Audio Mostly is an interdisciplinary conference on design and experience of interaction with sound that prides itself on embracing applied theory and reflective practice. Its annual gatherings bring together thinkers and doers from academia and industry that share an interest in sonic interaction and the use of audio for interface design. This remit covers product design, auditory display, computer games and virtual environments, new musical instruments, and education and workplace tools. It further includes fields such as the psychology of sound and music, cultural studies, system engineering, and everything in between in which sonic interaction plays a role. Popular keywords of previous submissions are visualized as tag cloud below (download alphabetical list here).
Tag cloud of aggregated keywords of Audio Mostly 2010-2019, showing the variety of disciplines in the conference (© M. Weger and K. Groß-Vogt, 2019).
The special theme for the conference this year is What you hear is what you see? Perspectives on modalities in sound and music interaction and we would particularly welcome papers relating to this topic at the conference this year exploring and questioning the potentials and limits of cross-modal perception and interaction particularly, but by no means exclusively, in the context of multimodal information design including sonification and visualization as well as artistic conceptualizations, touching aspects, such as attention, expectation and memory.
AudioMostly'22 encourages the submission of contributions addressing such questions and others related to the conference theme and the topics presented below.
LIST OF TOPICS
The AudioMostly conference series is interested in Sonic Interaction Design and Human-Computer Interaction (HCI) in general. The conference provides a space to reflect on the role of sound and music in our lives and how to understand, develop and design systems which relate to sound and music – we are particularly interested in this from a broad HCI perspective. We encourage the submission of original regular papers, posters, demos, workshops, music contributions and installations addressing the conference theme or other topics from the list provided below. We welcome multidisciplinary approaches involving fields such as music informatics, information and communication technologies, sound design, music performance, visualization, composition, perception, cognition, and aesthetics.
Accessible technologies based on sound
Acoustics and psychoacoustics
Affective computing applied to sound and music
Art based research related to sound and music
Artificial Intelligence, HCI and music
Auditory display and sonification
Auditory process monitoring
Augmented and virtual reality with or for sound and music
Binaural music production
Critical approaches to interaction, design, and sound
Digital augmentation (e.g., musical instruments, stage, studio, audiences, performers, objects)
Digital music libraries
Game audio and music
Gestural interaction with sound or music
Immersive and spatial audio
Interactive sonic arts and artworks
Intelligent music tutoring systems
Interfaces for audio engineering and post-production
Interfaces or synthesis models for sound design
Live performing arts
Multimodal data analysis including sound
Music information retrieval & Interaction
Musical Human-Computer Interaction
New methods for the evaluation of user experiences of sound and music
Participatory and co-design methodologies with or for audio
Philosophical or sociological reflections on Audio Mostly related topics
Psychology, cognition, perception
Semantic web music and audio
Spatial audio, interaction design and ambisonics
Sonic Interaction Design
Sonification and visualization
Sound and image interaction: from production to perception
Sound and soundscape studies
Storytelling with data and sound
We envisage covering these topics from a variety of viewpoints: from design (HCI, sonic interaction design, sonification and multisensory interactions, extended reality) over engineering (signal processing, spatial audio, networking, artificial intelligence) to music and fine arts (composition; artistic research). AudioMostly'22 will mostly focus on sound and it’s perception in real and extended, artistic and industrial environments.
As in previous years, the AudioMostly'22 proceedings will be published by the Association for Computing Machinery (ACM) and made available through their digital library. Regular papers, posters and demos will be double-blind peer-reviewed. We also intend to negotiate the publication of a special issue of the Journal of Personal and Ubiquitous Computing relating to the conference.
Submission closes April 15th, 24h in UTC+2 time zone
(these dates apply for all submission categories)
|Submission deadline||April 15, 2022
|Notification of acceptance||June 15, 2022|
|Camera-ready submissions||July 15, 2022|
|Registration deadline||August 4, 2022|
|Broadcast-ready presentations for online sessions and demos||August 15, 2022|
|Workshops||September 6, 2022|
|Conference||September 6-9, 2022|