The third International Conference on Live Interfaces will take place at the University of Sussex in June, 2016. This biennial conference will bring together people working with live interfaces in the performing arts, including music, the visual arts, dance, puppetry, robotics or games. The conference scope is highly interdisciplinary but with a focus on interface technologies of expression in the area of performance. Topics of liveness, immediacy, presence (and tele-presence), mediation, collaboration and timing or flow are engaged with and questioned in order to gain a deeper understanding of the role contemporary media technologies play in human expression.
Interfaces can be conceptual or material objects, and their making is concerned with the design of openings, resistance, fluidity, affordances, constraints, and expressive scope. We wish to host work that will create a space of multiplicity, in order to investigate how disciplinary concerns inform different but overlapping approaches to interface design.
The conference consists of paper presentations, performances, interactive installations, poster demonstrations, a doctoral colloquium and workshops. Works engaging with the principles and assumptions governing interaction design, including perspectives from art, philosophy, product design and engineering are specially invited.
- November 23rd, 2015: First Call for Papers and Performances.
- February 21st, 2016 : Performance and Installation submissions deadline.
- February 21st, 2016: Paper, Workshops and Doctoral Colloquium submissions deadline.
- April 18th, 2016: Notification of results.
- May 18th, 2016: Camera ready paper deadline.
- May 25th, 2016: Early-bird registration ends.
- June 29th - July 3rd, 2016: Conference at Sussex.
ICLI is an interdisciplinary conference focussing on the role of interfaces in all artistic performance activities. We encourage critical and reflective approaches to key themes in the design and use of live interfaces. A wide range of theoretical and practice based approaches are welcomed by people from all possible research or practice backgrounds.
Topics include, but are not restricted to:
- New interfaces for musical expression
- Non-musical performance interfaces
- Multimodal and multisensory media
- Augmented stage technologies
- Audiovisual performance
- Biophysical sensors
- Brain-computer interfaces
- Artificial intelligence and ALife in interfaces
- Notation for new interfaces
- Live coding in music, video, animation, dance
- Experimental gaming interfaces
- Magic and illusionism in performance
- Robotics and performance systems
- Timing, timeliness, flow, narrative, memory
- Computer vision
- Haptic interfaces
- Puppetry and animation
- Tangible interaction
- Mapping strategies and design
- The Acoustic and the digital
- Human-Computer Interaction
- Interface design processes
- Ethnographic approaches to interface and instrument design
- Prototyping techniques
- Perceptual and cognitive issues
- Phenomenology of performance with digital media
- Philosophical and historical perspectives
- Audience interaction
- (Un)control and/or unpredictability
- Dramaturgy/choreography/composition with digital media
- Gesture recognition and motion tracking
- Language as an interface
- Approaches to interfacing Big Data
- Interfacing noise
- Interfaces for activism
- Comedy in the performance arts
- Post-digital interfaces
Papers and performance proposals must be written in English and should comply with the Latex or Word templates. Full papers must be submitted (not abstracts). The submission should be in a PDF format.
* Papers (5-8 pages)
* Poster/demo papers (3-6 pages)
* Doctoral Colloquium papers (2-6 pages). See a bespoke call
* Performances (2-4 page description, link to work, and a technical rider)
* Installations (2-4 page description, link to work, and a technical rider)
* Workshops (2-4 page description, link to work, and a technical rider)
For further information, please read the disseminated Call for Proposals.
The proceedings will be published online in collaboration with REFRAME Books (MFM, University of Sussex). They will be Open Access, with Creative Commons attribution, and with an ISBN number. Each individual paper will receive a Digital Object Identifier (DOI).
June 29th - Wednesday:
June 30th - Thursday:
July 1st - Friday:Papers
July 2nd - Saturday:Installations
July 3rd - Sunday:Modular Synth Meet on campus in the ACCA
The ICLI 2016 conference is organised by members of the Music Informatics and Performance Technologies Lab at the University of Sussex. We're based in the Department of Music, in the School of Media, Film and Music.
Thor Magnusson (general chair)
Chris Kiefer (scientific chair)
Alice Eldridge (artistic chair)
Cecile Chevalier (installations chair)
Paul McConnell (workshops chair)
Thanos Polymeneas Liontiris (performance organiser)
Joe Watson (doctoral colloquium organiser)
Andrew Duff (Brighton Modular Meet planner)
David Palmer (design)
Sam Aaron (University of Cambridge)
Amy Alexander (University of California, San Diego)
Tom Apperley (University of New South Wales)
Joanna Armitage (University of Leeds)
Marije Baalman (STEIM, Amsterdam)
Peter Bennett (BIG, Bristol University)
David Berry (SHL, University of Sussex)
Tom Betts (Big Robot Games)
Frederic Bevilacqua (IRCAM)
Till Boverman (3DMin)
Andrew Brown (Griffiths University, Australia)
Jamie Bullock (Integra Lab, Birmingham Conservatoire)
Joanne Cannon (Bent Leather Band / University of Melbourne Australia)
Baptiste Caramiaux (IRCAM / McGill University)
Alexandra Cardenas (University of the Arts, Berlin)
Miguel Carvalhais (ID+, University of Porto)
Maria Chatzichristodoulou (University of Hull)
Cecile Chevalier (MIPTL, University of Sussex)
Miha Ciglar (EarZoom / Institute for Sonic Arts Research)
Ricardo Climent (NOVARS, University of Manchester)
Emma Cocker (Notthingham Trent University)
Geoff Cox (Aarhus University)
Michael Dieter (CIM, Univercity of Warwick)
Sam Duffy (Queen Mary University)
Pete Furniss (Edinburgh University)
Olga Goriunova (University of Warwick)
Paul Granjon (Cardiff School of Art and Design)
Owen Green (University of Edinburgh)
Mick Grierson (EAVI, Goldsmiths, University of London)
Luciana Haill (IBVA, Sussex University)
Rob Hamilton (CCRMA, Stanford University)
Orit Halpern (The New School for Social Research / Eugene Lang College)
Edwin van der Heide (Leiden University / Interfaculty The Hague)
Enrike Hurtado (University of Basque Country)
Kate Howland (Informatics, University of Sussex)
Daniel Jones (Erase)
Martin Kaltenbrunner (ICL, University of Art and Design Linz)
Ajay Kapur (Kadenze / Cal Arts)
Mitu Khandaker-Kokoris (New York University)
Chris Kiefer (SHL, University of Sussex)
Shelly Knotts (Durham University)
Michael Lyons (Ritsumeikan University)
Thor Magnusson (MIPTL, University of Sussex)
Laura McDermott (The Attenborough Centre for the Creative Arts)
Alex McLean (University of Leeds/FoAM Kernow)
Andrew McPherson (C4DM, Queen Mary, University of London)
James Mooney (University of Leeds)
Sarah Nicolls (BEAM / Brunel Univeristy)
Sally Jane Norman (SHL, University of Sussex)
David Ogborn (McMaster University)
Marianna Obrist (University of Sussex)
Adam Parkinson (EAVI, Goldsmiths, University of London)
Rui Penha (INESC TEC, University of Porto)
Jennifer Parker (OpenLab, University of California Santa Cruz)
Phoenix Perry (HKU University of the Arts Utrecht)
André Rangel (CITAR, Universidade Católica Portuguesa)
Pedro Rebelo (SARC, School of Creative Arts Belfast)
Hester Reeve (Sheffield Hallam University)
Alexander Refsum Jensenius (University of Oslo)
Luisa Ribas (ID+, University of Lisbon)
Adriana Sá (EAVI, Goldsmiths, University of London)
Franziska Schroeder (SARC, School of Creative Arts Belfast)
Will Scrimshaw (Edge Hill University)
Kate Sicchio (University of New York)
Eric Singer (Singerbots)
Águeda Simó (University of Beira Interior)
Ryan Ross Smith (Rensselaer Polytechnic Institute)
Jeff Snyder (Princeton University)
Koray Tahiroğlu (Aalto University)
Patrick Tresset (Goldsmiths University)
Halldor Ulfarsson (Icelandic Academy of the Arts)
Kirk Woolford (University of Surrey)
Matthew Yee-King (Goldsmiths University)
Martin Zeilinger (Anglia Ruskin University)
Anna Xambo (Georgia Tech)
Polina Zioga (Glasgow School of Art)
Alex McLean (University of Leeds/FoAM Kernow)
Kate Sicchio (New York University)
Adriana Sa (EAVI / Goldsmiths, University of London)
Miguel Carvalhais (ID+ / University of Porto)
Thor Magnusson (MIPTL / University of Sussex)
Sally Jane Norman (SHL / University of Sussex)
Maria Chatzichristodoulou (London South Bank University)
There are seven workshops at ICLI this year. We have two workshops on resonating instruments where we invited the instrument makers Halldor Ulfarsson and Andrew McPherson to lead workshops on their new instruments. These workshops are also open to people not registered for the conference. Both workshops will finish with a performance of the pieces made in this limited period of two days.
There are also five exciting half- and one-day workshops which are organised by conference attendees and require conference registration to participate.
We invite composers, performers and improvisers to come and explore and create new works for novel electro-acoustic resonating instruments. The workshops are collaborative, focussing on knowledge exchange between instrument builders, composers and performers. The workshops will involve group work, composition and performance. The pieces written in will be performed at ACCA at the end of the second day, after the opening keynote.
Workshop participants will work with either the halldorophone or Magnetic Resonator Piano. The Halldorophone is a cello-like electroacoustic instrument affording controlled feedback; the Magnetic Resonator Piano is an electronically-augmented acoustic piano capable of eliciting new sounds acoustically from the piano strings. Both of these instruments are new and unique, but already have an established repertoire and performance history internationally.
Since both workshops will culminate in a performance, they will focus heavily on consideration of themes involving new instruments, new notation, interpretation of new works, how to adapt embodied playing techniques of familiar interfaces with new functionality etc.
These two-day workshops will be structured such that in the morning of the first day, the inventor will present the instrument, its history and workings. Then participants will be able to explore the instrument. Discussions regarding performance, improvisation and new notation will be chaired by the instrument maker. After lunch, people will work solo or in pairs/groups (e.g., composer-performer duos) on a musical piece which could be notated or of improvisational nature. A regrouping in the evening offers an opportunity to discuss the experiments and successes/failures of the day, leading to a dinner in a restaurant. The next day the workshops will continue in the morning, focussing on practicing and finishing the pieces. In the evening the work will be performed in the Attenborough Centre Auditorium. The pieces will be recorded (audio and video) and published online (subject to approval).
Participating in the workshops will be cellist ( Alice Eldridge) and pianist ( Kate Ryder), both with an experience of performing with these new instruments. Their presence in the workshops will helpful for both composers and other performers.
Halldoropohones are electro acoustic string instruments developed by Halldór Úlfarsson. The instrument is cello-like in its configuration but with unique features that define the method of playing and facilitate its unusal timbre. Over the last decade a growing number of composers haved composed by solo and ensemble works for the halldorophone. A seminar on conventions in composing for halldorophone was recently held at the Icelandic Academy of Arts, Music department with a panel of composers who have worked with the instrument in recent years.
Halldór Úlfarsson is an artist and designer based in Iceland. His practice primarily involves developing projects and collaborations around his electro acoustic string instrument the halldorophone which he has been developing for about a decade. Halldór has a degree from the Finnish Academy of Fine Art and an MA in design from TAIK (Helsinki). He currently works for the department of design at the Icelandic Academy of the Arts.
A video of the halldorophone in action can be viewed here
The magnetic resonator piano (MRP) is an electronically augmented acoustic piano. Electromagnets are placed inside a grand piano which induce the strings to vibrate independently of the hammers, allowing the performer to create notes with infinite sustain, crescendos from silence, pitch bends, harmonics and new timbres. It is played from the piano keyboard using a scanner that measures the continuous position of each key. Over 20 pieces have been composed for MRP, including recent projects with People Inside Electronics (Los Angeles), the London Chamber Orchestra and the band These New Puritans.
Andrew McPherson is a Senior Lecturer (Associate Professor) in the Centre for Digital Music at Queen Mary University of London. A composer and electrical engineer by training, he studied at MIT (M.Eng. 2005) and the University of Pennsylvania (Ph.D. 2009) and spent a two-year postdoctoral fellowship at Drexel University. His research focuses on augmented instruments, embedded hardware systems, the study of performer-instrument interaction and user appropriation of technology. In addition to the MRP, he is the creator of the TouchKeys, a multi-touch-sensing keyboard which successfully launched on Kickstarter in 2013.
This workshop will introduce the organ as an interface, and then explore its use in music for organ and live electronics. The workshop will be instructional for composers, introducing them to the instrument and its repertoire, and for those interested in extending the organ through technology. A second part of the workshop will be a ‘lab’ in which two pieces are explored and developed live, with a focus on the organ as a technology and its duet role in music for organ and live electronics by Alistair Zaldua and Thor Magnusson. In the final part of the workshop, Lauren Redhead and Alistair Zaldua will perform a selection of pieces from their repertoire that demonstrate the relationship of organ and live electronics in recent pieces
This one day workshop explores iterative feedback processes in the design of musical tools and the questions these types of processes pose for theorising agency, autonomy, interaction design, sociality, and causality.
Participants will be introduced to three approaches to implementing chaotic, nonlinear systems in real-time signal processing environments (Max and Pd), each relating to the artistic practices and research interests of the workshop leaders culminating in an open session where participants are encouraged to adapt these techniques in developing their own implementations. At the heart of this workshop is a double articulation between theoretical and practical concerns, where multiple perspectives are brought into dialogue across the three sessions with an emphasis on the challenges posed by these techniques to the various features of musicality as it relates to digital instrument design. Nonlinear and chaotic systems provide a distinct set of resistances and affordances in performance, cleaving a space for reassessing our categories in thinking human-machine interaction.
This hands-on workshop introduces participants to Bela, an embedded platform for ultra-low latency audio and sensor processing. We will present the hardware and software features of Bela through a tutorial that gets participants started developing interactive music projects. Bela projects can be developed in C/C++ or Pure Data (Pd), and the platform features an on-board browser-based IDE for getting started quickly.
This workshop will focus specifically on using Pd with Bela to create self-contained instruments. Participation will be free, with the option to buy hardware at the end.
Our workshop is targeted at performers, designers and researchers who have an interest in practically exploring complex emergent behaviors and dynamic relationships in ‘performance ecosystems’ (following Simon Waters). We aim to arrive at a better collective understanding of the following questions:
We will begin the workshop by contextualising these questions through discussion of existing artistic works, before moving swiftly on to collaborative practical exercises. Our aim here is to deepen our knowledge of music making through ‘doing’ and ‘showing’ rather than merely ‘telling’. Following this introductory stage, while working in small groups with the facilitators, you will design and physically sketch a human-scale (partially functioning) prototype of a performance ecosystem. This network will include a range of interrelating agents, possibly including: people, elastic bands, cardboard boxes, computer code, sensors, actuators, step ladders, masks, books, tacit rules, and explicit methods for resisting equilibrium and/or provoking crises. Following this stage, each group will deliver improvised performances while acting out the necessary elements of the physical sketches. These improvisations will provide the basis for critical discussion and subsequent performative iterations.
Our team of artist-researchers will facilitate the workshop and provide expertise in designing musical interactions, physical sketching, rapid prototyping, improvising, and critical reflection. We will provide a range of equipment and materials for aiding the physical sketching process, but you are also encouraged to bring your own objects of interests (e.g. computers, instruments, antiques, beverages). Prospective workshop participants will be asked to provide a short biography and a few sentences on why they are interested in joining the workshop.
A workshop exploring the txalaparta - a traditional percussion instrument from the Basque Country and newly developed interactive txalaparta software, written by the authour.
The txalaparta features a variable number of wooden planks placed horizontally and beat vertically with wooden batons. Its is played by at least two players who alternate their beats performing through an improvisatory call-and-response pattern.
Participants in this workshop will explore the txalaparta, learning about the history and the main characteristics of the it and and how to play it. They will be able to practice the txalaparta, playing in pairs. After this introduction they will be able to test the software Interactive txalaparta playing the real txalaparta together with the computer.
Registration is now open and tickets can be purchased through the University of Sussex Online Shop.
Early-bird registration ends on May 25th. The reduced fee is for students and the unemployed.
The conference registration fee includes:
- Attendance to paper sessions, poster and demo sessions, concerts and keynotes
- Conference guide and electronic proceedings
- Lunch and coffee on all the days, as well as a conference dinner
Please register for the conference through the University of Sussex Online Shop
Accomodation is not included in the conference fee, but it is possible to book rooms on campus with Residential Services. Here, the minimum stay is 7 nights (but prizes can be quite low). Another option is to book accommodation through our partner Visit Brighton where you can find accommodation on campus and in the city. Yet another possibility is to find use the exhaustive Bed and Breakfasts guide.
Brighton is a very popular destination with tourists in the summer, so booking early is a good idea.