn, Stereoscape, Finland
  • Derek Brock, United Stated Naval Research Lab
  • Myounghoon Jeon, Virginia Tech
  • TBC
  • TBC

How to Submit:

Please email your proposal by March 29th, 2019 to the ThinkTank chair at icad2019thinktank@icad.org

If you have any questions, please feel free to email us.