Why ICAD2018?

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 2018 will be a single-track conference, open to all, with no membership or affiliation requirements.

Submission Dates

Full Paper Submission – February 16 2018 (Fri)
Extended Abstract Submission – March 23 2018 (Fri)
Workshop/tutorial – March 9 2018 (Fri)
ThinkTank – March 23 2018 (Fri)
Sonification Concert – March 23 2018 (Fri)
Installations – March 23 2018 (Fri)

Submit Proposals Online Via EasyChair

EasyChair Link Coming Soon.

Theme

Art | Design | Science | Research

Auditory researchers are familiar with “ADSR” (Attack-Decay-Sustain-Release), which are basic components of sound. In ICAD 2018, we want to (1) not only go back to the basics but also (2) explore and integrate various potentials of auditory displays and sonification as “ADSR” (Art-Design-Science-Research). Under this conference theme, we will value and embrace all types of submissions, including papers, extended abstracts, multimedia (videos/audios), concert pieces, demos and installations.

Topics

Art & Design

  • Music composition inspired by data/interactive-sonification
  • Integrative arts including sonification
  • Performing arts including sonification
  • Culture-specific sonification
  • Speculative, aspirational, and prototype designs
  • Aesthetics of auditory displays and sonification
  • Sonic information design paradigm, theory, and taxonomy
  • Design examples, case studies, and real-world applications
  • Design methods, processes, tools, and techniques
  • Users, experiences, and contexts of using sonification

Science & Research

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

Submission Content: Categories and Requirements

Submissions relevant to the Call for Participation are accepted in any of the following categories:

    • Scientific / Empirical Study

      Empirical study submissions are intended to present the results of experimental work, whether objective or subjective, numerical or perceptual. Submissions are evaluated with regards to the novelty of the work, scholarly/scientific quality, suitability to the ICAD community domains, and importance of the results. Submissions should include a state-of-the-art review which places the work and its results in the perspective of previous studies. Enough detail should be provided concerning experimental protocols so that the study could be repeated. Modern standards for statistical analysis should be followed (e.g. mean and variances in plots, boxplot or histogram distributions of data, ANOVA with corresponding p and F values provided, adequate number of test subjects).

    • Position paper

      Position Papers are those that address generic topics; those of general concern to the ICAD community or a specific conference theme. Frequently, such papers will challenge their audience to consider new ways of doing things or new conceptual paradigms. It is expected that such papers shall contain argument and counterargument supported by substantial evidence and/or documentation such as literature reviews of related prior research. Examples of Position Papers include those that discuss sonification taxonomies; models of listening; cross-modal comparisons of conceptual or psycho-perpetual issues such as the nature of representation; philosophical and cultural issues such as the role of sonification in data analysis and the public understanding of science. 

    • Informative Sonification / Sound design

      This submission category is intended to provide a framework for the presentation of informative sonification works. Submissions in this category require both a written element and a multimedia element in order for the review committee to judge the work.

    • Artistic sonification / Music / Composition

      This submission category is intended to provide a framework for the presentation of artistic works involving sonification. Submissions in this category require both a written element and a multimedia element in order for the review committee to judge the work.

    • Project architecture / Project presentation

      This submission category is for the presentation of a system architecture or a long term project prior to the production of any results. This type of submission is considered useful in providing both an extensive state-of-the-art review as well as a thorough overview of the goals and directions of the project including justifications for any choices made in the conception of the project. This category is well-suited to larger complex projects for which a sufficient presentation is poorly suited to the traditional length of a full-paper introduction. 

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. For those not word-processing with Word, 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

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.

ICAD2018 solicits submissions in the following forms:

Full Papers

  • 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.
  • At least 2 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.

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.
  • 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 attributed DOI references.
  • Extended Abstracts will be assigned to the either oral or poster presentation mode.

Installations and Demonstrations

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. The authors must use the ICAD 2018 paper format.
  • Media content
    An example representing the work must be provided. This file should be either an audio or audiovisual file, 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.

Concert Music

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. 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. The authors must use the ICAD 2018 paper format.
  • Media content
    An example representing the work must be provided. This file should be either an audio or audiovisual file, limited to 2-channel audio. 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.

Workshop Proposals

Proposals should be about one page in length and should 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)
  • 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. Extended abstracts will not be attributed DOI references.
  • List of organizers, a designated contact person, and contact information for all organizers (address, email, and ‘phone).
  • Technical and space requirements.
  • Workshop and tutorial proposals should be submitted via email to the Workshop Chair, Derek Brock (workshop@icad2018.icad.org)
  • 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 program for their session.

More detailed information about workshops will be coming soon.

Student ThinkTank

Information about the ThinkTank will be coming soon.

Posters

Following the recent ICAD, posters are a delivery format, not a submission type. Either full papers or extended abstracts can be assigned to poster delivery, but basically, full papers may be more suited to oral presentation and extended abstracts may be more suited to poster presentation. There is an opportunity to recommend that in the submission process.

NB: Conference organisers will take no responsibility for the return of posters to presenters. The removal of the poster from the conference venue is the responsibility of the presenter.

NB: To ensure integrity in the reviewing process, 
please ensure that, prior to you receiving reviews of your paper, all PAPER submissions have no indications of author and/or institutional affiliation.

Questions? Contact Us

photo

Myounghoon Jeon (Philart)

General Chair

photo

Areti Andreopoulou

Program Chair

photo

Jaclyn Barnes

Program Chair

photo

Derek Brock

Workshop Chair

photo

Rachelle Gariepy

Local Chair

photo

Matti Grohn

Advisory Committee Chair

photo

Nicole Kelly

Communications Chair

photo

Steven Landry

Program Chair

photo

Josh Loar

Installations Chair

photo

Christopher Plummer

Music Chair

photo

Hiroko Terasawa

ThinkTank Chair

photo

Katie Wolf

Accessibility Chair