[AUDITORY] DRS2022 Conference, track on Sound and Design - Paper submission deadline extended (Stefano Delle Monache )

Subject: [AUDITORY] DRS2022 Conference, track on Sound and Design - Paper submission deadline extended From: Stefano Delle Monache <stefano.dellemonache@xxxxxxxx> Date: Thu, 18 Nov 2021 17:20:14 +0100 This is a multi-part message in MIME format. --------------dBpsDg4mKH5hNrvLDz0ACcp1 Content-Type: text/plain; charset=UTF-8; format=flowed Content-Transfer-Encoding: quoted-printable X-MIME-Autoconverted: from 8bit to quoted-printable by edgeum4.it.mcgill.ca id 1AIGKJjL032098 Apologies for cross-posting. Dear All, we inform you that the deadline for paper submission to the DRS2022=20 BILBAO Conference has been extended to December 1^st . Deadline for paper submission: November 24^th , 2021> December, 1^st , 20= 21. The call for papers can be found via the following link:=20 https://www.drs2022.org/theme-tracks/=20 <https://www.drs2022.org/theme-tracks/> Best regards, Stefano Delle Monache -------------------------- The Theme Track 4 onSound & Design aims at exploring human and machine=20 listening as design material: Either intentionally designed or as by-products of mechanisms and=20 processes, sounds and soundscapes are an essential presence in our=20 contemporary environments, from notification and alarms to machinery and=20 voice-based virtual assistants. Sound design entails a variety of=20 practices, dealing at large with the design and craft of auditory=20 displays to convey functions and information with aesthetic=20 requirements. Listening is the context-dependent, human-centered, active=20 behaviour by which we use sound to make sense of the experience with=20 products, services, and ecosystems. A socio-technological, sound-driven approach to design is concerned=20 about the meaning and understanding of the experience driven by=20 listening, rather than by sound. In this paradigm shift, sound acts both=20 as issue and opportunity for innovative design solutions. Hence,=20 sound-driven design is inherently embodied, situated, and=20 human-centered. Establishing the role of listening in the design process=20 will inform whether designers design the sound, for sound, against sound=20 or with sound. The Sound and Design track welcomes papers on: A. Sound-driven design: Designing for, through, and about listening Contact person - Stefano Delle Monache | s.dellemonache@xxxxxxxx=20 <mailto:s.dellemonache@xxxxxxxx> Leveraging the established distinction about design research strategies=20 (for, through, about design), we invite submissions on: * Designing for listening (clinical), including sound- and evidence-based case studies and interventions with specific impact, e.g., from product sounds to soundscapes, in healthcare, automotive, and the lived environment in general; * Designing through listening (applied), including design studies that investigate how sound and action intertwine to shape dynamic relationships between humans and objects, e.g. from sound-driven experience and design methodologies, to the effect of sound on listeners, such as emotions and alarm fatigue; * Designing about listening (basic), including inquiries on the fundamentals of design and audition, formgiving and cognition, research methods, the role of sound-based representations and creativity. B. Design of artificial intelligence (AI) for perceiving and=20 interpreting sound Contact person -=C2=A0 Monica Porteanu | monicap2@xxxxxxxx=20 <mailto:monicap2@xxxxxxxx> Sound opens doors to designing for inclusiveness, wellbeing, and many=20 more. Meanwhile, sound-enabled technology creates commercial=20 opportunities at exponential speed. However, the commercial enthusiasm=20 outpaces our understanding of the implications this situation creates,=20 e.g., considering that voice is a biometric identifier. We have yet to become aware of how sound travels and is perceived and=20 interpreted across devices, platforms, clouds, and algorithms. The=20 design mindset and practice are slowly catching up, but they are still=20 more focused on the commercial aspect (e.g., conversation design, voice=20 user interface). However, design research could significantly contribute=20 to raising awareness and developing the necessary body of knowledge to=20 address the gap. We invite submissions on topics such as: * Algorithmic hearing and interpretation, incl. voice-based AI for sentiment analysis * Inclusive AI applications related to sound perception, interpretation, and feedback, e.g., sound therapy, rehabilitation, food design for wellness * Design methods for sensemaking related to sound data, e.g., sonification, visualization * Sound-based AI literacy, e.g., privacy, decision-making * Objects that listen, interpret, or provide feedback (esp. to other than the sound producer) --------------dBpsDg4mKH5hNrvLDz0ACcp1 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable X-MIME-Autoconverted: from 8bit to quoted-printable by edgeum4.it.mcgill.ca id 1AIGKJjL032098 <html> <head> <meta http-equiv=3D"content-type" content=3D"text/html; charset=3DUTF= -8"> </head> <body> Apologies for cross-posting. Dear All,=C2=A0 we inform you that the deadline for paper submission to the DRS2022 BILBAO Conference has been extended to December 1st. Deadline for paper submission: <strike>November 24th, 2021</strike> > December, 1<su= p>st, 2021.<strike> </strike> The call for papers = can be found via the following link: <a href=3D"https://www.drs2022.org/theme-tracks/">https://www.drs202= 2.org/theme-tracks/</a> Best regards, Stefano Delle Monache --------------------= ------ The Theme Track 4 on= Sound & Design aims at exploring human and machine listening as design material:<= /p> Either intentionally designed or as by-products of mechanisms and processes, sounds and soundscapes are an essential presence in our contemporary environments, from notification and alarms to machinery and voice-based virtual assistants. Sound design entails a variety of practices, dealing at large with the design and craft of auditory displays to convey functions and information with aesthetic requirements. Listening is the context-dependent, human-centered, active behaviour by which we use sound to make sense of the experience with products, services, and ecosystems. A socio-technological, sound-driven approach to design is concerned about the meaning and understanding of the experience driven by listening, rather than by sound. In this paradigm shift, sound acts both as issue and opportunity for innovative design solutions. Hence, sound-driven design is inherently embodied, situated, and human-centered. Establishing the role of listening in the design process will inform whether designers design the sound, for sound, against sound or with sound. The Sound and Design track welcomes papers on: A. Sound-driven desi= gn: Designing for, through, and about listening=C2=A0 Contact person - Stefano Delle Monache | <a href=3D"mailto:s.dellemonache@xxxxxxxx">s.dellemonache@xxxxxxxx= ft.nl</a> Leveraging the established distinction about design research strategies (for, through, about design), we invite submissions on: <ul> <li dir=3D"ltr"> D= esigning for listening (clinical), including sound- and evidence-based case studies and interventions with specific impact, e.g., from product sounds to soundscapes, in healthcare, automotive, and the lived environment in general;</= p> </li> <li dir=3D"ltr"> D= esigning through listening (applied), including design studies that investigate how sound and action intertwine to shape dynamic relationships between humans and objects, e.g. from sound-driven experience and design methodologies, to the effect of sound on listeners, such as emotions and alarm fatigue; </li> <li dir=3D"ltr"> D= esigning about listening (basic), including inquiries on the fundamentals of design and audition, formgiving and cognition, research methods, the role of sound-based representations and creativity. </li> </ul> B. Design of artific= ial intelligence (AI) for perceiving and interpreting sound=C2=A0</sp= an> Contact person -=C2=A0 Monica Porteanu | <a href=3D"mailto:monicap2@xxxxxxxx">monicap2@xxxxxxxx= u</a> Sound opens doors to designing for inclusiveness, wellbeing, and many more. Meanwhile, sound-enabled technology creates commercial opportunities at exponential speed. However, the commercial enthusiasm outpaces our understanding of the implications this situation creates, e.g., considering that voice is a biometric identifier.=C2=A0 We have yet to become aware of how sound travels and i= s perceived and interpreted across devices, platforms, clouds, and algorithms. The design mindset and practice are slowly catching up, but they are still more focused on the commercial aspect (e.g., conversation design, voice user interface). However, design research could significantly contribute to raising awareness and developing the necessary body of knowledge to address the gap. We invite submissions on topics such as: <ul> <li dir=3D"ltr"> Algorithmic hearing and interpretation, incl. voice-based AI for sentiment analysis </li> <li dir=3D"ltr"> Inclusive AI applications related to sound perception, interpretation, and feedback, e.g., sound therapy, rehabilitation, food design for wellness </li> <li dir=3D"ltr"> Design methods for sensemaking related to sound data, e.g., sonification, visualization=C2=A0 </li> <li dir=3D"ltr"> Sound-based AI literacy, e.g., privacy, decision-making </li> <li dir=3D"ltr"> Objects that listen, interpret, or provide feedbac= k (esp. to other than the sound producer) </li> </ul> </body> </html> --------------dBpsDg4mKH5hNrvLDz0ACcp1--

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