University of Aveiro, Department of Communication and Art (DeCA)
Campus de Santiago, 3810-193 Aveiro. Portugal

13th-17th November 2017

The International Conference Electroacousticwinds 2017 SYNCHRESIS – Audio Vision Tales is organized by the Center of Electroacoustic Research (CIME), the Institute for Ethnomusicology – Research Center for Music and Dance (INET-MD), Research Institute in Design, Media and Culture (ID+) and DigiMedia – Digital Media and Interaction (CIC.Digital).

This conference seeks to establish bridges between Music Creation, Design & Soundscapes and New Media.

The eaw2017 SYNCHRESIS – Audio Vision Tales conference will focus on the relationship between sound and image, two different languages within the multimedia art form.  The technological tools to improve this relationship are the main focus of the proposed symposium; dialogical perspectives will be given center stage relevance and participants will be confronted with both technical-linguistic and aesthetic points of view, but also discussions on how technology is enabling these two mediums to merge, creating tools for manipulating and enhancing not only the artist’s creativity but also the audience’s immersion.

This audio-vision relationship has become a research focus for different authors in recent decades. However, in this field, as in others within the digital humanities realm, new assumptions and theories are created every time technology overcomes its constraints and presents a new paradigm.

Design and soundscapes aims to discuss and mirror interactions between and features of design, sound, silence and the potential to perceive space, place and time. Intending to enlarge the scope of the debate, Design and Soundscapes invites researchers, practitioners and performers to present theoretical frameworks and/or empirical studies that address these topics.

Book of abstracts

The EAW 2017 book of abstracts is now available for download.

EAW 2017 updated their cover photo. ... See MoreSee Less

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SING AND SPEAK 4 KIDS – Using evidence-based music therapy and computer games to assist children with speech delays.

Music is a collaborative activity that both ignites social bonding and stimulates the whole brain. When a young child with special needs such as autism has difficulty learning to speak and socialize, song has successfully accelerated them to become kindergarten-ready. We'll explore the field of music therapy and the
underlying neurological mechanisms of music and speech perception/production responsible for these functional gains. In particular, a clinically tested music therapy called Developmental Speech-Language Training through Music will be presented as
the protocol used in Sonnenschein’s current interactive computer program Sing and Speak 4 Kids. Through video and collaborative activities, the audience will experience directly how music and sound can affect the brain and speech.

Learning objectives for this workshop include:
- Introduce how cognitive and neuroscience theoretical orientations inform music therapy practice.
- Explore therapeutic goals by applying the elements of music (e.g., tempo, pitch, melody, harmony, rhythm) and employ functional skills with voice.
-Explain the neurological theories that are the bases for speech and language training in the DSLM protocol, including a) Gestalt principles and pattern recognition in music, b) the OPERA Hypothesis (Overlap, Precision, Emotion, Repetition, Attention), and c) the neuropsychological mechanisms and effect of DSLM speech and language patterning embedded in songs.
... See MoreSee Less

EAW 2017 Workshop - Sing & Speak for Kids by David Sonnenschein

Novembro 13, 2017, 3:00pm - Novembro 13, 2017, 6:00pm

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The Bucket System is a computer mediated improvisation system invented by Palle Dahlstedt, Per Anders Nilsson, and Gino Robair. In essence it is an open structure of optical signs, a notation, and it is up to the participating musicians to make up rules for each particular performance. In a sense, The Bucket System relates to Cardew’s Treatise (1963-67), which is a graphic score where performers are invited, and obliged, to interpret and to make up their own rules of the given score in order to be able to perform the piece. It is mention worthy that Treatise is to be read in a linear narrative fashion, whereas The Bucket System is non-linear.

In his book Cornelius Cardew – a life unfinished (2008) piano player John Tilbury claims that Cardew admired Christian Wolff’s pieces, such that: “the signs do not represented sounds; they created situations in which the performers act, and the instructions consists mainly of suggestions as how the players interact.” The same can be said about the Bucket System. Another feature of the system is that it is democratic, and symmetrical with respect to power in the group, such as that each participating musician is obliged to provide, as well as follow, playing instructions. In other words: leadership is distributed among the players. In various settings the authors have experimented with different types of rule sets from different point of views, simple ones such as metaphorical, behavioral and hierarchical as well as more complex ones called contextual.
... See MoreSee Less

EAW 2017 Workshop - The Bucket System with Per Anders Nilsson

Novembro 16, 2017, 2:30pm - Novembro 16, 2017, 5:30pm

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Last few days for early bird registrations!! Don't leave it for later. Save your seat!!! ... See MoreSee Less

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EAW 2017 Workshop: Observation of the Environment and construction of the Landscape by Carles Ameller & Dolors Tapias


The workshop aims to offer knowledge and the opportunity to work on trans-disciplinary projects of artistic production and research linked to environment.


Objectives and methodologies:

To reach a deeper understanding of the field
To conceptualise the experiences and problems observed
To explore processes of constructing the landscape
To encourage trans-disciplinary knowledge
The workshop will include theoretical sessions and debates in order to reflect on the agents and the disciplines implicit in the subject. Various examples will be presented. Fieldwork will be carried out in the Aveiro region. Following the fieldwork, the materials will be analysed for a final reflection and debate.


Requirements:

It is desirable that participants should have basic skills in photography, audio-visual recording or any other form of expression that can be used in the workshop.


Number of Participants

12 – 15


Calendar and Schedule:

Theoretical component and debate – 3 hours

Practical component (fieldwork) – 4 ½ hours

Critical appraisal session (including a review of the results) – 4 ½ hours


Equipment:

Participants should bring a camera, video-camera, audio recorder (smartphones may be used) and/or pencil and paper.
... See MoreSee Less

Observation of the Environment and construction of the Landscape

Novembro 15, 2017, 9:30am - Novembro 16, 2017, 7:00pm

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MUSIDESIGN: Patterns in Live Performance

Clarinetist Lori Freedman will be in open rehearsal for her festival performances as a solo creative and interpretive musician and as a partner in her duo with film scratcher Pierre Hébert. This will be a demonstration session rather than a lecture in theory, her practice being entirely about process and performance. Group discussions, comments and questions will have the focus of the rehearsal in progress, addressing graphic and non-conventional scores as well as her own creative explorations relating design and music.
... See MoreSee Less

Patterns in Live Performance by Lori Freedman & Pierre Hebert

Novembro 13, 2017, 3:30pm - Novembro 13, 2017, 6:00pm

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"Audio Post-Production for Cinema" by Nikola Medic

This workshop addresses aesthetic concepts inherent to audio for cinema and also methodologies (workflows) associated with ProTools, used in the cinematic post-production industry.

Objectives and methodologies:
- To develop a greater understanding of the function of sound in cinematic narrative
- To present different work methodologies for use in post-production
- To introduce a variety of ProTools editing techniques
- To introduce the Foley process
- To introduce the fundamental elements of the mixing process

The workshop will have a theoretic component that will explore the aesthetic, technical and methodological concepts, in addition to a practical component in which each participant may apply the theoretical knowledge acquired through a series of exercises using sound editing, the Foley process and mixing techniques.

Requirements:
A basic knowledge of acoustics is recommended. Familiarity with Protools is an advantage but not a requirement.

Number of Participants:
12 – 15

Calendar and Schedule:
Theoretic component – 2 hours
Practical Session I (Edition) – 2 hours
Practical Session II (Foley) – 3 hours
Practical Session III (Mixing) – 2 hours

Equipment:
If participants have a laptop computer with ProTools installed, they should please bring it to the workshop.
... See MoreSee Less

Workshop - "Audio Post-Production for Cinema" by Nikola Medic

Novembro 14, 2017, 9:30am - Novembro 15, 2017, 1:00pm

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Particle systems are currently being used in all major Hollywood studios, to create sounds for epic and complex scenes, through the use of hundreds or even thousands of sound sources, spread over a 3D space, and captured with virtual multichannel microphones.

This “hands-on” workshop will show how to use this new sound design approach to create interesting 3D sounds.
... See MoreSee Less

EAW 2017 Workshop - "Sound Particles" by Nuno Fonseca

Novembro 13, 2017, 10:00am - Novembro 13, 2017, 1:00pm

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Call Papers
EAW 2017 - II International Conference Electroacoustic Winds 2017: SYNCHRESIS

Due to some requests, the deadline for abstracts and posters submission was extended until May 12, 2017.

ps: further information at eaw.web.ua.pt
... See MoreSee Less

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The deadline for abstract submission is April 28th. Design and soundscapes aims to discuss and mirror interactions between and features of design, sound, silence and the potential to perceive space, place and time. Intending to enlarge the scope of the debate, Design and Soundscapes invites researchers, practitioners and performers to present theoretical frameworks and/or empirical studies that address these topics. ... See MoreSee Less

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Guest Speakers and Workshop Leaders

plus

Jaime Munarriz

Universidad Complutense, Madrid

plus

Per Anders Nilsson

University of Gothenburg

plus

Renja Suominen-Kokkonen

University of Helsinki

plus

Sharon Kanach

Université de Rouen, Centre Iannis Xenakis

plus

Miguel Azguime

Portuguese Music Information Center

plus

Pierre Hébert

filmmaker, performer and visual artist

plus

Lori Freedman

Concordia University

plus

Nuno Fonseca

Instituto Politécnico de Leiria

plus

Guilherme Campos

Departamento de Eletrónica, Universidade de Aveiro

plus

David Sonnenschein

University of Southern California

plus

Carles Ameller

University of Barcelona

plus

M. Dolors Tapias

University of Barcelona

plus

Nikola Medic

Sound Editor

PROGRAM

Mon 13th

Main event

8h00Registration
CCCI Auditorium9h00OPENING SESSION
Prof. Dr. Manuel Assunção, Rector of University of Aveiro
Prof. Dr. Rui Raposo, Head of Department Communication and Art
Prof. Dr. Isabel Soveral, Research Unit INET-MD, University of Aveiro
Prof. Dr. Fátima Pombo, Research Unit ID+, University of Aveiro
10h00Coffee Break
SESSION I – INTERACTIVE SOUND I Virtual Reality / Augmented Reality
10h30Keynote Guilherme Campos, University of Aveiro
Give Us Some Space
11h30Rui Penha, INESC TEC – University of Porto
The unique expressivity of interactivity
12h00Henrique Portovedo and Paulo Ferreira-Lopes, CITAR – Portuguese Catholic University of Porto
HASGS: Hybridaugmented system of Gestural Symbiosis Generating Visual Information
12h30Lunch
CCCI AuditoriumSESSION II – SOUND & STORYTELLING

14h00Keynote Nuno Fonseca, Polytechnic Institute of Leiria
Sound Particles
15h00António Sousa Dias, University of Lisboa
Cinema e sonoplastia: O caso de Domingo à Tarde (1966) de António de Macedo
15h30António Costa Valente, University of Aveiro
O CONTO DO VENTO: o jogo da narração
16h00Mat Dalgleish and Niel Reading, United Kingdom
Seeing with One ́s Own Ears: Soundtrack as Interface for Theatre
17h00Coffee Break
18h30Concert SYNCHRESIS
Works by Composers and designers from University of Aveiro

Workshops

AV Studio10h00-13h00Workshop 1: Sound Particles
Nuno Fonseca, Polytechnic Institute of Leiria
Sound Studio15h00-18h00Workshop 2: Sing and Speak 4 Kids
David Sonnenschein, University of Southern California, San Diego
DeCA Auditorium15h30-18h00Workshop 3: Musidesign: patterns in live performance
Lori Freedman, University of Concordia and Pierre Hebert, filmmaker, performer and visual artist

Tue 14th

Main event

CCCI AuditoriumSESSION III – DESIGNING ATMOSPHERES

9h30Keynote Jaime Munarriz Ortiz, Complutense University of Madrid
10h30Coffee Break
11h00Lecture Anna Marie Fisker, University of Aalborg
Teatro Olimpico by Andrea Palladio - an iconic opera scenario - and the diffused lightning system - enhancing the aura of mystery in the Wagnerian universe by Mariano Fortuny
11h30Niels Peter Skou, University of Southern Denmark
Soundscapes of the experience museum
12h00Nadine Leles, Joel Preto Paulo and Carlos Carvalho, Engineering Institute of Lisboa
Sensa Sound
12h30Lunch
CCCI AuditoriumSESSION IV – SOUND AND VISION IN EDUCATION
14h00Keynote David Sonnenschein, University of California SanDiego
Film Dialogue and Lyrics as Catalyst for Speech Production
15h00Rita Nicolau and Joana Quental, University of Aveiro
Design as a tool for education in Dyslexia: the importance of musical feedback
15h30Marcelo Batista and Rui Costa, University of Aveiro
Visual Representation in Musical Education
16h00Carlos Alberto Augusto, composer and sound designer
Soundscape studies in Portugal
17h00Coffee Break
DeCA Auditorium18h00Concert Bridging
Lori Freedman and Pierre Hebert

Workshops

Room 21.2.19h30-12h30
14h30-17h30
Workshop 4: Audio Post-Production for Cinema
Nikola Medic, MA in Sound Design at National Film and Television School

Wed 15th

Main event

DeCA AuditoriumSESSION V – VISUAL STORYTELLING AND MUSIC
9h15Omar Hamido (online), University of California Irvine
Abstract Rhythm Model
10h00Tânia Barros and Helena Barbosa, University of Aveiro
From static to dynamic: representing images through music
10h30Coffee Break
11h15Joana Sá, University of Aveiro
Beyond dualities and subjectivity – The performing body and the virtual
11h45Nuno Dias, University of Aveiro
Music versus Design – the possibility of a sound and vision co-creation culture in DeCA
12h30Lunch
DeCA AuditoriumSESSION VI – INTERIOR DESIGN HISTORY AND MUSIC
14h30Keynote Renja Suominen-Kokkonen, University of Helsinki
Music and Soundscape in Alvar Aalto's Architecture
15h30Liliana Neves and Fátima Pombo, University of Aveiro
The quality of the Music Room in the domesticity of the Casa dos Patudos. Raul Lino project of 1905
16h00Rita Cruz and Fátima Pombo, University of Aveiro
Sound in space as a design feature in workplace interiors
16h30Lecture Paulo Jorge Ferreira, CEO of Avantools
17h00Coffee Break
CCCI Auditorium18h00Concert Itinerário do Sal – multimedia opera
Miguel Azguime, Miso Ensemble

Workshops

Room 21.2.19h30-12h30Workshop 4: Audio Post-Production for Cinema
Nikola Medic, MA in Sound Design at National Film and Television School
Room 40.3.169h30-12h30Workshop 5: Observation of the Environment and Construction of the Landscape (theoretical session and debate)
Carles Ameller and M. Dolors Tapias, University of Barcelona

Thu 16th

Main event

DeCA AuditoriumSESSION VII - INTERTWINING – SOUND GRAPHIC NOTATION
9h30Keynote Per Anders Nilsson, University of Gothenburg
Symbols–Signs–Sounds
10h30Coffee Break
11h00Pedro Louzeiro, CESEM – University of Évora
Synchronizing to Visual Cues in a Networked, Real-Time Notation Environment – Comprovisador
11h30Eunice Artur and Graça Magalhães, University of Aveiro
Sound as a medium, the performer as a medium
SESSION VIII – INTERACTIVE SOUND II Performance
12h00Belquior Marques and Pedro Rodrigues, University of Aveiro
Perceive to Perform: Temporal Indeterminacy in Music for instrument and Live Electronics
12h30Helena Marinho and Joaquim Branco, University of Aveiro
New music for old instruments: The expanded fortepiano
13h00Lunch
DeCA AuditoriumSESSION IX – CREATION AND TECHNOLOGY: THE CONTEMPORARY OPERA
14h30Keynote Sharon Kanach, University of Rouen, Centre Iannis Xenakis
15h30Eduardo Patriarca and Isabel Soveral, University of Aveiro
Magdala
16h00António Chagas Rosa, University of Aveiro
Melodias Estranhas
16h30Miguel Azguime, Director of Portuguese Music Information Center
Two New Op-Era examples and their technological creation network
17h00Coffee Break
CCCI Auditorium18h00Movie Through this looking glass
Joana Sá, University of Aveiro

Workshops

Room 40.3.169h00-13h30
14h30-19h00
Workshop 5: Observation of the Environment and Construction of the Landscape (field work)
Carles Ameller and M. Dolors Tapias, University of Barcelona
Sound Studio14h30-17h30Workshop 6: The Bucket System - a computer mediated improvisation system by Palle Dahlstedt, Per Anders Nilsson, and Gino Robair
Per Anders Nilsson, Performer Ensemble, University of Gothenburg

Fri 17th

Main event

CCCI Auditorium9h30Audio-Vision relationships - new research perspectives
Round table and group discussions.

WORKSHOPS

Workshop 1 – Sound particles: presentation and experimentation by the author of the software, Nuno Fonseca

Date: November 13th, 10h00-13h00

 

Particle systems are currently being used in all major Hollywood studios, to create sounds for epic and complex scenes, though the use of hundreds or even thousands of sound sources, spread over a 3D space, and captured with virtual multichannel microphones.

This “hands-on” workflow will show how to use this new sound design approach to create interesting 3D sounds.

Workshop 2 – Sing and speak 4 kids, by David Sonnenschein

Date: November 13th, 15h00-18h00

 

SING AND SPEAK 4 KIDS – Using evidence-based music therapy and computer games to assist children with speech delays.
Music is a collaborative activity that both ignites social bonding and stimulates the whole brain. When a young child with special needs such as autism has difficulty learning to speak and socialize, song has successfully accelerated them to become kindergarten-ready. We’ll explore the field of music therapy and the underlying neurological mechanisms of music and speech perception/production responsible for these functional gains. In particular, a clinically tested music therapy called Developmental Speech-Language Training through Music will be presented as the protocol used in Sonnenschein’s current interactive computer program Sing and Speak 4 Kids. Through video and collaborative activities, the audience will experience directly how music and sound can affect the brain and speech.

Learning objectives for this workshop include:

  • Introduce how cognitive and neuroscience theoretical orientations inform music therapy practice.
  • Explore therapeutic goals by applying the elements of music (e.g., tempo, pitch, melody, harmony, rhythm) and employ functional skills with voice.
  • Explain the neurological theories that are the bases for speech and language training in the DSLM protocol, including
    • Gestalt principles and pattern recognition in music,
    • the OPERA Hypothesis (Overlap, Precision, Emotion, Repetition, Attention), and
    • the neuropsychological mechanisms and effect of DSLM speech and language patterning embedded in songs.

 

 

Workshop 3 – MUSIDESIGN: patterns in live performance, by Lori Freedman and Pierre Hebert

Date: November 13th, 15h30-18h00

 

Clarinetist Lori Freedman will be in open rehearsal for her festival performances as a solo creative and interpretive musician and as a partner in her duo with film scratcher Pierre Hébert. This will be a demonstration session rather than a lecture in theory, her practice being entirely about process and performance. Group discussions, comments and questions will have the focus of the rehearsal in progress, addressing graphic and non-conventional scores as well as her own creative explorations relating design and music.

Workshop 4 – Audio Post-Production for Cinema, by Nikola Medic

Date: November 14th, 9h30-12h30 – 14h30-17h30; November 15th, 9h30-12h30

 

This workshop addresses aesthetic concepts inherent to audio for cinema and also methodologies (workflows) associated with ProTools, used in the cinematic post-production industry.

 

Objectives and methodologies:

  1. To develop a greater understanding of the function of sound in cinematic narrative
  2. To present different work methodologies for use in post-production
  3. To introduce a variety of ProTools editing techniques
  4. To introduce the Foley process
  5. To introduce the fundamental elements of the mixing process

The workshop will have a theoretic component that will explore the aesthetic, technical and methodological concepts, in addition to a practical component in which each participant may apply the theoretical knowledge acquired through a series of exercises using sound editing, the Foley process and mixing techniques.

 

Requirements

A basic knowledge of acoustics is recommended. Familiarity with Protools is an advantage but not a requirement.

 

Number of Participants

12 – 15

 

Calendar and Schedule

  • Theoretic component – 3 hours
  • Practical Session I (Edition) – 3 hours
  • Practical Session II (Foley)  – 3 hours
  • Practical Session III (Mixing) – 3 hours

 

Equipment

If participants have a laptop computer with ProTools installed, they should please bring it to the workshop

 

Basic Bibliography

Altman, Rick (2004) Silent film Sound. New York: Columbia University Press

Chion, Michel (1983) Film, a Sound Art. New York: Columbia University Press

Chion, Michel (1994) Audiovision. New York: Columbia University Press

Kernis, Mark (2011) Beyond Dolby Stereo. Bloomington: Indiana University Press

Sonnenschein, David (2001) Sound Design. Studio City: Michael Wiese Productions

Yewdall, David (2007) Practical Art of Motion Picture Sound. New York: Focal Press

Workshop 5 – Observation of the environment and construction of the landscape, by Carles Ameller and Dolors Tapias

Date: November 15th, 9h30-12h30; November 16th, 9h00-13h30 – 14h30-19h00

 

The workshop aims to offer knowledge and the opportunity to work on trans-disciplinary projects of artistic production and research linked to environment.

 

Objectives and methodologies:

  1. To reach a deeper understanding of the field
  2. To conceptualise the experiences and problems observed
  3. To explore processes of constructing the landscape
  4. To encourage trans-disciplinary knowledge

The workshop will include theoretical sessions and debates in order to reflect on the agents and the disciplines implicit in the subject. Various examples will be presented. Fieldwork will be carried out in the Aveiro region. Following the fieldwork, the materials will be analysed for a final reflection and debate.

 

Requirements:

It is desirable that participants should have basic skills in photography, audio-visual recording or any other form of expression that can be used in the workshop.

 

Number of Participants

12 – 15

 

Calendar and Schedule:

Theoretical component and debate – 3 hours

Practical component (fieldwork) – 4 ½ hours

Critical appraisal session (including a review of the results) – 4 ½ hours

 

Equipment:

Participants should bring a camera, video-camera, audio recorder (smartphones may be used) and/or pencil and paper.

Workshop 6 – The Bucket System - a computer mediated improvisation system by Palle Dahlstedt, Per Anders Nilsson, and Gino Robair

Per Anders Nilsson, University of Gothenburg
Performer Ensemble, Aveiro University

Date: November 16th, 14h30-17h30

 

The Bucket System is invented by Palle Dahlstedt, Per Anders Nilsson, and Gino Robair. In essence it is an open structure of optical signs, a notation, and it is up to the participating musicians to make up rules for each particular performance. In a sense, The Bucket System relates to Cardew’s Treatise (1963-67), which is a graphic score where performers are invited, and obliged, to interpret and to make up their own rules of the given score in order to be able to perform the piece. It is mention worthy that Treatise is to be read in a linear narrative fashion, whereas The Bucket System is non-linear.

In his book Cornelius Cardew – a life unfinished (2008) piano player John Tilbury claims that Cardew admired Christian Wolff’s pieces, such that: “the signs do not represented sounds; they created situations in which the performers act, and the instructions consists mainly of suggestions as how the players interact.” The same can be said about the Bucket System. Another feature of the system is that it is democratic, and symmetrical with respect to power in the group, such as that each participating musician is obliged to provide, as well as follow, playing instructions. In other words: leadership is distributed among the players. In various settings the authors have experimented with different types of rule sets from different point of views, simple ones such as metaphorical, behavioral and hierarchical as well as more complex ones called contextual.

CALL FOR PAPERS

The relation between Sound and Image, two different languages within the multimedia art form, and the technological tools to improve this relationship are at the nucleus of this symposium. There are many research areas that address this problem in one way or another. Our main focus will be not only on the relationship itself, discussing the argument from both technical-linguistic and aesthetic points of view, but also the discussion on how technology is enabling these two mediums to merge, creating tools of manipulation that enhance not only the artist’s creativity but also the audience’s immersion.

SUBMISSION DEADLINES

Abstracts and Posters for the Conference
Deadline for submission of abstracts: April 28th, 2017 New deadline: May 12th, 2017.
Pre-notification of acceptance or rejection of abstracts: June 28th, 2017.
Deadline for submission of the reviewed abstracts: July 28th, 2017

Full paper for the publication in the Conference Proceedings
Submission deadline: January 28th, 2018.
Pre-notification of acceptance or rejection of full papers: March 28th, 2018.
Deadline for submission of the reviewed full papers: June 28th, 2018.
Publication: July, 2018

SUBMISSION

Papers and Posters

Each participant can send a maximum of one (1) contribution which will be reviewed by the Scientific Committee by means of a peer review process. At the conference the authors of papers will have 20 minutes for presentation, and 10 minutes for discussion with those present. The Conference Organization will provide a space for the presentation and exhibition of the posters selected by the Scientific Committee. These posters will be exhibited every day of the Conference.
The authors must print and deliver the poster to the Conference Organizers one day before the conference begins. Authors must be present at the exhibition space during the coffee breaks as defined in the programme to answer delegates’ questions. Authors of posters will have 10 minutes for presentation, with the remaining time available for discussion.

SUBMISSION GUIDELINES

To submit an abstract, poster contribution or full paper after the conference

If your contribution is accepted by the Scientific Committee, and you have completed the registration process for the Conference by October 30th, 2017, you may present your research at the Conference with an oral communication of your paper, or a poster. During the conference a CDrom of abstracts  will be available. In July 2018, the Conference Proceedings (ISBN) will be published. Your paper may only be included if you presented this work at the Conference, and if your full paper was accepted following a peer-review process.

Use the EasyChair platform link https://easychair.org/conferences/?conf=eaw2017 to submit the abstract and afterwards the paper or poster.

  • Send a word file (doc. or docx) – save the file with the initials of the title of your contribution. Example – TPINP.doc, or TPINP.docx
  • The contributions should be anonymous and should not express the name of the author(s). Documents that do not comply with this rule will be excluded from the evaluation process
  • Written official language of the conference: English. Documents that do not comply with this rule will be excluded from the evaluation process

Model File Abstract and full paper (please click to download and use this model to submit your paper)

Paper Abstract

  • Abstract up to 500 words (excluding bibliography)
  • Maximum 3 images
  • Bibliography (up to 5 references)

Note: Post-conference paper submissions for the Conference Proceedings should not exceed 3500 words (including abstract, footnotes and references) and 5 images

Poster Abstract

  • Abstract up to 200 words
  • Maximum 5 images
  • Bibliography (up to 5 references)

Note: Post-conference poster submissions for the Conference Proceedings should not exceed 1500 words (including abstract, footnotes and references) and 7 images

PEER REVIEW

Through the blind peer review process, two members of the Scientific Committee will assess your submission. Should they have any suggestions or comments, these will be included in a table and sent to you for consideration. Should your work be accepted by both members of the committee without any suggestions or comments in the first stage of the revision, your contribution will be included in the Conference Record and digitally published. If one or both members of the Scientific Committee request revisions, you must make the appropriate changes and, complying with the deadlines set by the Conference Organization, send the document for a second assessment. Your work will not be accepted for publishing in the Conference Proceedings in the following cases:

  • If neither member of the Scientific Committee accepts it in the first stage of the revision.
  • If the new version sent for revision in the second stage is not accepted.

REGISTRATION

Registration includes:

  • CDrom of abstracts
  • proceedings book (ISBN)
  • conference programme
  • welcome cocktail/reception
  • coffee break
  • lunch on five day (only for paper/posters 1)

 

Registration prices

 Early bird
1st August – 30th September
Standard
1st October – 10th November
Attendant40€60€
Paper/Poster1220€270€
Student2100€130€

1Requires the acceptance of one paper or poster by the Scientific Committee of the Conference.
2Upon presentation of a student ID.

 

Workshops prices

WorkshopsEarly bird
1st August – 30th September
Standard
1st October – 10th November
Workshop 1Regular: 30€; Student: 20€Regular: 40€; Student: 30€
Workshop 2Regular: 30€; Student: 20€Regular: 40€; Student: 30€
Workshop 3Regular: 30€; Student: 20€Regular: 40€; Student: 30€
Workshop 4Regular: 70€; Student: 30€Regular: 90€; Student: 50€
Workshop 5Regular: 60€; Student: 25€Regular: 80€; Student: 40€
Workshop 6Regular: 30€; Student: 20€Regular: 40€; Student: 30€

Registration in two or more workshops grants a discount of 20% on the total price.

 

Gala dinner prices

Early bird
1st August – 30th September
Standard
1st October – 10th November
30€60€

 

Bear in mind that the above mentioned fees will not be refundable.

Venue

Departamento de Comunicação e Arte
Universidade de Aveiro
Campus Universitário de Santiago
3810-132 Aveiro
Portugal

Accommodation

 

Hotel das Salinas Rua da Liberdade, 10
Glória, 3810-126 Aveiro, Portugal
Tel:  +351 234 404 190
Web: http://hoteldassalinas.com/
GPS: 40º38’25.73’’ N I 8º39’24.31’’ W

Other accommodation options

The prices presented below are for convenience only. Please contact the hotels for an updated quote.

 

HOTEL AVEIRO CENTER (★★★, Breakfast included, Single room – 50€, Double room – 65€, Triple room – 85€)

HOTEL MOLICEIRO  (★★★★, Breakfast included, Single room – 97€, Double room –  115€)

HOTEL AS AMÉRICAS  (★★★★, Single room – 88€, Double room – 88€)

HOTEL AFONSO V (★★★, Single room – 39€, Double room – 58€)

VENEZA HOTEL (★★★, Single room – 50€, Double room –  58€)

HOTEL JOSÉ ESTEVÃO  (★★, Breakfast included, Single room – 55€, Double room – 65€)

WELCOME IN (Dormitory – 23€, Double room – 62,5€)

Transport Options

How to get to Portugal?

Besides the regular flight companies, there are some low-cost flight options within Europe to Portugal. Ryanair flies to Porto and Lisbon, and Easyjet flies to Lisbon. The closest airport to Aveiro is the Aeroporto Francisco Sá Carneiro, in Porto.

How to get a train to Aveiro from Sá Carneiro airport?

You can take a taxi from the airport to Campanhã train station, which will take approximately 15 minutes (depending on traffic), and which costs approximately €20.

There is also a metro between the airport and Campanhã train station, which leaves every half hour. The journey takes about 35 minutes, and costs €1,80.

Info: Porto Metro

What are the options to go to Aveiro from Porto?

By train: there are frequent services to Aveiro from Campanhã train station. The train options are the Alfa-Pendular, the Intercidades or the Urbano, which range in price from €14,20 to €3.35 respectively. The train journey from Porto to Aveiro takes between 30 minutes to approximately one hour, depending on the type of train (the Alfa-Pendular is the fastest).

Info: Trains of Portugal

By car: Just take the A1 towards Lisbon, or the A29 towards Aveiro. The journey takes approximately 50 minutes (78 km), and the toll cost is approximately €4,70.

How to get a train to Aveiro from Lisbon Airport?

There is a metro from Lisbon Airportto Oriente train station that takes 10 minutes approximately, and costs €1,40.

Info: Lisbon Metro

What are the options to go to Aveiro from Lisbon?

By train: at Oriente train station there are regular services to Aveiro (Alfa-Pendular train or Intercidades train). The journey to Aveiro takes approximately 2.5 hours, with train tickets varying between €26,30 to €20,20.

By car: take the A1 towards Porto (254 km/approximately 2.5 hours). Turn off at the exit for Aveiro Sul (exit/ saída 15). Aveiro is a further 10 minutes drive along the N235.

How to get to the conference location from Aveiro?

From Aveiro train station: on foot, it takes approximately 30 minutes to reach the University.

By bus, the journey takes 15 minutes.

By taxi, the journey takes approximately 5 minutes (depending on traffic), and costs around €5.

By car: once you reach Aveiro, the University is well sign-posted.

ORGANIZING COMMITTEE

Isabel Soveral
Fátima Pombo
Filipe Paszkiewicz
Pedro Almeida

EXECUTIVE COMMITTEE

Aveiro University:
Elsa de Almeida
Marcelo Baptista
Helena Barbosa
Carlota Brandão
Helder Caixinha
Susana Caixinha
Gilvano Dalagna
Nuno Dias
Ivo Fonseca
Filipe Lopes
Graça Magalhães
Eduardo Patriarca
Jaime Reis
Cristina Silva
António Valente
António Veiga
Tânia Barros

Lasalle College of Arts, Singapore:
Filipe Paszkiewicz

Polytechnic Institute of Bragança:
Tiago Lestre

Feup-UT, Austin:
Suse Ribeiro

SCIENTIFIC COMMITTEE

University of Aveiro:
Isabel Soveral
Fátima Pombo
Pedro Almeida
Helena Santana
António Chagas Rosa
Fernando Ramos
Filipe Lopes
Graça Magalhães
Guilherme Campos
Rui Costa
Teresa Franqueira
Paulo Bernardino
Helena Barbosa
Rui Raposo
Vasco Branco
Francisco Providência
Gilvano Dalagna
António Valente
Nuno Dias
Evgueny Zoudilkine
Jorge Salgado Correio
Paulo Vaz de Carvalho
Helena Marinho
Sara Carvalho

University of Lisboa:
Ana Tostões
António Sousa Dias
Fernando Moreira da Silva
Susana Oliveira

Portuguese Music Information Center
(MIC): 
Miguel Azguime

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Polytechnic Institute of Porto:
Madalena Soveral

Polytechnic Institute of Leiria:
Nuno Fonseca

CITAR – Research Center for Science and Technology of the Arts, Universidade Católica Portuguesa:
Paulo Ferreira Lopes

INESC TEC and Faculty of Engineering, University of Porto:
Rui Penha

University of Barcelona:
Anna Calvera
Carles Ameller

University Complutense de Madrid:
Jaime Munarriz Ortiz

University of Gothenburg:
Per Anders Nilsson

University of Aalborg:
Anna Marie Fisker

University of Helsinki:
Renja Suominen-Kokkonen

Université de Rouen, Centre Iannis Xenakis:
Sharon Kanach

NY University Abu Dhabi:
Carlos Guedes

Columbia College, Hollywood:
David Sonnenschein

Concordia University:
Lori Freedman