Why ICAD2018?<\/h3><\/div>[vc_column_text]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.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″]Submission Dates<\/h3><\/div>[vc_column_text]Full Paper Notification<\/strong> \u2013 April 13<\/strong>\u00a02018 (Fri), Camera-Ready<\/strong>\u00a0\u2013 May 5<\/strong>\u00a0(Sat)
\nExtended Abstract Submission \u2013 April 2o<\/strong> 2018 (Fri)
\nWorkshop\/tutorial \u2013\u00a0April 6\u00a0<\/strong>2018 (Fri)
\nThinkTank \u2013\u00a0April 2o<\/strong> 2018 (Fri)
\nSonification Concert \u2013\u00a0April 2o<\/strong> 2018 (Fri)
\nInstallations \u2013\u00a0April 2o<\/strong> 2018 (Fri)[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1517000499056{margin-top: -50px !important;margin-bottom: 0px !important;margin-left: 50px !important;padding-top: 0px !important;padding-bottom: 50px !important;background-color: #ffffff !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column]ICAD at Michigan Tech<\/h3><\/div>[vc_column_text]Michigan Tech is located on The Keweenaw Peninsula in the northernmost part of Michigan\u2019s Upper Peninsula, projecting out into Lake Superior. Our waterside campus and the beauty of the surrounding area will prove to be a unique venue for this year’s conference. Please see the Venue and Travel Page<\/a> for information on booking flights and lodging in our small community.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1517000514657{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 50px !important;padding-bottom: 50px !important;background-color: #423c63 !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column]Submit Proposals Online Via EasyChair<\/h3><\/div>[vc_btn title=”SUBMIT NOW” color=”green” size=”lg” align=”center” link=”url:https%3A%2F%2Feasychair.org%2Fconferences%2F%3Fconf%3Dicad20180||target:%20_blank|”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1444042503989{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 50px !important;}”][vc_column width=”1\/3″]Theme<\/h3><\/div>[vc_column_text]<\/p>\nArt | Design | Science | Research<\/h4>\n
Auditory researchers are familiar with \u201cADSR\u201d (Attack-Decay-Sustain-Release)
Topics<\/h3><\/div>[vc_column_text]<\/p>\nArt & Design<\/h4>\n\n- Music composition inspired by data\/interactive-sonification<\/li>\n
- Integrative arts including sonification<\/li>\n
- Performing arts including sonification<\/li>\n
- Culture-specific sonification<\/li>\n
- Speculative, aspirational, and prototype designs<\/li>\n
- Aesthetics of auditory displays and sonification<\/li>\n
- Sonic information design paradigm, theory, and taxonomy<\/li>\n
- Design examples, case studies, and real-world applications<\/li>\n
- Design methods, processes, tools, and techniques<\/li>\n
- Users, experiences, and contexts of using sonification<\/li>\n<\/ul>\n
[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_empty_space height=”46px”][vc_column_text]<\/p>\n
Science & Research<\/h4>\n\n- Design of new a sensor, device, or platform for auditory displays & sonification<\/li>\n
- Methods and processes<\/li>\n
- Participatory design approaches<\/li>\n
- Accessibility,\u00a0inclusive design, and\u00a0assistive technologies<\/li>\n
- Auditory user interfaces<\/li>\n
- Psychology, cognition, perception and\u00a0psychoacoustics<\/li>\n
- Computational\/algorithmic approaches\u00b7<\/li>\n
- Human Factors, Ergonomics and Usability<\/li>\n
- Computational\/algorithmic approaches<\/li>\n
- Spatial\/3D sound<\/li>\n
- Sound scape, auditory scene analysis<\/li>\n
- Sonification in Health and Environmental Data (soniHED)<\/li>\n
- Sonification in the Internet of Things, Big Data, Cybersecurity<\/li>\n
- Sonification in automated vehicles<\/li>\n<\/ul>\n
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Submission Content: Categories and Requirements<\/h3><\/div>[vc_column_text]Submissions relevant to the\u00a0Call for Participation\u00a0are accepted in any of the following categories:<\/span><\/p>\n\n- \n
\n- \n
Scientific \/ Empirical Study<\/span><\/h4>\nEmpirical 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).<\/span><\/li>\n- \n
Position paper<\/span><\/h4>\nPosition 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.\u00a0<\/span><\/li>\n- \n
Informative Sonification \/ Sound design<\/span><\/h4>\nThis 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.<\/span><\/li>\n- \n
Artistic sonification \/ Music \/ Composition<\/span><\/h4>\nThis 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.<\/span><\/li>\n- \n
Project architecture \/ Project presentation<\/span><\/h4>\nThis 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.\u00a0<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1512762300985{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 50px !important;padding-bottom: 50px !important;background-color: #ffffff !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner]
Form of Submission and Assessment Criteria<\/h3><\/div>[vc_column_text]<\/p>\nSubmission Templates<\/h4>\n
For Paper, Poster and other written material:
\nThe 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.)<\/p>\n
Download .doc template<\/a>
\nDownload Latex template<\/a><\/p>\nAudio 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.<\/p>\n
ICAD2018 solicits submissions in the following forms:<\/p>\n
Submission Accessibility<\/h4>\n
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.<\/p>\n
Checking Your PDF is Accessible<\/strong>
\nIf you can, use the Adobe Acrobat Pro Accessibility Checker (Full Check) to verify the accessibility of your PDF. See Adobe’s detailed instructions<\/a>\u00a0for more information.<\/p>\nIf you don’t have access to Adobe Acrobat Pro, there are some free accessibility checkers available online that may be able to help.<\/p>\n
Fixing Accessibility Problems<\/strong>
\nA 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<\/a>. Unfortunately, Word for Mac and Latex users will need to manually add accessibility features.<\/p>\nAt 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.<\/p>\n
More Information<\/strong>
\nACM SIGACCESS has a number of resources http:\/\/www.sigaccess.org\/welcome-to-sigaccess\/resources\/<\/a> for making conference materials and presentations more accessible.<\/p>\nPlease contact ICAD2018’s Accessibility Chair Katie Wolf<\/a> if you have any questions.<\/p>\nFull Papers (5-8 pages)<\/h4>\n\n- 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.<\/li>\n
- To ensure integrity in the reviewing process,\u00a0\u2028please ensure that, prior to you receiving reviews of your paper, full paper submissions have no indications of author and\/or institutional affiliation.<\/li>\n
- At least 2 external reviews, by reviewers outside of the Program Committee, will be carried out.<\/li>\n
- Acceptance is determined solely on the merits of the submitted work.<\/li>\n
- In the review process, there is no distinction between whether the presentation mode will be\u00a0oral<\/em> or a\u00a0poster<\/em>.<\/li>\n
- 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.<\/li>\n
- Accepted papers will appear in the proceedings and will be archived accordingly.<\/li>\n<\/ul>\n
Extended Abstracts (2-4 pages)<\/h4>\n\n- 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.<\/li>\n
- Authors are not allowed to anonymize the submission for reviews.<\/li>\n
- As Extended Abstracts are not presenting completed work, they are expected to be reviewed principally for thematic pertinence to the ICAD community.<\/li>\n
- A single review is necessary and can be carried out by the Program Committee.<\/li>\n
- 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.<\/li>\n
- Extended Abstracts will be assigned to the either oral or\u00a0poster presentation mode.<\/li>\n<\/ul>\n
Installations and Demonstrations (1-2 pages)<\/h4>\n
The peer review considers the combination of the written and media submission.<\/p>\n
\n- Written content statement<\/strong>
\nThe 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.<\/li>\n- Media content<\/strong>
\nAn 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.<\/li>\n- Authors are not allowed to anonymize the submission for reviews.<\/li>\n<\/ul>\n
Sonification Concert (1-2 pages)<\/h4>\n
The peer review is of the combination of the written and media submission.<\/p>\n
\n- Written content<\/strong>
\nThe 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.\u00a0The authors must use the ICAD 2018 paper format.<\/li>\n- Media content<\/strong>
\nAn 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.<\/li>\n- Authors are not allowed to anonymize the submission for reviews.<\/li>\n<\/ul>\n
Workshop Proposals<\/h4>\n
Proposals should be about one page in length and should include the following:<\/p>\n
\n- Title, brief abstract, outline of objectives (e.g., tutorial syllabus, organized discussion, presentations, submissions, etc.), relevance for ICAD attendees.<\/li>\n
- Proposed duration (full day or half day).<\/li>\n
- Invited speakers (if any)<\/li>\n
- 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.<\/li>\n
- List of organizers, a designated contact person, and contact information for all organizers (address, email, and ‘phone).<\/li>\n
- Technical and space requirements.<\/li>\n
- Workshop and tutorial proposals should be submitted via email to the Workshop Chair, Derek Brock<\/a> (icad2018workshop@icad.org<\/a>)<\/li>\n
- 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.<\/li>\n<\/ul>\n
More detailed information about workshops\u00a0will be coming soon.<\/p>\n
Student ThinkTank<\/h4>\n
The Student ThinkTank is a full day meeting for students doing projects in auditory display and sonification. This year we invite not only graduate students, but also undergraduate students to attend ThinkTank. It will be free of charge for conference participants and refreshments will be provided. In addition the formal presentations of successful applicants (as below) it is possible to attend as an observer. If you’d like to attend as an observer, please send an email to icad2018thinktank@icad<\/span>.org<\/a>.<\/p>\nThe 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 or technique to use to save you from heading down a dead end. Besides providing breakthrough insights into your particular project the ThinkTank will foster friendships and networks that are essential in an international community for auditory display.<\/p>\n
What to Submit<\/strong><\/p>\n1. Cover Letter for ThinkTank Proposal Packet<\/strong><\/p>\nYour cover letter should include the following information:<\/p>\n
\n- Statement of interest in participating in the ThinkTank.<\/li>\n
- Full name of School and Department in which you are taking your degree.<\/li>\n
- Current stage in your academic program (e.g., completed MS, 2 years into PhD).<\/li>\n
- Name of the supervising professor.<\/li>\n
- Your full contact information: address, phone number, and email address.<\/li>\n
- Title of the research and keywords pertinent to the research.<\/li>\n
- The URL of your web page (if any).<\/li>\n<\/ul>\n
2. Two-page Research Interest Summary<\/strong><\/p>\nThe 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:<\/p>\n
\n- Introduction and problem description.<\/li>\n
- Brief background and overview of the existing literature.<\/li>\n
- Goal of the research.<\/li>\n
- Current status of the research.<\/li>\n
- Preliminary results accomplished, if any.<\/li>\n
- Broader Impact of this research.<\/li>\n
- 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 expertise from the panel.<\/li>\n<\/ul>\n
3. Letter of Recommendation<\/strong><\/p>\nEnclose 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. Advisors are also encouraged to include an assessment of the current status of the 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.<\/p>\n
4. Curriculum Vitae (CV)<\/strong><\/p>\nPlease prepare a 1-page CV that relates your background, relevant experience, and research accomplishments.<\/p>\n
Selection and Notification<\/strong><\/p>\nThirteen\u00a0of the submissions will be selected by the Panel for formal presentation and \u201cthink-tanking\u201d. The selected problems will be representative examples of a widespread problem, or will be particularly interesting or difficult (as determined by the expert Panel). Each student whose problem is selected will prepare a 15 minute presentation for the ThinkTank which will be followed by a 15 minute discussion by everyone in attendance.\u00a0Student scholars will also have an opportunity to present their posters in ThinkTank lunch and in the main conference poster session.\u00a0The Panel will present a report on the think-tank in the ICAD 2018 conference program.<\/p>\n
All those who submit a problem may participate in the ThinkTank to observe the presentations and join in the discussions; however, only the\u00a0thirteen\u00a0selected 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 2018 conference and in the future. If your problem is selected, you may also leave with the breakthrough you need!<\/p>\n
Financial Assistance:<\/strong>
\nThrough to funding from the National Science Foundation (NSF), students based in the USA who are selected to present at the Think Tank will receive air fare (from within the US), ICAD conference registration, and funding towards 5 nights accommodation.
\nStudents from outside the USA who are selected to present are not eligible for the NSF travel and accommodation subsidy, though they will be given free ICAD conference registration.<\/p>\nLikewise,\u00a0up to 3 US- based ThinkTank Scholars local to the Michigan Tech area (including Wisconsin and Minnesota) will be given free ICAD conference registration (but not travel and accommodation) subsidized at ICAD 2018.<\/p>\n
Any other students (US-based or not) who are not selected to make a formal presentation and get formal feedback, are still invited to participate in the Think Tank to observe the presentations and join in the discussions; they are not eligible to receive any funding.<\/p>\n
ThinkTank Panel:<\/strong>
\nThe ThinkTank Panel comprises a number of international researchers who work across a range of disciplines covered by auditory display.<\/p>\nHow to Submit:<\/strong>
\nPlease email your proposal by\u00a023 March 2018\u00a0to the ICAD2018 chair (icad2018chair@icad.org<\/a>) and the ThinkTank chair (icad2018thinktank@icad.org<\/a>). Please feel free to email the chairs with any questions beforehand.<\/p>\n<\/h4>\nSpecial session supported by Hyundai Motors Company:\u00a0“Futuristic in-vehicle auditory interactions”<\/h4>\nThe topics of interest include, but are not limited to:<\/div>\n<\/div>\n– In-vehicle dual-task research including audio (audio book, phone call, music listening, etc.)<\/div>\n– Collision warning sounds (forward, backward, lane departure, blind spot, etc.)<\/div>\n– Speech recognition in vehicles<\/div>\n– Sound applications for navigation systems<\/div>\n\n– Sound design for automotive user interfaces (AV system, telematics system, eco-driving, emotion regulation, etc.)<\/div>\n<\/div>\n– Hand-over\/take-over alert for automated vehicles<\/div>\n– Exterior sound for electric and hybrid vehicles<\/div>\n<\/div>\nEven though HMC is specifically more interested in “futuristic” concepts,\u00a0any type of\u00a0“sound”\u00a0research in driving contexts will be welcome!\u00a0There will be the session-specific awards as well.<\/div>\n<\/div>\nIf you intend to submit for the Hyundai special session, please follow the regular submission procedure, select the type of submission you prefer, and then select “Sonification in\u00a0vehicles (Hyundai special session)” from the list of topics.<\/div>\nPosters<\/h4>\n
Following the recent ICAD, posters are a\u00a0delivery format<\/em>, not a\u00a0submission type<\/em>. 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.<\/p>\nNB: Conference organizers 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.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1512156327370{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 100px !important;padding-bottom: 100px !important;background: #363f4a url(http:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/Contacts.jpg?id=1452) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column]
Questions? Contact Us<\/h3><\/div>[vc_row_inner][vc_column_inner width=”1\/4″]![\"photo\"](\"https:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/Philart-1.png\")
<\/div> Myounghoon Jeon (Philart)<\/h3>General Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018chair%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]![\"photo\"](\"https:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/Areti-Andreopoulou.png\")
<\/div>Areti Andreopoulou<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]![\"photo\"](\"https:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/JaclynBarnes.jpg\")
<\/div>Jaclyn Barnes<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]![\"photo\"](\"https:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/ICC_DerelBrock_ICAD2018.jpg\")
<\/div>Derek Brock <\/h3>Workshop Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018workshop%40icad.org|title:Contact||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″]![\"photo\"](\"https:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/ICC_Rachelle_Gariepy_ICAD2018.jpg\")
<\/div>Rachelle Gariepy<\/h3>Local Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018local%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]![\"photo\"](\"https:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/ICC_mattigrohn_ICAD2018.jpg\")
<\/div>Matti Grohn<\/h3>Advisory Committee Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Amatti.grohn%40iki.fi|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]![\"photo\"](\"https:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/ICC_NicoleKelly_ICAD2018.jpg\")
<\/div>Nicole Kelly<\/h3>Communications Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018communications%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]![\"photo\"](\"https:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/StevnLandry.jpg\")
<\/div>Steven Landry<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″]![\"photo\"](\"https:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/ICC_JoshLoar_ICAD2018-1.jpg\")
<\/div>Josh Loar<\/h3>Installations Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018installations%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]![\"photo\"](\"https:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/ICC_Plummer_ICAD2018-1.jpg\")
<\/div>Christopher Plummer<\/h3>Music Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018music%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]![\"photo\"](\"https:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/Hiroko-Terasawa.png\")
<\/div>Hiroko Terasawa<\/h3>ThinkTank Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018thinktank%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]![\"photo\"](\"https:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/ICC_KatieWolf_ICAD2018.png\")
<\/div>Katie Wolf<\/h3>Accessibility Chair<\/h4><\/div>
Submission Dates<\/h3><\/div>[vc_column_text]Full Paper Notification<\/strong> \u2013 April 13<\/strong>\u00a02018 (Fri), Camera-Ready<\/strong>\u00a0\u2013 May 5<\/strong>\u00a0(Sat)
\nExtended Abstract Submission \u2013 April 2o<\/strong> 2018 (Fri)
\nWorkshop\/tutorial \u2013\u00a0April 6\u00a0<\/strong>2018 (Fri)
\nThinkTank \u2013\u00a0April 2o<\/strong> 2018 (Fri)
\nSonification Concert \u2013\u00a0April 2o<\/strong> 2018 (Fri)
\nInstallations \u2013\u00a0April 2o<\/strong> 2018 (Fri)[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1517000499056{margin-top: -50px !important;margin-bottom: 0px !important;margin-left: 50px !important;padding-top: 0px !important;padding-bottom: 50px !important;background-color: #ffffff !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column]ICAD at Michigan Tech<\/h3><\/div>[vc_column_text]Michigan Tech is located on The Keweenaw Peninsula in the northernmost part of Michigan\u2019s Upper Peninsula, projecting out into Lake Superior. Our waterside campus and the beauty of the surrounding area will prove to be a unique venue for this year’s conference. Please see the Venue and Travel Page<\/a> for information on booking flights and lodging in our small community.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1517000514657{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 50px !important;padding-bottom: 50px !important;background-color: #423c63 !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column]Submit Proposals Online Via EasyChair<\/h3><\/div>[vc_btn title=”SUBMIT NOW” color=”green” size=”lg” align=”center” link=”url:https%3A%2F%2Feasychair.org%2Fconferences%2F%3Fconf%3Dicad20180||target:%20_blank|”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1444042503989{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 50px !important;}”][vc_column width=”1\/3″]Theme<\/h3><\/div>[vc_column_text]<\/p>\nArt | Design | Science | Research<\/h4>\n
Auditory researchers are familiar with \u201cADSR\u201d (Attack-Decay-Sustain-Release)
Topics<\/h3><\/div>[vc_column_text]<\/p>\nArt & Design<\/h4>\n\n- Music composition inspired by data\/interactive-sonification<\/li>\n
- Integrative arts including sonification<\/li>\n
- Performing arts including sonification<\/li>\n
- Culture-specific sonification<\/li>\n
- Speculative, aspirational, and prototype designs<\/li>\n
- Aesthetics of auditory displays and sonification<\/li>\n
- Sonic information design paradigm, theory, and taxonomy<\/li>\n
- Design examples, case studies, and real-world applications<\/li>\n
- Design methods, processes, tools, and techniques<\/li>\n
- Users, experiences, and contexts of using sonification<\/li>\n<\/ul>\n
[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_empty_space height=”46px”][vc_column_text]<\/p>\n
Science & Research<\/h4>\n\n- Design of new a sensor, device, or platform for auditory displays & sonification<\/li>\n
- Methods and processes<\/li>\n
- Participatory design approaches<\/li>\n
- Accessibility,\u00a0inclusive design, and\u00a0assistive technologies<\/li>\n
- Auditory user interfaces<\/li>\n
- Psychology, cognition, perception and\u00a0psychoacoustics<\/li>\n
- Computational\/algorithmic approaches\u00b7<\/li>\n
- Human Factors, Ergonomics and Usability<\/li>\n
- Computational\/algorithmic approaches<\/li>\n
- Spatial\/3D sound<\/li>\n
- Sound scape, auditory scene analysis<\/li>\n
- Sonification in Health and Environmental Data (soniHED)<\/li>\n
- Sonification in the Internet of Things, Big Data, Cybersecurity<\/li>\n
- Sonification in automated vehicles<\/li>\n<\/ul>\n
[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1512762439279{background-color: #007a9e !important;}”][vc_column][vc_row_inner][vc_column_inner]
Submission Content: Categories and Requirements<\/h3><\/div>[vc_column_text]Submissions relevant to the\u00a0Call for Participation\u00a0are accepted in any of the following categories:<\/span><\/p>\n\n- \n
\n- \n
Scientific \/ Empirical Study<\/span><\/h4>\nEmpirical 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).<\/span><\/li>\n- \n
Position paper<\/span><\/h4>\nPosition 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.\u00a0<\/span><\/li>\n- \n
Informative Sonification \/ Sound design<\/span><\/h4>\nThis 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.<\/span><\/li>\n- \n
Artistic sonification \/ Music \/ Composition<\/span><\/h4>\nThis 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.<\/span><\/li>\n- \n
Project architecture \/ Project presentation<\/span><\/h4>\nThis 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.\u00a0<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1512762300985{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 50px !important;padding-bottom: 50px !important;background-color: #ffffff !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner]
Form of Submission and Assessment Criteria<\/h3><\/div>[vc_column_text]<\/p>\nSubmission Templates<\/h4>\n
For Paper, Poster and other written material:
\nThe 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.)<\/p>\n
Download .doc template<\/a>
\nDownload Latex template<\/a><\/p>\nAudio 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.<\/p>\n
ICAD2018 solicits submissions in the following forms:<\/p>\n
Submission Accessibility<\/h4>\n
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.<\/p>\n
Checking Your PDF is Accessible<\/strong>
\nIf you can, use the Adobe Acrobat Pro Accessibility Checker (Full Check) to verify the accessibility of your PDF. See Adobe’s detailed instructions<\/a>\u00a0for more information.<\/p>\nIf you don’t have access to Adobe Acrobat Pro, there are some free accessibility checkers available online that may be able to help.<\/p>\n
Fixing Accessibility Problems<\/strong>
\nA 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<\/a>. Unfortunately, Word for Mac and Latex users will need to manually add accessibility features.<\/p>\nAt 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.<\/p>\n
More Information<\/strong>
\nACM SIGACCESS has a number of resources http:\/\/www.sigaccess.org\/welcome-to-sigaccess\/resources\/<\/a> for making conference materials and presentations more accessible.<\/p>\nPlease contact ICAD2018’s Accessibility Chair Katie Wolf<\/a> if you have any questions.<\/p>\nFull Papers (5-8 pages)<\/h4>\n\n- 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.<\/li>\n
- To ensure integrity in the reviewing process,\u00a0\u2028please ensure that, prior to you receiving reviews of your paper, full paper submissions have no indications of author and\/or institutional affiliation.<\/li>\n
- At least 2 external reviews, by reviewers outside of the Program Committee, will be carried out.<\/li>\n
- Acceptance is determined solely on the merits of the submitted work.<\/li>\n
- In the review process, there is no distinction between whether the presentation mode will be\u00a0oral<\/em> or a\u00a0poster<\/em>.<\/li>\n
- 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.<\/li>\n
- Accepted papers will appear in the proceedings and will be archived accordingly.<\/li>\n<\/ul>\n
Extended Abstracts (2-4 pages)<\/h4>\n\n- 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.<\/li>\n
- Authors are not allowed to anonymize the submission for reviews.<\/li>\n
- As Extended Abstracts are not presenting completed work, they are expected to be reviewed principally for thematic pertinence to the ICAD community.<\/li>\n
- A single review is necessary and can be carried out by the Program Committee.<\/li>\n
- 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.<\/li>\n
- Extended Abstracts will be assigned to the either oral or\u00a0poster presentation mode.<\/li>\n<\/ul>\n
Installations and Demonstrations (1-2 pages)<\/h4>\n
The peer review considers the combination of the written and media submission.<\/p>\n
\n- Written content statement<\/strong>
\nThe 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.<\/li>\n- Media content<\/strong>
\nAn 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.<\/li>\n- Authors are not allowed to anonymize the submission for reviews.<\/li>\n<\/ul>\n
Sonification Concert (1-2 pages)<\/h4>\n
The peer review is of the combination of the written and media submission.<\/p>\n
\n- Written content<\/strong>
\nThe 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.\u00a0The authors must use the ICAD 2018 paper format.<\/li>\n- Media content<\/strong>
\nAn 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.<\/li>\n- Authors are not allowed to anonymize the submission for reviews.<\/li>\n<\/ul>\n
Workshop Proposals<\/h4>\n
Proposals should be about one page in length and should include the following:<\/p>\n
\n- Title, brief abstract, outline of objectives (e.g., tutorial syllabus, organized discussion, presentations, submissions, etc.), relevance for ICAD attendees.<\/li>\n
- Proposed duration (full day or half day).<\/li>\n
- Invited speakers (if any)<\/li>\n
- 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.<\/li>\n
- List of organizers, a designated contact person, and contact information for all organizers (address, email, and ‘phone).<\/li>\n
- Technical and space requirements.<\/li>\n
- Workshop and tutorial proposals should be submitted via email to the Workshop Chair, Derek Brock<\/a> (icad2018workshop@icad.org<\/a>)<\/li>\n
- 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.<\/li>\n<\/ul>\n
More detailed information about workshops\u00a0will be coming soon.<\/p>\n
Student ThinkTank<\/h4>\n
The Student ThinkTank is a full day meeting for students doing projects in auditory display and sonification. This year we invite not only graduate students, but also undergraduate students to attend ThinkTank. It will be free of charge for conference participants and refreshments will be provided. In addition the formal presentations of successful applicants (as below) it is possible to attend as an observer. If you’d like to attend as an observer, please send an email to icad2018thinktank@icad<\/span>.org<\/a>.<\/p>\nThe 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 or technique to use to save you from heading down a dead end. Besides providing breakthrough insights into your particular project the ThinkTank will foster friendships and networks that are essential in an international community for auditory display.<\/p>\n
What to Submit<\/strong><\/p>\n1. Cover Letter for ThinkTank Proposal Packet<\/strong><\/p>\nYour cover letter should include the following information:<\/p>\n
\n- Statement of interest in participating in the ThinkTank.<\/li>\n
- Full name of School and Department in which you are taking your degree.<\/li>\n
- Current stage in your academic program (e.g., completed MS, 2 years into PhD).<\/li>\n
- Name of the supervising professor.<\/li>\n
- Your full contact information: address, phone number, and email address.<\/li>\n
- Title of the research and keywords pertinent to the research.<\/li>\n
- The URL of your web page (if any).<\/li>\n<\/ul>\n
2. Two-page Research Interest Summary<\/strong><\/p>\nThe 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:<\/p>\n
\n- Introduction and problem description.<\/li>\n
- Brief background and overview of the existing literature.<\/li>\n
- Goal of the research.<\/li>\n
- Current status of the research.<\/li>\n
- Preliminary results accomplished, if any.<\/li>\n
- Broader Impact of this research.<\/li>\n
- 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 expertise from the panel.<\/li>\n<\/ul>\n
3. Letter of Recommendation<\/strong><\/p>\nEnclose 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. Advisors are also encouraged to include an assessment of the current status of the 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.<\/p>\n
4. Curriculum Vitae (CV)<\/strong><\/p>\nPlease prepare a 1-page CV that relates your background, relevant experience, and research accomplishments.<\/p>\n
Selection and Notification<\/strong><\/p>\nThirteen\u00a0of the submissions will be selected by the Panel for formal presentation and \u201cthink-tanking\u201d. The selected problems will be representative examples of a widespread problem, or will be particularly interesting or difficult (as determined by the expert Panel). Each student whose problem is selected will prepare a 15 minute presentation for the ThinkTank which will be followed by a 15 minute discussion by everyone in attendance.\u00a0Student scholars will also have an opportunity to present their posters in ThinkTank lunch and in the main conference poster session.\u00a0The Panel will present a report on the think-tank in the ICAD 2018 conference program.<\/p>\n
All those who submit a problem may participate in the ThinkTank to observe the presentations and join in the discussions; however, only the\u00a0thirteen\u00a0selected 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 2018 conference and in the future. If your problem is selected, you may also leave with the breakthrough you need!<\/p>\n
Financial Assistance:<\/strong>
\nThrough to funding from the National Science Foundation (NSF), students based in the USA who are selected to present at the Think Tank will receive air fare (from within the US), ICAD conference registration, and funding towards 5 nights accommodation.
\nStudents from outside the USA who are selected to present are not eligible for the NSF travel and accommodation subsidy, though they will be given free ICAD conference registration.<\/p>\nLikewise,\u00a0up to 3 US- based ThinkTank Scholars local to the Michigan Tech area (including Wisconsin and Minnesota) will be given free ICAD conference registration (but not travel and accommodation) subsidized at ICAD 2018.<\/p>\n
Any other students (US-based or not) who are not selected to make a formal presentation and get formal feedback, are still invited to participate in the Think Tank to observe the presentations and join in the discussions; they are not eligible to receive any funding.<\/p>\n
ThinkTank Panel:<\/strong>
\nThe ThinkTank Panel comprises a number of international researchers who work across a range of disciplines covered by auditory display.<\/p>\nHow to Submit:<\/strong>
\nPlease email your proposal by\u00a023 March 2018\u00a0to the ICAD2018 chair (icad2018chair@icad.org<\/a>) and the ThinkTank chair (icad2018thinktank@icad.org<\/a>). Please feel free to email the chairs with any questions beforehand.<\/p>\n<\/h4>\nSpecial session supported by Hyundai Motors Company:\u00a0“Futuristic in-vehicle auditory interactions”<\/h4>\nThe topics of interest include, but are not limited to:<\/div>\n<\/div>\n– In-vehicle dual-task research including audio (audio book, phone call, music listening, etc.)<\/div>\n– Collision warning sounds (forward, backward, lane departure, blind spot, etc.)<\/div>\n– Speech recognition in vehicles<\/div>\n– Sound applications for navigation systems<\/div>\n\n– Sound design for automotive user interfaces (AV system, telematics system, eco-driving, emotion regulation, etc.)<\/div>\n<\/div>\n– Hand-over\/take-over alert for automated vehicles<\/div>\n– Exterior sound for electric and hybrid vehicles<\/div>\n<\/div>\nEven though HMC is specifically more interested in “futuristic” concepts,\u00a0any type of\u00a0“sound”\u00a0research in driving contexts will be welcome!\u00a0There will be the session-specific awards as well.<\/div>\n<\/div>\nIf you intend to submit for the Hyundai special session, please follow the regular submission procedure, select the type of submission you prefer, and then select “Sonification in\u00a0vehicles (Hyundai special session)” from the list of topics.<\/div>\nPosters<\/h4>\n
Following the recent ICAD, posters are a\u00a0delivery format<\/em>, not a\u00a0submission type<\/em>. 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.<\/p>\nNB: Conference organizers 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.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1512156327370{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 100px !important;padding-bottom: 100px !important;background: #363f4a url(http:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/Contacts.jpg?id=1452) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column]
Questions? Contact Us<\/h3><\/div>[vc_row_inner][vc_column_inner width=”1\/4″]<\/div> Myounghoon Jeon (Philart)<\/h3>General Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018chair%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Areti Andreopoulou<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Jaclyn Barnes<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Derek Brock <\/h3>Workshop Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018workshop%40icad.org|title:Contact||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″]<\/div>Rachelle Gariepy<\/h3>Local Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018local%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Matti Grohn<\/h3>Advisory Committee Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Amatti.grohn%40iki.fi|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Nicole Kelly<\/h3>Communications Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018communications%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Steven Landry<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″]<\/div>Josh Loar<\/h3>Installations Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018installations%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Christopher Plummer<\/h3>Music Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018music%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Hiroko Terasawa<\/h3>ThinkTank Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018thinktank%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Katie Wolf<\/h3>Accessibility Chair<\/h4><\/div>
ICAD at Michigan Tech<\/h3><\/div>[vc_column_text]Michigan Tech is located on The Keweenaw Peninsula in the northernmost part of Michigan\u2019s Upper Peninsula, projecting out into Lake Superior. Our waterside campus and the beauty of the surrounding area will prove to be a unique venue for this year’s conference. Please see the Venue and Travel Page<\/a> for information on booking flights and lodging in our small community.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1517000514657{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 50px !important;padding-bottom: 50px !important;background-color: #423c63 !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column]Submit Proposals Online Via EasyChair<\/h3><\/div>[vc_btn title=”SUBMIT NOW” color=”green” size=”lg” align=”center” link=”url:https%3A%2F%2Feasychair.org%2Fconferences%2F%3Fconf%3Dicad20180||target:%20_blank|”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1444042503989{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 50px !important;}”][vc_column width=”1\/3″]Theme<\/h3><\/div>[vc_column_text]<\/p>\nArt | Design | Science | Research<\/h4>\n
Auditory researchers are familiar with \u201cADSR\u201d (Attack-Decay-Sustain-Release)
Topics<\/h3><\/div>[vc_column_text]<\/p>\nArt & Design<\/h4>\n\n- Music composition inspired by data\/interactive-sonification<\/li>\n
- Integrative arts including sonification<\/li>\n
- Performing arts including sonification<\/li>\n
- Culture-specific sonification<\/li>\n
- Speculative, aspirational, and prototype designs<\/li>\n
- Aesthetics of auditory displays and sonification<\/li>\n
- Sonic information design paradigm, theory, and taxonomy<\/li>\n
- Design examples, case studies, and real-world applications<\/li>\n
- Design methods, processes, tools, and techniques<\/li>\n
- Users, experiences, and contexts of using sonification<\/li>\n<\/ul>\n
[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_empty_space height=”46px”][vc_column_text]<\/p>\n
Science & Research<\/h4>\n\n- Design of new a sensor, device, or platform for auditory displays & sonification<\/li>\n
- Methods and processes<\/li>\n
- Participatory design approaches<\/li>\n
- Accessibility,\u00a0inclusive design, and\u00a0assistive technologies<\/li>\n
- Auditory user interfaces<\/li>\n
- Psychology, cognition, perception and\u00a0psychoacoustics<\/li>\n
- Computational\/algorithmic approaches\u00b7<\/li>\n
- Human Factors, Ergonomics and Usability<\/li>\n
- Computational\/algorithmic approaches<\/li>\n
- Spatial\/3D sound<\/li>\n
- Sound scape, auditory scene analysis<\/li>\n
- Sonification in Health and Environmental Data (soniHED)<\/li>\n
- Sonification in the Internet of Things, Big Data, Cybersecurity<\/li>\n
- Sonification in automated vehicles<\/li>\n<\/ul>\n
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Submission Content: Categories and Requirements<\/h3><\/div>[vc_column_text]Submissions relevant to the\u00a0Call for Participation\u00a0are accepted in any of the following categories:<\/span><\/p>\n\n- \n
\n- \n
Scientific \/ Empirical Study<\/span><\/h4>\nEmpirical 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).<\/span><\/li>\n- \n
Position paper<\/span><\/h4>\nPosition 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.\u00a0<\/span><\/li>\n- \n
Informative Sonification \/ Sound design<\/span><\/h4>\nThis 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.<\/span><\/li>\n- \n
Artistic sonification \/ Music \/ Composition<\/span><\/h4>\nThis 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.<\/span><\/li>\n- \n
Project architecture \/ Project presentation<\/span><\/h4>\nThis 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.\u00a0<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1512762300985{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 50px !important;padding-bottom: 50px !important;background-color: #ffffff !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner]
Form of Submission and Assessment Criteria<\/h3><\/div>[vc_column_text]<\/p>\nSubmission Templates<\/h4>\n
For Paper, Poster and other written material:
\nThe 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.)<\/p>\n
Download .doc template<\/a>
\nDownload Latex template<\/a><\/p>\nAudio 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.<\/p>\n
ICAD2018 solicits submissions in the following forms:<\/p>\n
Submission Accessibility<\/h4>\n
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.<\/p>\n
Checking Your PDF is Accessible<\/strong>
\nIf you can, use the Adobe Acrobat Pro Accessibility Checker (Full Check) to verify the accessibility of your PDF. See Adobe’s detailed instructions<\/a>\u00a0for more information.<\/p>\nIf you don’t have access to Adobe Acrobat Pro, there are some free accessibility checkers available online that may be able to help.<\/p>\n
Fixing Accessibility Problems<\/strong>
\nA 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<\/a>. Unfortunately, Word for Mac and Latex users will need to manually add accessibility features.<\/p>\nAt 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.<\/p>\n
More Information<\/strong>
\nACM SIGACCESS has a number of resources http:\/\/www.sigaccess.org\/welcome-to-sigaccess\/resources\/<\/a> for making conference materials and presentations more accessible.<\/p>\nPlease contact ICAD2018’s Accessibility Chair Katie Wolf<\/a> if you have any questions.<\/p>\nFull Papers (5-8 pages)<\/h4>\n\n- 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.<\/li>\n
- To ensure integrity in the reviewing process,\u00a0\u2028please ensure that, prior to you receiving reviews of your paper, full paper submissions have no indications of author and\/or institutional affiliation.<\/li>\n
- At least 2 external reviews, by reviewers outside of the Program Committee, will be carried out.<\/li>\n
- Acceptance is determined solely on the merits of the submitted work.<\/li>\n
- In the review process, there is no distinction between whether the presentation mode will be\u00a0oral<\/em> or a\u00a0poster<\/em>.<\/li>\n
- 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.<\/li>\n
- Accepted papers will appear in the proceedings and will be archived accordingly.<\/li>\n<\/ul>\n
Extended Abstracts (2-4 pages)<\/h4>\n\n- 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.<\/li>\n
- Authors are not allowed to anonymize the submission for reviews.<\/li>\n
- As Extended Abstracts are not presenting completed work, they are expected to be reviewed principally for thematic pertinence to the ICAD community.<\/li>\n
- A single review is necessary and can be carried out by the Program Committee.<\/li>\n
- 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.<\/li>\n
- Extended Abstracts will be assigned to the either oral or\u00a0poster presentation mode.<\/li>\n<\/ul>\n
Installations and Demonstrations (1-2 pages)<\/h4>\n
The peer review considers the combination of the written and media submission.<\/p>\n
\n- Written content statement<\/strong>
\nThe 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.<\/li>\n- Media content<\/strong>
\nAn 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.<\/li>\n- Authors are not allowed to anonymize the submission for reviews.<\/li>\n<\/ul>\n
Sonification Concert (1-2 pages)<\/h4>\n
The peer review is of the combination of the written and media submission.<\/p>\n
\n- Written content<\/strong>
\nThe 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.\u00a0The authors must use the ICAD 2018 paper format.<\/li>\n- Media content<\/strong>
\nAn 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.<\/li>\n- Authors are not allowed to anonymize the submission for reviews.<\/li>\n<\/ul>\n
Workshop Proposals<\/h4>\n
Proposals should be about one page in length and should include the following:<\/p>\n
\n- Title, brief abstract, outline of objectives (e.g., tutorial syllabus, organized discussion, presentations, submissions, etc.), relevance for ICAD attendees.<\/li>\n
- Proposed duration (full day or half day).<\/li>\n
- Invited speakers (if any)<\/li>\n
- 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.<\/li>\n
- List of organizers, a designated contact person, and contact information for all organizers (address, email, and ‘phone).<\/li>\n
- Technical and space requirements.<\/li>\n
- Workshop and tutorial proposals should be submitted via email to the Workshop Chair, Derek Brock<\/a> (icad2018workshop@icad.org<\/a>)<\/li>\n
- 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.<\/li>\n<\/ul>\n
More detailed information about workshops\u00a0will be coming soon.<\/p>\n
Student ThinkTank<\/h4>\n
The Student ThinkTank is a full day meeting for students doing projects in auditory display and sonification. This year we invite not only graduate students, but also undergraduate students to attend ThinkTank. It will be free of charge for conference participants and refreshments will be provided. In addition the formal presentations of successful applicants (as below) it is possible to attend as an observer. If you’d like to attend as an observer, please send an email to icad2018thinktank@icad<\/span>.org<\/a>.<\/p>\nThe 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 or technique to use to save you from heading down a dead end. Besides providing breakthrough insights into your particular project the ThinkTank will foster friendships and networks that are essential in an international community for auditory display.<\/p>\n
What to Submit<\/strong><\/p>\n1. Cover Letter for ThinkTank Proposal Packet<\/strong><\/p>\nYour cover letter should include the following information:<\/p>\n
\n- Statement of interest in participating in the ThinkTank.<\/li>\n
- Full name of School and Department in which you are taking your degree.<\/li>\n
- Current stage in your academic program (e.g., completed MS, 2 years into PhD).<\/li>\n
- Name of the supervising professor.<\/li>\n
- Your full contact information: address, phone number, and email address.<\/li>\n
- Title of the research and keywords pertinent to the research.<\/li>\n
- The URL of your web page (if any).<\/li>\n<\/ul>\n
2. Two-page Research Interest Summary<\/strong><\/p>\nThe 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:<\/p>\n
\n- Introduction and problem description.<\/li>\n
- Brief background and overview of the existing literature.<\/li>\n
- Goal of the research.<\/li>\n
- Current status of the research.<\/li>\n
- Preliminary results accomplished, if any.<\/li>\n
- Broader Impact of this research.<\/li>\n
- 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 expertise from the panel.<\/li>\n<\/ul>\n
3. Letter of Recommendation<\/strong><\/p>\nEnclose 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. Advisors are also encouraged to include an assessment of the current status of the 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.<\/p>\n
4. Curriculum Vitae (CV)<\/strong><\/p>\nPlease prepare a 1-page CV that relates your background, relevant experience, and research accomplishments.<\/p>\n
Selection and Notification<\/strong><\/p>\nThirteen\u00a0of the submissions will be selected by the Panel for formal presentation and \u201cthink-tanking\u201d. The selected problems will be representative examples of a widespread problem, or will be particularly interesting or difficult (as determined by the expert Panel). Each student whose problem is selected will prepare a 15 minute presentation for the ThinkTank which will be followed by a 15 minute discussion by everyone in attendance.\u00a0Student scholars will also have an opportunity to present their posters in ThinkTank lunch and in the main conference poster session.\u00a0The Panel will present a report on the think-tank in the ICAD 2018 conference program.<\/p>\n
All those who submit a problem may participate in the ThinkTank to observe the presentations and join in the discussions; however, only the\u00a0thirteen\u00a0selected 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 2018 conference and in the future. If your problem is selected, you may also leave with the breakthrough you need!<\/p>\n
Financial Assistance:<\/strong>
\nThrough to funding from the National Science Foundation (NSF), students based in the USA who are selected to present at the Think Tank will receive air fare (from within the US), ICAD conference registration, and funding towards 5 nights accommodation.
\nStudents from outside the USA who are selected to present are not eligible for the NSF travel and accommodation subsidy, though they will be given free ICAD conference registration.<\/p>\nLikewise,\u00a0up to 3 US- based ThinkTank Scholars local to the Michigan Tech area (including Wisconsin and Minnesota) will be given free ICAD conference registration (but not travel and accommodation) subsidized at ICAD 2018.<\/p>\n
Any other students (US-based or not) who are not selected to make a formal presentation and get formal feedback, are still invited to participate in the Think Tank to observe the presentations and join in the discussions; they are not eligible to receive any funding.<\/p>\n
ThinkTank Panel:<\/strong>
\nThe ThinkTank Panel comprises a number of international researchers who work across a range of disciplines covered by auditory display.<\/p>\nHow to Submit:<\/strong>
\nPlease email your proposal by\u00a023 March 2018\u00a0to the ICAD2018 chair (icad2018chair@icad.org<\/a>) and the ThinkTank chair (icad2018thinktank@icad.org<\/a>). Please feel free to email the chairs with any questions beforehand.<\/p>\n<\/h4>\nSpecial session supported by Hyundai Motors Company:\u00a0“Futuristic in-vehicle auditory interactions”<\/h4>\nThe topics of interest include, but are not limited to:<\/div>\n<\/div>\n– In-vehicle dual-task research including audio (audio book, phone call, music listening, etc.)<\/div>\n– Collision warning sounds (forward, backward, lane departure, blind spot, etc.)<\/div>\n– Speech recognition in vehicles<\/div>\n– Sound applications for navigation systems<\/div>\n\n– Sound design for automotive user interfaces (AV system, telematics system, eco-driving, emotion regulation, etc.)<\/div>\n<\/div>\n– Hand-over\/take-over alert for automated vehicles<\/div>\n– Exterior sound for electric and hybrid vehicles<\/div>\n<\/div>\nEven though HMC is specifically more interested in “futuristic” concepts,\u00a0any type of\u00a0“sound”\u00a0research in driving contexts will be welcome!\u00a0There will be the session-specific awards as well.<\/div>\n<\/div>\nIf you intend to submit for the Hyundai special session, please follow the regular submission procedure, select the type of submission you prefer, and then select “Sonification in\u00a0vehicles (Hyundai special session)” from the list of topics.<\/div>\nPosters<\/h4>\n
Following the recent ICAD, posters are a\u00a0delivery format<\/em>, not a\u00a0submission type<\/em>. 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.<\/p>\nNB: Conference organizers 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.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1512156327370{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 100px !important;padding-bottom: 100px !important;background: #363f4a url(http:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/Contacts.jpg?id=1452) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column]
Questions? Contact Us<\/h3><\/div>[vc_row_inner][vc_column_inner width=”1\/4″]<\/div> Myounghoon Jeon (Philart)<\/h3>General Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018chair%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Areti Andreopoulou<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Jaclyn Barnes<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Derek Brock <\/h3>Workshop Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018workshop%40icad.org|title:Contact||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″]<\/div>Rachelle Gariepy<\/h3>Local Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018local%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Matti Grohn<\/h3>Advisory Committee Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Amatti.grohn%40iki.fi|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Nicole Kelly<\/h3>Communications Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018communications%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Steven Landry<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″]<\/div>Josh Loar<\/h3>Installations Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018installations%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Christopher Plummer<\/h3>Music Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018music%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Hiroko Terasawa<\/h3>ThinkTank Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018thinktank%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Katie Wolf<\/h3>Accessibility Chair<\/h4><\/div>
Submit Proposals Online Via EasyChair<\/h3><\/div>[vc_btn title=”SUBMIT NOW” color=”green” size=”lg” align=”center” link=”url:https%3A%2F%2Feasychair.org%2Fconferences%2F%3Fconf%3Dicad20180||target:%20_blank|”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1444042503989{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 50px !important;}”][vc_column width=”1\/3″]Theme<\/h3><\/div>[vc_column_text]<\/p>\nArt | Design | Science | Research<\/h4>\n
Auditory researchers are familiar with \u201cADSR\u201d (Attack-Decay-Sustain-Release)
Topics<\/h3><\/div>[vc_column_text]<\/p>\nArt & Design<\/h4>\n\n- Music composition inspired by data\/interactive-sonification<\/li>\n
- Integrative arts including sonification<\/li>\n
- Performing arts including sonification<\/li>\n
- Culture-specific sonification<\/li>\n
- Speculative, aspirational, and prototype designs<\/li>\n
- Aesthetics of auditory displays and sonification<\/li>\n
- Sonic information design paradigm, theory, and taxonomy<\/li>\n
- Design examples, case studies, and real-world applications<\/li>\n
- Design methods, processes, tools, and techniques<\/li>\n
- Users, experiences, and contexts of using sonification<\/li>\n<\/ul>\n
[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_empty_space height=”46px”][vc_column_text]<\/p>\n
Science & Research<\/h4>\n\n- Design of new a sensor, device, or platform for auditory displays & sonification<\/li>\n
- Methods and processes<\/li>\n
- Participatory design approaches<\/li>\n
- Accessibility,\u00a0inclusive design, and\u00a0assistive technologies<\/li>\n
- Auditory user interfaces<\/li>\n
- Psychology, cognition, perception and\u00a0psychoacoustics<\/li>\n
- Computational\/algorithmic approaches\u00b7<\/li>\n
- Human Factors, Ergonomics and Usability<\/li>\n
- Computational\/algorithmic approaches<\/li>\n
- Spatial\/3D sound<\/li>\n
- Sound scape, auditory scene analysis<\/li>\n
- Sonification in Health and Environmental Data (soniHED)<\/li>\n
- Sonification in the Internet of Things, Big Data, Cybersecurity<\/li>\n
- Sonification in automated vehicles<\/li>\n<\/ul>\n
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Submission Content: Categories and Requirements<\/h3><\/div>[vc_column_text]Submissions relevant to the\u00a0Call for Participation\u00a0are accepted in any of the following categories:<\/span><\/p>\n\n- \n
\n- \n
Scientific \/ Empirical Study<\/span><\/h4>\nEmpirical 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).<\/span><\/li>\n- \n
Position paper<\/span><\/h4>\nPosition 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.\u00a0<\/span><\/li>\n- \n
Informative Sonification \/ Sound design<\/span><\/h4>\nThis 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.<\/span><\/li>\n- \n
Artistic sonification \/ Music \/ Composition<\/span><\/h4>\nThis 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.<\/span><\/li>\n- \n
Project architecture \/ Project presentation<\/span><\/h4>\nThis 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.\u00a0<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1512762300985{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 50px !important;padding-bottom: 50px !important;background-color: #ffffff !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner]
Form of Submission and Assessment Criteria<\/h3><\/div>[vc_column_text]<\/p>\nSubmission Templates<\/h4>\n
For Paper, Poster and other written material:
\nThe 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.)<\/p>\n
Download .doc template<\/a>
\nDownload Latex template<\/a><\/p>\nAudio 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.<\/p>\n
ICAD2018 solicits submissions in the following forms:<\/p>\n
Submission Accessibility<\/h4>\n
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.<\/p>\n
Checking Your PDF is Accessible<\/strong>
\nIf you can, use the Adobe Acrobat Pro Accessibility Checker (Full Check) to verify the accessibility of your PDF. See Adobe’s detailed instructions<\/a>\u00a0for more information.<\/p>\nIf you don’t have access to Adobe Acrobat Pro, there are some free accessibility checkers available online that may be able to help.<\/p>\n
Fixing Accessibility Problems<\/strong>
\nA 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<\/a>. Unfortunately, Word for Mac and Latex users will need to manually add accessibility features.<\/p>\nAt 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.<\/p>\n
More Information<\/strong>
\nACM SIGACCESS has a number of resources http:\/\/www.sigaccess.org\/welcome-to-sigaccess\/resources\/<\/a> for making conference materials and presentations more accessible.<\/p>\nPlease contact ICAD2018’s Accessibility Chair Katie Wolf<\/a> if you have any questions.<\/p>\nFull Papers (5-8 pages)<\/h4>\n\n- 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.<\/li>\n
- To ensure integrity in the reviewing process,\u00a0\u2028please ensure that, prior to you receiving reviews of your paper, full paper submissions have no indications of author and\/or institutional affiliation.<\/li>\n
- At least 2 external reviews, by reviewers outside of the Program Committee, will be carried out.<\/li>\n
- Acceptance is determined solely on the merits of the submitted work.<\/li>\n
- In the review process, there is no distinction between whether the presentation mode will be\u00a0oral<\/em> or a\u00a0poster<\/em>.<\/li>\n
- 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.<\/li>\n
- Accepted papers will appear in the proceedings and will be archived accordingly.<\/li>\n<\/ul>\n
Extended Abstracts (2-4 pages)<\/h4>\n\n- 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.<\/li>\n
- Authors are not allowed to anonymize the submission for reviews.<\/li>\n
- As Extended Abstracts are not presenting completed work, they are expected to be reviewed principally for thematic pertinence to the ICAD community.<\/li>\n
- A single review is necessary and can be carried out by the Program Committee.<\/li>\n
- 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.<\/li>\n
- Extended Abstracts will be assigned to the either oral or\u00a0poster presentation mode.<\/li>\n<\/ul>\n
Installations and Demonstrations (1-2 pages)<\/h4>\n
The peer review considers the combination of the written and media submission.<\/p>\n
\n- Written content statement<\/strong>
\nThe 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.<\/li>\n- Media content<\/strong>
\nAn 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.<\/li>\n- Authors are not allowed to anonymize the submission for reviews.<\/li>\n<\/ul>\n
Sonification Concert (1-2 pages)<\/h4>\n
The peer review is of the combination of the written and media submission.<\/p>\n
\n- Written content<\/strong>
\nThe 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.\u00a0The authors must use the ICAD 2018 paper format.<\/li>\n- Media content<\/strong>
\nAn 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.<\/li>\n- Authors are not allowed to anonymize the submission for reviews.<\/li>\n<\/ul>\n
Workshop Proposals<\/h4>\n
Proposals should be about one page in length and should include the following:<\/p>\n
\n- Title, brief abstract, outline of objectives (e.g., tutorial syllabus, organized discussion, presentations, submissions, etc.), relevance for ICAD attendees.<\/li>\n
- Proposed duration (full day or half day).<\/li>\n
- Invited speakers (if any)<\/li>\n
- 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.<\/li>\n
- List of organizers, a designated contact person, and contact information for all organizers (address, email, and ‘phone).<\/li>\n
- Technical and space requirements.<\/li>\n
- Workshop and tutorial proposals should be submitted via email to the Workshop Chair, Derek Brock<\/a> (icad2018workshop@icad.org<\/a>)<\/li>\n
- 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.<\/li>\n<\/ul>\n
More detailed information about workshops\u00a0will be coming soon.<\/p>\n
Student ThinkTank<\/h4>\n
The Student ThinkTank is a full day meeting for students doing projects in auditory display and sonification. This year we invite not only graduate students, but also undergraduate students to attend ThinkTank. It will be free of charge for conference participants and refreshments will be provided. In addition the formal presentations of successful applicants (as below) it is possible to attend as an observer. If you’d like to attend as an observer, please send an email to icad2018thinktank@icad<\/span>.org<\/a>.<\/p>\nThe 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 or technique to use to save you from heading down a dead end. Besides providing breakthrough insights into your particular project the ThinkTank will foster friendships and networks that are essential in an international community for auditory display.<\/p>\n
What to Submit<\/strong><\/p>\n1. Cover Letter for ThinkTank Proposal Packet<\/strong><\/p>\nYour cover letter should include the following information:<\/p>\n
\n- Statement of interest in participating in the ThinkTank.<\/li>\n
- Full name of School and Department in which you are taking your degree.<\/li>\n
- Current stage in your academic program (e.g., completed MS, 2 years into PhD).<\/li>\n
- Name of the supervising professor.<\/li>\n
- Your full contact information: address, phone number, and email address.<\/li>\n
- Title of the research and keywords pertinent to the research.<\/li>\n
- The URL of your web page (if any).<\/li>\n<\/ul>\n
2. Two-page Research Interest Summary<\/strong><\/p>\nThe 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:<\/p>\n
\n- Introduction and problem description.<\/li>\n
- Brief background and overview of the existing literature.<\/li>\n
- Goal of the research.<\/li>\n
- Current status of the research.<\/li>\n
- Preliminary results accomplished, if any.<\/li>\n
- Broader Impact of this research.<\/li>\n
- 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 expertise from the panel.<\/li>\n<\/ul>\n
3. Letter of Recommendation<\/strong><\/p>\nEnclose 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. Advisors are also encouraged to include an assessment of the current status of the 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.<\/p>\n
4. Curriculum Vitae (CV)<\/strong><\/p>\nPlease prepare a 1-page CV that relates your background, relevant experience, and research accomplishments.<\/p>\n
Selection and Notification<\/strong><\/p>\nThirteen\u00a0of the submissions will be selected by the Panel for formal presentation and \u201cthink-tanking\u201d. The selected problems will be representative examples of a widespread problem, or will be particularly interesting or difficult (as determined by the expert Panel). Each student whose problem is selected will prepare a 15 minute presentation for the ThinkTank which will be followed by a 15 minute discussion by everyone in attendance.\u00a0Student scholars will also have an opportunity to present their posters in ThinkTank lunch and in the main conference poster session.\u00a0The Panel will present a report on the think-tank in the ICAD 2018 conference program.<\/p>\n
All those who submit a problem may participate in the ThinkTank to observe the presentations and join in the discussions; however, only the\u00a0thirteen\u00a0selected 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 2018 conference and in the future. If your problem is selected, you may also leave with the breakthrough you need!<\/p>\n
Financial Assistance:<\/strong>
\nThrough to funding from the National Science Foundation (NSF), students based in the USA who are selected to present at the Think Tank will receive air fare (from within the US), ICAD conference registration, and funding towards 5 nights accommodation.
\nStudents from outside the USA who are selected to present are not eligible for the NSF travel and accommodation subsidy, though they will be given free ICAD conference registration.<\/p>\nLikewise,\u00a0up to 3 US- based ThinkTank Scholars local to the Michigan Tech area (including Wisconsin and Minnesota) will be given free ICAD conference registration (but not travel and accommodation) subsidized at ICAD 2018.<\/p>\n
Any other students (US-based or not) who are not selected to make a formal presentation and get formal feedback, are still invited to participate in the Think Tank to observe the presentations and join in the discussions; they are not eligible to receive any funding.<\/p>\n
ThinkTank Panel:<\/strong>
\nThe ThinkTank Panel comprises a number of international researchers who work across a range of disciplines covered by auditory display.<\/p>\nHow to Submit:<\/strong>
\nPlease email your proposal by\u00a023 March 2018\u00a0to the ICAD2018 chair (icad2018chair@icad.org<\/a>) and the ThinkTank chair (icad2018thinktank@icad.org<\/a>). Please feel free to email the chairs with any questions beforehand.<\/p>\n<\/h4>\nSpecial session supported by Hyundai Motors Company:\u00a0“Futuristic in-vehicle auditory interactions”<\/h4>\nThe topics of interest include, but are not limited to:<\/div>\n<\/div>\n– In-vehicle dual-task research including audio (audio book, phone call, music listening, etc.)<\/div>\n– Collision warning sounds (forward, backward, lane departure, blind spot, etc.)<\/div>\n– Speech recognition in vehicles<\/div>\n– Sound applications for navigation systems<\/div>\n\n– Sound design for automotive user interfaces (AV system, telematics system, eco-driving, emotion regulation, etc.)<\/div>\n<\/div>\n– Hand-over\/take-over alert for automated vehicles<\/div>\n– Exterior sound for electric and hybrid vehicles<\/div>\n<\/div>\nEven though HMC is specifically more interested in “futuristic” concepts,\u00a0any type of\u00a0“sound”\u00a0research in driving contexts will be welcome!\u00a0There will be the session-specific awards as well.<\/div>\n<\/div>\nIf you intend to submit for the Hyundai special session, please follow the regular submission procedure, select the type of submission you prefer, and then select “Sonification in\u00a0vehicles (Hyundai special session)” from the list of topics.<\/div>\nPosters<\/h4>\n
Following the recent ICAD, posters are a\u00a0delivery format<\/em>, not a\u00a0submission type<\/em>. 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.<\/p>\nNB: Conference organizers 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.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1512156327370{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 100px !important;padding-bottom: 100px !important;background: #363f4a url(http:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/Contacts.jpg?id=1452) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column]
Questions? Contact Us<\/h3><\/div>[vc_row_inner][vc_column_inner width=”1\/4″]<\/div> Myounghoon Jeon (Philart)<\/h3>General Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018chair%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Areti Andreopoulou<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Jaclyn Barnes<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Derek Brock <\/h3>Workshop Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018workshop%40icad.org|title:Contact||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″]<\/div>Rachelle Gariepy<\/h3>Local Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018local%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Matti Grohn<\/h3>Advisory Committee Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Amatti.grohn%40iki.fi|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Nicole Kelly<\/h3>Communications Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018communications%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Steven Landry<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″]<\/div>Josh Loar<\/h3>Installations Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018installations%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Christopher Plummer<\/h3>Music Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018music%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Hiroko Terasawa<\/h3>ThinkTank Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018thinktank%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Katie Wolf<\/h3>Accessibility Chair<\/h4><\/div>
Theme<\/h3><\/div>[vc_column_text]<\/p>\nArt | Design | Science | Research<\/h4>\n
Auditory researchers are familiar with \u201cADSR\u201d (Attack-Decay-Sustain-Release)
Topics<\/h3><\/div>[vc_column_text]<\/p>\nArt & Design<\/h4>\n\n- Music composition inspired by data\/interactive-sonification<\/li>\n
- Integrative arts including sonification<\/li>\n
- Performing arts including sonification<\/li>\n
- Culture-specific sonification<\/li>\n
- Speculative, aspirational, and prototype designs<\/li>\n
- Aesthetics of auditory displays and sonification<\/li>\n
- Sonic information design paradigm, theory, and taxonomy<\/li>\n
- Design examples, case studies, and real-world applications<\/li>\n
- Design methods, processes, tools, and techniques<\/li>\n
- Users, experiences, and contexts of using sonification<\/li>\n<\/ul>\n
[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_empty_space height=”46px”][vc_column_text]<\/p>\n
Science & Research<\/h4>\n\n- Design of new a sensor, device, or platform for auditory displays & sonification<\/li>\n
- Methods and processes<\/li>\n
- Participatory design approaches<\/li>\n
- Accessibility,\u00a0inclusive design, and\u00a0assistive technologies<\/li>\n
- Auditory user interfaces<\/li>\n
- Psychology, cognition, perception and\u00a0psychoacoustics<\/li>\n
- Computational\/algorithmic approaches\u00b7<\/li>\n
- Human Factors, Ergonomics and Usability<\/li>\n
- Computational\/algorithmic approaches<\/li>\n
- Spatial\/3D sound<\/li>\n
- Sound scape, auditory scene analysis<\/li>\n
- Sonification in Health and Environmental Data (soniHED)<\/li>\n
- Sonification in the Internet of Things, Big Data, Cybersecurity<\/li>\n
- Sonification in automated vehicles<\/li>\n<\/ul>\n
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Submission Content: Categories and Requirements<\/h3><\/div>[vc_column_text]Submissions relevant to the\u00a0Call for Participation\u00a0are accepted in any of the following categories:<\/span><\/p>\n\n- \n
\n- \n
Scientific \/ Empirical Study<\/span><\/h4>\nEmpirical 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).<\/span><\/li>\n- \n
Position paper<\/span><\/h4>\nPosition 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.\u00a0<\/span><\/li>\n- \n
Informative Sonification \/ Sound design<\/span><\/h4>\nThis 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.<\/span><\/li>\n- \n
Artistic sonification \/ Music \/ Composition<\/span><\/h4>\nThis 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.<\/span><\/li>\n- \n
Project architecture \/ Project presentation<\/span><\/h4>\nThis 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.\u00a0<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1512762300985{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 50px !important;padding-bottom: 50px !important;background-color: #ffffff !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner]
Form of Submission and Assessment Criteria<\/h3><\/div>[vc_column_text]<\/p>\nSubmission Templates<\/h4>\n
For Paper, Poster and other written material:
\nThe 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.)<\/p>\n
Download .doc template<\/a>
\nDownload Latex template<\/a><\/p>\nAudio 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.<\/p>\n
ICAD2018 solicits submissions in the following forms:<\/p>\n
Submission Accessibility<\/h4>\n
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.<\/p>\n
Checking Your PDF is Accessible<\/strong>
\nIf you can, use the Adobe Acrobat Pro Accessibility Checker (Full Check) to verify the accessibility of your PDF. See Adobe’s detailed instructions<\/a>\u00a0for more information.<\/p>\nIf you don’t have access to Adobe Acrobat Pro, there are some free accessibility checkers available online that may be able to help.<\/p>\n
Fixing Accessibility Problems<\/strong>
\nA 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<\/a>. Unfortunately, Word for Mac and Latex users will need to manually add accessibility features.<\/p>\nAt 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.<\/p>\n
More Information<\/strong>
\nACM SIGACCESS has a number of resources http:\/\/www.sigaccess.org\/welcome-to-sigaccess\/resources\/<\/a> for making conference materials and presentations more accessible.<\/p>\nPlease contact ICAD2018’s Accessibility Chair Katie Wolf<\/a> if you have any questions.<\/p>\nFull Papers (5-8 pages)<\/h4>\n\n- 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.<\/li>\n
- To ensure integrity in the reviewing process,\u00a0\u2028please ensure that, prior to you receiving reviews of your paper, full paper submissions have no indications of author and\/or institutional affiliation.<\/li>\n
- At least 2 external reviews, by reviewers outside of the Program Committee, will be carried out.<\/li>\n
- Acceptance is determined solely on the merits of the submitted work.<\/li>\n
- In the review process, there is no distinction between whether the presentation mode will be\u00a0oral<\/em> or a\u00a0poster<\/em>.<\/li>\n
- 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.<\/li>\n
- Accepted papers will appear in the proceedings and will be archived accordingly.<\/li>\n<\/ul>\n
Extended Abstracts (2-4 pages)<\/h4>\n\n- 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.<\/li>\n
- Authors are not allowed to anonymize the submission for reviews.<\/li>\n
- As Extended Abstracts are not presenting completed work, they are expected to be reviewed principally for thematic pertinence to the ICAD community.<\/li>\n
- A single review is necessary and can be carried out by the Program Committee.<\/li>\n
- 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.<\/li>\n
- Extended Abstracts will be assigned to the either oral or\u00a0poster presentation mode.<\/li>\n<\/ul>\n
Installations and Demonstrations (1-2 pages)<\/h4>\n
The peer review considers the combination of the written and media submission.<\/p>\n
\n- Written content statement<\/strong>
\nThe 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.<\/li>\n- Media content<\/strong>
\nAn 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.<\/li>\n- Authors are not allowed to anonymize the submission for reviews.<\/li>\n<\/ul>\n
Sonification Concert (1-2 pages)<\/h4>\n
The peer review is of the combination of the written and media submission.<\/p>\n
\n- Written content<\/strong>
\nThe 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.\u00a0The authors must use the ICAD 2018 paper format.<\/li>\n- Media content<\/strong>
\nAn 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.<\/li>\n- Authors are not allowed to anonymize the submission for reviews.<\/li>\n<\/ul>\n
Workshop Proposals<\/h4>\n
Proposals should be about one page in length and should include the following:<\/p>\n
\n- Title, brief abstract, outline of objectives (e.g., tutorial syllabus, organized discussion, presentations, submissions, etc.), relevance for ICAD attendees.<\/li>\n
- Proposed duration (full day or half day).<\/li>\n
- Invited speakers (if any)<\/li>\n
- 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.<\/li>\n
- List of organizers, a designated contact person, and contact information for all organizers (address, email, and ‘phone).<\/li>\n
- Technical and space requirements.<\/li>\n
- Workshop and tutorial proposals should be submitted via email to the Workshop Chair, Derek Brock<\/a> (icad2018workshop@icad.org<\/a>)<\/li>\n
- 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.<\/li>\n<\/ul>\n
More detailed information about workshops\u00a0will be coming soon.<\/p>\n
Student ThinkTank<\/h4>\n
The Student ThinkTank is a full day meeting for students doing projects in auditory display and sonification. This year we invite not only graduate students, but also undergraduate students to attend ThinkTank. It will be free of charge for conference participants and refreshments will be provided. In addition the formal presentations of successful applicants (as below) it is possible to attend as an observer. If you’d like to attend as an observer, please send an email to icad2018thinktank@icad<\/span>.org<\/a>.<\/p>\nThe 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 or technique to use to save you from heading down a dead end. Besides providing breakthrough insights into your particular project the ThinkTank will foster friendships and networks that are essential in an international community for auditory display.<\/p>\n
What to Submit<\/strong><\/p>\n1. Cover Letter for ThinkTank Proposal Packet<\/strong><\/p>\nYour cover letter should include the following information:<\/p>\n
\n- Statement of interest in participating in the ThinkTank.<\/li>\n
- Full name of School and Department in which you are taking your degree.<\/li>\n
- Current stage in your academic program (e.g., completed MS, 2 years into PhD).<\/li>\n
- Name of the supervising professor.<\/li>\n
- Your full contact information: address, phone number, and email address.<\/li>\n
- Title of the research and keywords pertinent to the research.<\/li>\n
- The URL of your web page (if any).<\/li>\n<\/ul>\n
2. Two-page Research Interest Summary<\/strong><\/p>\nThe 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:<\/p>\n
\n- Introduction and problem description.<\/li>\n
- Brief background and overview of the existing literature.<\/li>\n
- Goal of the research.<\/li>\n
- Current status of the research.<\/li>\n
- Preliminary results accomplished, if any.<\/li>\n
- Broader Impact of this research.<\/li>\n
- 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 expertise from the panel.<\/li>\n<\/ul>\n
3. Letter of Recommendation<\/strong><\/p>\nEnclose 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. Advisors are also encouraged to include an assessment of the current status of the 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.<\/p>\n
4. Curriculum Vitae (CV)<\/strong><\/p>\nPlease prepare a 1-page CV that relates your background, relevant experience, and research accomplishments.<\/p>\n
Selection and Notification<\/strong><\/p>\nThirteen\u00a0of the submissions will be selected by the Panel for formal presentation and \u201cthink-tanking\u201d. The selected problems will be representative examples of a widespread problem, or will be particularly interesting or difficult (as determined by the expert Panel). Each student whose problem is selected will prepare a 15 minute presentation for the ThinkTank which will be followed by a 15 minute discussion by everyone in attendance.\u00a0Student scholars will also have an opportunity to present their posters in ThinkTank lunch and in the main conference poster session.\u00a0The Panel will present a report on the think-tank in the ICAD 2018 conference program.<\/p>\n
All those who submit a problem may participate in the ThinkTank to observe the presentations and join in the discussions; however, only the\u00a0thirteen\u00a0selected 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 2018 conference and in the future. If your problem is selected, you may also leave with the breakthrough you need!<\/p>\n
Financial Assistance:<\/strong>
\nThrough to funding from the National Science Foundation (NSF), students based in the USA who are selected to present at the Think Tank will receive air fare (from within the US), ICAD conference registration, and funding towards 5 nights accommodation.
\nStudents from outside the USA who are selected to present are not eligible for the NSF travel and accommodation subsidy, though they will be given free ICAD conference registration.<\/p>\nLikewise,\u00a0up to 3 US- based ThinkTank Scholars local to the Michigan Tech area (including Wisconsin and Minnesota) will be given free ICAD conference registration (but not travel and accommodation) subsidized at ICAD 2018.<\/p>\n
Any other students (US-based or not) who are not selected to make a formal presentation and get formal feedback, are still invited to participate in the Think Tank to observe the presentations and join in the discussions; they are not eligible to receive any funding.<\/p>\n
ThinkTank Panel:<\/strong>
\nThe ThinkTank Panel comprises a number of international researchers who work across a range of disciplines covered by auditory display.<\/p>\nHow to Submit:<\/strong>
\nPlease email your proposal by\u00a023 March 2018\u00a0to the ICAD2018 chair (icad2018chair@icad.org<\/a>) and the ThinkTank chair (icad2018thinktank@icad.org<\/a>). Please feel free to email the chairs with any questions beforehand.<\/p>\n<\/h4>\nSpecial session supported by Hyundai Motors Company:\u00a0“Futuristic in-vehicle auditory interactions”<\/h4>\nThe topics of interest include, but are not limited to:<\/div>\n<\/div>\n– In-vehicle dual-task research including audio (audio book, phone call, music listening, etc.)<\/div>\n– Collision warning sounds (forward, backward, lane departure, blind spot, etc.)<\/div>\n– Speech recognition in vehicles<\/div>\n– Sound applications for navigation systems<\/div>\n\n– Sound design for automotive user interfaces (AV system, telematics system, eco-driving, emotion regulation, etc.)<\/div>\n<\/div>\n– Hand-over\/take-over alert for automated vehicles<\/div>\n– Exterior sound for electric and hybrid vehicles<\/div>\n<\/div>\nEven though HMC is specifically more interested in “futuristic” concepts,\u00a0any type of\u00a0“sound”\u00a0research in driving contexts will be welcome!\u00a0There will be the session-specific awards as well.<\/div>\n<\/div>\nIf you intend to submit for the Hyundai special session, please follow the regular submission procedure, select the type of submission you prefer, and then select “Sonification in\u00a0vehicles (Hyundai special session)” from the list of topics.<\/div>\nPosters<\/h4>\n
Following the recent ICAD, posters are a\u00a0delivery format<\/em>, not a\u00a0submission type<\/em>. 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.<\/p>\nNB: Conference organizers 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.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1512156327370{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 100px !important;padding-bottom: 100px !important;background: #363f4a url(http:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/Contacts.jpg?id=1452) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column]
Questions? Contact Us<\/h3><\/div>[vc_row_inner][vc_column_inner width=”1\/4″]<\/div> Myounghoon Jeon (Philart)<\/h3>General Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018chair%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Areti Andreopoulou<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Jaclyn Barnes<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Derek Brock <\/h3>Workshop Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018workshop%40icad.org|title:Contact||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″]<\/div>Rachelle Gariepy<\/h3>Local Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018local%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Matti Grohn<\/h3>Advisory Committee Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Amatti.grohn%40iki.fi|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Nicole Kelly<\/h3>Communications Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018communications%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Steven Landry<\/h3>Program Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″]<\/div>Josh Loar<\/h3>Installations Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018installations%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Christopher Plummer<\/h3>Music Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018music%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Hiroko Terasawa<\/h3>ThinkTank Chair<\/h4><\/div><\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018thinktank%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]<\/div>Katie Wolf<\/h3>Accessibility Chair<\/h4><\/div>
- \n
- Music composition inspired by data\/interactive-sonification<\/li>\n
- Integrative arts including sonification<\/li>\n
- Performing arts including sonification<\/li>\n
- Culture-specific sonification<\/li>\n
- Speculative, aspirational, and prototype designs<\/li>\n
- Aesthetics of auditory displays and sonification<\/li>\n
- Sonic information design paradigm, theory, and taxonomy<\/li>\n
- Design examples, case studies, and real-world applications<\/li>\n
- Design methods, processes, tools, and techniques<\/li>\n
- Users, experiences, and contexts of using sonification<\/li>\n<\/ul>\n
[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_empty_space height=”46px”][vc_column_text]<\/p>\n
Science & Research<\/h4>\n
- \n
- Design of new a sensor, device, or platform for auditory displays & sonification<\/li>\n
- Methods and processes<\/li>\n
- Participatory design approaches<\/li>\n
- Accessibility,\u00a0inclusive design, and\u00a0assistive technologies<\/li>\n
- Auditory user interfaces<\/li>\n
- Psychology, cognition, perception and\u00a0psychoacoustics<\/li>\n
- Computational\/algorithmic approaches\u00b7<\/li>\n
- Human Factors, Ergonomics and Usability<\/li>\n
- Computational\/algorithmic approaches<\/li>\n
- Spatial\/3D sound<\/li>\n
- Sound scape, auditory scene analysis<\/li>\n
- Sonification in Health and Environmental Data (soniHED)<\/li>\n
- Sonification in the Internet of Things, Big Data, Cybersecurity<\/li>\n
- Sonification in automated vehicles<\/li>\n<\/ul>\n
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Submission Content: Categories and Requirements<\/h3><\/div>[vc_column_text]Submissions relevant to the\u00a0Call for Participation\u00a0are accepted in any of the following categories:<\/span><\/p>\n
- \n
- \n
- \n
- \n
Scientific \/ Empirical Study<\/span><\/h4>\n
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).<\/span><\/li>\n
- \n
Position paper<\/span><\/h4>\n
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.\u00a0<\/span><\/li>\n
- \n
Informative Sonification \/ Sound design<\/span><\/h4>\n
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.<\/span><\/li>\n
- \n
Artistic sonification \/ Music \/ Composition<\/span><\/h4>\n
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.<\/span><\/li>\n
- \n
Project architecture \/ Project presentation<\/span><\/h4>\n
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.\u00a0<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
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Form of Submission and Assessment Criteria<\/h3><\/div>[vc_column_text]<\/p>\n
Submission Templates<\/h4>\n
For Paper, Poster and other written material:
\nThe 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.)<\/p>\nDownload .doc template<\/a>
\nDownload Latex template<\/a><\/p>\nAudio 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.<\/p>\n
ICAD2018 solicits submissions in the following forms:<\/p>\n
Submission Accessibility<\/h4>\n
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.<\/p>\n
Checking Your PDF is Accessible<\/strong>
\nIf you can, use the Adobe Acrobat Pro Accessibility Checker (Full Check) to verify the accessibility of your PDF. See Adobe’s detailed instructions<\/a>\u00a0for more information.<\/p>\nIf you don’t have access to Adobe Acrobat Pro, there are some free accessibility checkers available online that may be able to help.<\/p>\n
Fixing Accessibility Problems<\/strong>
\nA 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<\/a>. Unfortunately, Word for Mac and Latex users will need to manually add accessibility features.<\/p>\nAt 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.<\/p>\n
More Information<\/strong>
\nACM SIGACCESS has a number of resources http:\/\/www.sigaccess.org\/welcome-to-sigaccess\/resources\/<\/a> for making conference materials and presentations more accessible.<\/p>\nPlease contact ICAD2018’s Accessibility Chair Katie Wolf<\/a> if you have any questions.<\/p>\n
Full Papers (5-8 pages)<\/h4>\n
- \n
- 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.<\/li>\n
- To ensure integrity in the reviewing process,\u00a0\u2028please ensure that, prior to you receiving reviews of your paper, full paper submissions have no indications of author and\/or institutional affiliation.<\/li>\n
- At least 2 external reviews, by reviewers outside of the Program Committee, will be carried out.<\/li>\n
- Acceptance is determined solely on the merits of the submitted work.<\/li>\n
- In the review process, there is no distinction between whether the presentation mode will be\u00a0oral<\/em> or a\u00a0poster<\/em>.<\/li>\n
- 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.<\/li>\n
- Accepted papers will appear in the proceedings and will be archived accordingly.<\/li>\n<\/ul>\n
Extended Abstracts (2-4 pages)<\/h4>\n
- \n
- 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.<\/li>\n
- Authors are not allowed to anonymize the submission for reviews.<\/li>\n
- As Extended Abstracts are not presenting completed work, they are expected to be reviewed principally for thematic pertinence to the ICAD community.<\/li>\n
- A single review is necessary and can be carried out by the Program Committee.<\/li>\n
- 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.<\/li>\n
- Extended Abstracts will be assigned to the either oral or\u00a0poster presentation mode.<\/li>\n<\/ul>\n
Installations and Demonstrations (1-2 pages)<\/h4>\n
The peer review considers the combination of the written and media submission.<\/p>\n
- \n
- Written content statement<\/strong>
\nThe 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.<\/li>\n- Media content<\/strong>
\nAn 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.<\/li>\n- Authors are not allowed to anonymize the submission for reviews.<\/li>\n<\/ul>\n
Sonification Concert (1-2 pages)<\/h4>\n
The peer review is of the combination of the written and media submission.<\/p>\n
- \n
- Written content<\/strong>
\nThe 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.\u00a0The authors must use the ICAD 2018 paper format.<\/li>\n- Media content<\/strong>
\nAn 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.<\/li>\n- Authors are not allowed to anonymize the submission for reviews.<\/li>\n<\/ul>\n
Workshop Proposals<\/h4>\n
Proposals should be about one page in length and should include the following:<\/p>\n
- \n
- Title, brief abstract, outline of objectives (e.g., tutorial syllabus, organized discussion, presentations, submissions, etc.), relevance for ICAD attendees.<\/li>\n
- Proposed duration (full day or half day).<\/li>\n
- Invited speakers (if any)<\/li>\n
- 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.<\/li>\n
- List of organizers, a designated contact person, and contact information for all organizers (address, email, and ‘phone).<\/li>\n
- Technical and space requirements.<\/li>\n
- Workshop and tutorial proposals should be submitted via email to the Workshop Chair, Derek Brock<\/a> (icad2018workshop@icad.org<\/a>)<\/li>\n
- 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.<\/li>\n<\/ul>\n
More detailed information about workshops\u00a0will be coming soon.<\/p>\n
Student ThinkTank<\/h4>\n
The Student ThinkTank is a full day meeting for students doing projects in auditory display and sonification. This year we invite not only graduate students, but also undergraduate students to attend ThinkTank. It will be free of charge for conference participants and refreshments will be provided. In addition the formal presentations of successful applicants (as below) it is possible to attend as an observer. If you’d like to attend as an observer, please send an email to icad2018thinktank@icad<\/span>.org<\/a>.<\/p>\n
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 or technique to use to save you from heading down a dead end. Besides providing breakthrough insights into your particular project the ThinkTank will foster friendships and networks that are essential in an international community for auditory display.<\/p>\n
What to Submit<\/strong><\/p>\n
1. Cover Letter for ThinkTank Proposal Packet<\/strong><\/p>\n
Your cover letter should include the following information:<\/p>\n
- \n
- Statement of interest in participating in the ThinkTank.<\/li>\n
- Full name of School and Department in which you are taking your degree.<\/li>\n
- Current stage in your academic program (e.g., completed MS, 2 years into PhD).<\/li>\n
- Name of the supervising professor.<\/li>\n
- Your full contact information: address, phone number, and email address.<\/li>\n
- Title of the research and keywords pertinent to the research.<\/li>\n
- The URL of your web page (if any).<\/li>\n<\/ul>\n
2. Two-page Research Interest Summary<\/strong><\/p>\n
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:<\/p>\n
- \n
- Introduction and problem description.<\/li>\n
- Brief background and overview of the existing literature.<\/li>\n
- Goal of the research.<\/li>\n
- Current status of the research.<\/li>\n
- Preliminary results accomplished, if any.<\/li>\n
- Broader Impact of this research.<\/li>\n
- 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 expertise from the panel.<\/li>\n<\/ul>\n
3. Letter of Recommendation<\/strong><\/p>\n
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. Advisors are also encouraged to include an assessment of the current status of the 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.<\/p>\n
4. Curriculum Vitae (CV)<\/strong><\/p>\n
Please prepare a 1-page CV that relates your background, relevant experience, and research accomplishments.<\/p>\n
Selection and Notification<\/strong><\/p>\n
Thirteen\u00a0of the submissions will be selected by the Panel for formal presentation and \u201cthink-tanking\u201d. The selected problems will be representative examples of a widespread problem, or will be particularly interesting or difficult (as determined by the expert Panel). Each student whose problem is selected will prepare a 15 minute presentation for the ThinkTank which will be followed by a 15 minute discussion by everyone in attendance.\u00a0Student scholars will also have an opportunity to present their posters in ThinkTank lunch and in the main conference poster session.\u00a0The Panel will present a report on the think-tank in the ICAD 2018 conference program.<\/p>\n
All those who submit a problem may participate in the ThinkTank to observe the presentations and join in the discussions; however, only the\u00a0thirteen\u00a0selected 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 2018 conference and in the future. If your problem is selected, you may also leave with the breakthrough you need!<\/p>\n
Financial Assistance:<\/strong>
\nThrough to funding from the National Science Foundation (NSF), students based in the USA who are selected to present at the Think Tank will receive air fare (from within the US), ICAD conference registration, and funding towards 5 nights accommodation.
\nStudents from outside the USA who are selected to present are not eligible for the NSF travel and accommodation subsidy, though they will be given free ICAD conference registration.<\/p>\nLikewise,\u00a0up to 3 US- based ThinkTank Scholars local to the Michigan Tech area (including Wisconsin and Minnesota) will be given free ICAD conference registration (but not travel and accommodation) subsidized at ICAD 2018.<\/p>\n
Any other students (US-based or not) who are not selected to make a formal presentation and get formal feedback, are still invited to participate in the Think Tank to observe the presentations and join in the discussions; they are not eligible to receive any funding.<\/p>\n
ThinkTank Panel:<\/strong>
\nThe ThinkTank Panel comprises a number of international researchers who work across a range of disciplines covered by auditory display.<\/p>\nHow to Submit:<\/strong>
\nPlease email your proposal by\u00a023 March 2018\u00a0to the ICAD2018 chair (icad2018chair@icad.org<\/a>) and the ThinkTank chair (icad2018thinktank@icad.org<\/a>). Please feel free to email the chairs with any questions beforehand.<\/p>\n<\/h4>\n
Special session supported by Hyundai Motors Company:\u00a0“Futuristic in-vehicle auditory interactions”<\/h4>\n
The topics of interest include, but are not limited to:<\/div>\n<\/div>\n– In-vehicle dual-task research including audio (audio book, phone call, music listening, etc.)<\/div>\n– Collision warning sounds (forward, backward, lane departure, blind spot, etc.)<\/div>\n– Speech recognition in vehicles<\/div>\n– Sound applications for navigation systems<\/div>\n\n– Sound design for automotive user interfaces (AV system, telematics system, eco-driving, emotion regulation, etc.)<\/div>\n<\/div>\n– Hand-over\/take-over alert for automated vehicles<\/div>\n– Exterior sound for electric and hybrid vehicles<\/div>\n<\/div>\nEven though HMC is specifically more interested in “futuristic” concepts,\u00a0any type of\u00a0“sound”\u00a0research in driving contexts will be welcome!\u00a0There will be the session-specific awards as well.<\/div>\n<\/div>\nIf you intend to submit for the Hyundai special session, please follow the regular submission procedure, select the type of submission you prefer, and then select “Sonification in\u00a0vehicles (Hyundai special session)” from the list of topics.<\/div>\nPosters<\/h4>\n
Following the recent ICAD, posters are a\u00a0delivery format<\/em>, not a\u00a0submission type<\/em>. 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.<\/p>\n
NB: Conference organizers 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.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1512156327370{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 100px !important;padding-bottom: 100px !important;background: #363f4a url(http:\/\/icad2018.icad.org\/wp-content\/uploads\/2017\/12\/Contacts.jpg?id=1452) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column]
Questions? Contact Us<\/h3><\/div>[vc_row_inner][vc_column_inner width=”1\/4″]
<\/div>Myounghoon Jeon (Philart)<\/h3>
General Chair<\/h4><\/div>
- <\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018chair%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]
<\/div>Areti Andreopoulou<\/h3>
Program Chair<\/h4><\/div>
- <\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018papers%40icad.org|title:Contact||”][\/vc_column_inner][vc_column_inner width=”1\/4″]
<\/div>Jaclyn Barnes<\/h3>
Program Chair<\/h4><\/div>
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<\/div>Derek Brock <\/h3>
Workshop Chair<\/h4><\/div>
- <\/ul><\/div><\/div>[vc_btn title=”Contact” color=”green” size=”sm” align=”left” link=”url:mailto%3Aicad2018workshop%40icad.org|title:Contact||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″]
<\/div>Rachelle Gariepy<\/h3>
Local Chair<\/h4><\/div>
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<\/div>Matti Grohn<\/h3>
Advisory Committee Chair<\/h4><\/div>
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<\/div>Nicole Kelly<\/h3>
Communications Chair<\/h4><\/div>
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<\/div>Steven Landry<\/h3>
Program Chair<\/h4><\/div>
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<\/div>Josh Loar<\/h3>
Installations Chair<\/h4><\/div>
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<\/div>Christopher Plummer<\/h3>
Music Chair<\/h4><\/div>
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<\/div>Hiroko Terasawa<\/h3>
ThinkTank Chair<\/h4><\/div>
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<\/div>Katie Wolf<\/h3>
Accessibility Chair<\/h4><\/div>
- 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.<\/li>\n<\/ul>\n
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