Australasian Computer Music Conference 2010
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June 24-26 in Canberra, AustraliaLocationThe Australian National University, in association with the Australasian Computer Music Association, is pleased to host the Australasian Computer Music Conference for 2010. The Australian National University campus is conveniently located within 10 minutes walk of Canberra’s CBD. The conference’s daytime sessions will be located at the ANU Arts Precinct, while the night-time “off ACMC” concerts will be hosted at live performance venues around the city. ThemeThe theme for the 2010 ACMC is “engagement”. With computer music, with other musicians, intellectual versus visceral engagement - what does the concept of engagement mean in modern computer music? We hope that this year’s conference will be an opportunity to reflect on the notion of engagement and it’s relevance within our field and beyond. |
Keynote SpeakerIt is with great pleasure that we announce Dr. Roger B. Dannenberg as the Keynote speaker for the ACMA 2010 Conference in Canberra. Dr. Roger B. Dannenberg is an Associate Research Professor in the Schools of Computer Science and Art at Carnegie Mellon University, where he is also a fellow of the Studio for Creative Inquiry. Dannenberg is well known for his computer music research, especially in real-time interactive systems. His pioneering work in computer accompaniment led to three patents and the SmartMusic system now used by more than 100,000 music students. He is also co-designer of the Audacity audio editor. He played a central role in the development of the Piano Tutor, an intelligent, interactive, automated multimedia tutor that enables a student to obtain first-year piano proficiency in less than 20 hours. Dannenberg held a patent for large-scale interactive games controlled by crowd noise, and these “stadium games” have entertained many U.S. National Football League (NFL) fans. Other innovations include the application of machine learning to music style classification and the automation of music structure analysis. As a trumpet player, he has performed in concert halls ranging from the historic Apollo Theater in Harlem, New York City, to the Espace de Projection at the Institut de Recherche et Coordination Acoustique/Musique (IRCAM), and he is active in performing jazz, classical, and new works. His compositions have been performed by the Pittsburgh New Music Ensemble, the Pittsburgh Symphony, and at festivals such as the Foro de Musica Nueva, Callejon del Ruido, Spring in Havana, the International Computer Music Conference, and the Conference on World Affairs. For more information on Dr. Roger B. Dannenberg please visit his site at http://www.cs.cmu.edu/~rbd/ Keynote Presentation notes: |
 Photo by Amelia Williams |
Title: Interaction In the World of Beats
Abstract: Most art music eschews simple, visceral rhythms. A rock beat in electro-acoustic concert music is unheard of except as social commentary or irony. Research in our field has largely accepted this aesthetic direction. Computer accompaniment, conducting, improvising, and other interactive systems assume that tempo (if any) is meant to be manipulated expressively. As a consequence, computer music technology comes up lacking in the world of beats, characterized by a steady tempo, where rhythm and structure are tightly coupled. My vision is to create new interactive systems that accept the premise of beats and exploit that structure to the fullest. I will discuss how beats alter the very nature of musical interaction. I hope to engage student, amateur, and professional musicians at all levels in new conceptualizations of electro-acoustic music production and control. There is a tremendous potential for creative new directions and performance practices to emerge.
Call for Works
Call for papers and musical works is now closed
For more details on the conference: http://conference.acma.asn.au/ocs/index.php/acmc/acmc10.
2010 Conference Registration
Conference registration is open.
The registration cost for the ACMA 2010 conference in Canberra is $130 (AUD). This covers conference entry, all concerts, all talks, and the keynote.
Payment is to be made through paypal. This will allow you to pay with VISA, Master Card, Bank account or Paypal account.
Click on the Buy Now button to proceed with registration. Your Paypal receipt can be used as proof of registration.
2010 Conference Registration: $130.00 (AUD)
(The $130 registration fee applies to researchers, artists, students, and all other conference participants)
Conference Registration Location: Foyer, School of Music Building
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Please Note: All annual ACMA memberships are being extended until December 31st, 2010. This is a one time only courtesy event. Toward the close of 2010, you will receive a renewal notice to renew for 2011. Membership of ACMA will become available for complete calender years only, running January 1st to December 31st, irrespective of the date of application. Membership will become renewable annually. We will bring you more details and special offers at a later date.
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We look forward to seeing you all in Canberra in June!
Conference Schedule
Schedule Overview
Conference Registration Location: Foyer, School of Music Building (Building 100)
| A | B | C | D | |
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| 1 | ||||
| 2 | Time | Thursday 24th June | Friday 25th June | Saturday 26th June |
| 3 | 9:00 | Rego | Rego | AGM |
| 4 | 10:00 | Keynote By | Paper/Artist Session 2 | Forum |
| 5 | 10:30 | Roger Dannenberg | 3+2 | |
| 6 | 11:00 | |||
| 7 | 11:30 | Morning Tea | Morning Tea | Concert 5 |
| 8 | 12:00 | Concert 1 | Concert 3 | |
| 9 | ||||
| 10 | ||||
| 11 | ||||
| 12 | ||||
| 13 | ||||
| 14 | 13:30 | Lunch | Lunch | |
| 15 | 14:00 | |||
| 16 | 14:30 | Paper/Artist Session 1 | Paper/Artist Session 3 | |
| 17 | 15:00 | 3+1 | 3+2 | |
| 18 | 15:30 | |||
| 19 | 16:00 | |||
| 20 | 16:30 | Afternoon Tea | Afternoon Tea | |
| 21 | 17:00 | |||
| 22 | 17:30 | Concert 2 | Concert 4 | |
| 23 | ||||
| 24 | ||||
| 25 | ||||
| 26 | ||||
| 27 | 18:30 | |||
| 28 | 19:00 | Dinner | Dinner | |
| 29 | 19:30 | |||
| 30 | 20:00 | |||
| 31 | 20:30 | |||
| 32 | 21:00 | Late Night Live | Late Night Live | |
| 33 | 21:30 | |||
| 34 |
Concerts
Location: Band Room, (ground level) Peter Karmel Building (Building 121)
Concert tickets for non-registered public: $10.00
| ACMC'10 Concert 1. 12 noon Thursday 24th June 2010 | ||||
| No. | Type | Ch | Composer | Title |
| 1 | Per | A/V | Brigid Burke | High Octane for bass clarinet, computer improvisation and live video mixing |
| 2 | Tape | 8 | Jon Drummond | Caliban's Dream: Aeolian Erosion |
| 3 | Perf | No PA |
DECIBEL - Lindsay Vickery |
Ghosts of Departed Quantities for alto flute, bass clarinet, piano and electronics |
| 4 | Perf | DECIBEL - Malcolm Riddoch |
Variations on Electroacoustic Feedback Electroacoustic audio and digital processing |
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| 5 | Tape | 8 | Andy Dolphin | ilinx |
| 6 | Perf | Alvin Lucier (b1931) | Direction of Sounds from the Bridge (1978) for string instrument, audio oscillator and sound sensitive lights |
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| 7 | Perf | A/V | DECIBEL - Cat Hope |
Possible Stories of Harry Power for piano, alto flute, bass clarinet, AM radio and MaxMSP |
| ACMC'10 Concert 2. 5:30pm Thursday 24th June 2010 | ||||
| No. | Type | Ch | Composer | Title |
| 1 | Per | A/V | Chi-Hsia Lai & Charles Martin |
Strike On Stage percussion and interactive media performance |
| 2 | Tape | 2 | Hannah Gilmore | Waves of Light |
| 3 | Per | Oliver Bown | Temporary Resident for bass clarinet and live electronics |
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| 4 | Per | Elizabeth Jane Dobson | Hindrance for a May Morning | |
| 5 | Per | A/V | Roger Dannenberg | Patterns for live electronics |
| 6 | Tape | 2 | Daniel Blinkhorn | The Gossima Collective |
| 7 | Per | A/V | Roger Dannenberg | Critical Point for cello, live electronics, and live computer animation |
| ACMC'10 Concert 3. 12 noon Friday 25th June 2010 | ||||
| No. | Type | Ch | Composer | Title |
| 1 | Tape | 8 | Warren Burt | Frankston Beach; Illawarra Rainforest |
| 2 | Tape | Wendy Suiter | Music 4 Alice (Betwixt) | |
| 3 | Per | multi | Christian Haines | Memory of Sound II laptop and Processed Audio |
| 4 | Tape | 5 | Jeffery Hass | Magnetic Resonance Music |
| 5 | Per | A/V | David Kim-Boyle | Two Interludes for piano and computer w/video |
| 6 | Tape | 5.1 | John Gibson | Slumber |
| 7 | Tape | Robert Ratcliffe | Phoenix / Phoenix 2 / Phoenix 5 / Phoenix 6 | |
| ACMC'10 Concert 4. 5:30pm Friday 25th June 2010 | ||||
| No. | Type | Ch | Composer | Title |
| 1 | Tape | Etienne Deleflie | The Drivetrain | |
| 2 | Per | 2 | Michael Young | piano_prosthesis bass clarinet and computer improvisers |
| 3 | Per | 3 | Stephen Barrass & Dianne Whitmer |
Baroque Basso Continuo for Cello, Heart (ECG) and
Mind (EEG) Cello, Enobio EEG, and Sonification |
| 4 | Kimmo, Leah and Ian |
A Concert on Mobiles | ||
| 5 | Various | iPerformance | ||
| ACMC'10 Concert 5. 12 noon Saturday 26th June 2010 | ||||
| No. | Type | Ch | Composer | Title |
| 1 | Tape | Michael Spicer | In Transit | |
| 2 | Per | 2 | Mark Oliveiro | TANOX electro-acoustic, instruments and tape |
| 3 | Tape | 4 | Stephen Stanfield | From the ledge (I can see all) |
| 4 | Tape | 8 | Andrián Pertout | Le petit agneau |
| 5 | Per | Leah Barclay | Juxtapose II | |
| 6 | Tape | 4 | Florian Hartileb | Im vorderen Zimmer des hinteren Raums |
| 7 | Tape | 2 | Panayiotis Kokoras | Anechoic Pulse |
Papers
Location: Lecture Theatre 3, level 5, School of Music (Building 100)
| A | B | |
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| 1 | Paper Session 1 | |
| 2 | Cat Hope, Stuart James, Kynan Tan: When Lines Become Bits: Engaging Digital Technology to Perform works by Alvin Lucier | Refereed Paper |
| 3 | Roger Alsop: Action A/V: An Improvisatory Process For Translating Movement To An Audiovisual Outcome | Refereed Paper |
| 4 | David Worrall: Towards the better perception of sonic data mappings | Refereed Paper |
| 5 | Charles Martin, Benjamin Forster, Hanna Cormick: Audience Interactive Performance in "The Last Man To Die" | Artist Talk |
| 6 | ||
| 7 | Paper Session 2 | |
| 8 | Sarah Keith: Bridging the gap: thoughts on computer music and contemporary (popular) electronic music | Refereed Paper |
| 9 | Michael Spicer: Composing in Transit | Refereed Paper |
| 10 | Toby Gifford, Andrew Brown: Anticipatory Timing in Algorithmic Rhythm Generation | Refereed Paper |
| 11 | Lea Collins, Mary Hutchison: Mary Hutchison and Lea Collins discuss their collaborative sound practice | Artist Talk |
| 12 | Stephen Barrass: SweatSonics | Artist Talk |
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| 14 | Paper Session 3 | |
| 15 | Lindsay Vickery: Mobiles Scores and Click-Tracks: Teaching Old Dogs | Refereed Paper |
| 16 | Timothy Opie, Andrew Brown: The Aesthetic Implications of the Eco-Structuralist Process | Refereed Paper |
| 17 | Malcolm Riddoch: Experimental Electroacoustic Feedback Systems, The Performer And Their Audience | Refereed Paper |
| 18 | John Gibson: Wind Farm, a Composition for Laptop Orchestra | Artist Talk |
| 19 | Stephen Stanfield: A Cancelled Glow: An Interpretive Guide | Artist Talk |
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