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

13th-17th November 2017

 

The International Conference Electroacoustic Winds 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.

Guest Speakers and Workshop Leaders

plus

Jaime Muñarriz

U. Complutense de 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

PROGRAM

Coming soon …

WORKSHOPS

Workshop 1 – Observation of the Field and Construction of the Landscape

Leaders: Carles Ameller and Dolors Tapias

Date: November 16th – 17th

Duration: 12 hours

 

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

 

Objectives and methodologies:

  1. To reach a deeper understanding of the field
  2. To conceptualise the experiences and problems observed in the field
  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 field. 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 2 – MUSIDESIGN: patterns in live performance

Leaders: Lori Freedman and Pierre Hebert

Date: November 13th, 16h00-18h30

 

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 3 – Sing and Speak 4 Kids

Leader: David Sonnenschein

Date: November 13th, 16h00-18h30

 

The author has taught university-level film and game sound design classes and consulted professionals for two decades, based on his book Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema (2001)The learning approach relies on training the listening (receptive) skills of the students and clients, so that they may become capable with their creative (expressive) abilities in producing effective soundtracks for film.

As filmmaking has become available to all ages through the ubiquitous use of cell phone video cameras and YouTube distribution, the author has broadened his teaching platform to include children and teens who are very open to learning, especially through game play. With this in mind, the author, who also has a degree in neuroscience, has been focusing on providing interactive audio and music products to enhance brain health and education.

Upon reading of the work of Dr. Hayoung Lim and DSLM, the author recognized that a collaboration could result in a much needed service to the target group of pre-school children with delayed expressive language development, some with autism spectrum disorder, who are at risk of failing to enter kindergarten with their same-aged peers. Even with speech delays, these children often can sing easily, because their brains are wired to receive and express the musical patterns of song.

The resulting interactive audiovisual program, called Sing and Speak 4 Kids, applies DSLM techniques as well as the conditions required for neuroplasticity described in the OPERA Hypothesis. Short video songs with specific target vocabulary words are presented by an onscreen singer/speaker, who invites the child to sing along. These songs are designed for activating the child’s attention with specific listening modes, as described above with DSLM.

Once the child is singing, the program gradually “fades” the musical elements in stages into spoken language. The child first mimics the singer/speaker, then as the singer/speaker drops out the target word, the child remembers the word to fill in, taking initiative to sing/speak on their own. The final step confirms the child has learned the meaning of the word, with the singer/speaker asking a comprehension question for the child to answer.

The visual information in the program is equally purposeful. Photos of the target words accompany the sung or spoken words, and short whimsical animation sequences and pleasant musical tones reward the child when they perform correctly.

While playing the program, the child is accompanied by a team of parents, teachers and therapists who use an online monitoring system, so the whole community participates in this process that encourages social engagement, adding to the referential/context listening mode. Through the use of these intentionally designed film soundtracks and images, children with speech difficulties are supported in development of their expressive language.

 

Conclusion

By design, repurposing or attaining iconic status, audiovisual soundtracks are shown in these examples to contribute to the development of expressive language in the audience. Several models of film sound theory, communication and neuroscience help clarify the underlying mechanisms that create conditions for learning speech production. With an invitation to put theory into practice, the author encourages further exploration and application of the material presented herein for research, teaching, artistic and therapeutic purposes. Academics and educators can investigate further links between the fields of film sound, music, learning, speech-language and neuroscience, supporting the design of effective communication tools. Filmmakers, sound designers, music/song composers, and game developers may adapt this analysis for increasing engagement with their audience.  Therapists can augment their understanding and practical tool set that can offer their clients greater fluency in expressive language. Language teachers can access the power of film to support their students’ acquisition of both receptive and expressive second language.

 

Author’s Bio

David Sonnenschein, BA Neuroscience/Music at University of California San Diego, MFA Cinema/TV at University of Southern California, author Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema, online instructor www.sounddesignforpros.com. Currently developing Sing and Speak 4 Kids at www.iqsonics.com.

 

Bibliography

Badt, Karen, Mirror Neurons and Why We Love Cinema: A Conversation with Vittorio Gallese and Michele Guerra in Parma, 05/10/2013, http://www.huffingtonpost.com/karin-badt/mirror-neurons-and-why-we_b_3239534.html

Workshop 4 – Audio Post-Production for Cinema

Leader: Nikola Medic

Date: November 15th – 16th, 16h00

Duration: 12 hours

 

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

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 – 30th October
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 – 30th October
Workshop 1Regular: 30€; Student: 20€Regular: 40€; Student: 30€
Workshop 2Regular: 30€; Student: 20€Regular: 40€; Student: 30€
Workshop 3Regular: 70€; Student: 30€Regular: 90€; Student: 50€
Workshop 4Regular: 70€; Student: 30€Regular: 90€; Student: 50€

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 – 30th October
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 Alternatives

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

Hotel Aveiro Center ★★

Single room – 43€
Double room – 55€

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€

Hotel das Salinas ★★

Breakfast included.
Double r. 1 pax – 70€
Double r. 2 pax – 90€

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

Pedro Almeida
Fátima Pombo
Filipe Paszkiewicz
Isabel Soveral

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

Filipe Paszkiewicz – Lasalle College of Arts, Singapore
Tiago Lestre – Politécnico de Bragança
Suse Ribeiro – Feup-UT, Austin

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

.

Instituto Politécnico do Porto
Madalena Soveral

Instituto Politécnico de Leiria:
Nuno Fonseca

University of Applied Sciences Mainz:
Paulo Ferreira Lopes

University of Barcelona:
Anna Calvera
Carles Ameller

University Complutense de Madrid:
Jaime Muñarriz 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