The doctoral and postdoctoral research fellows sent a questionnaire to the PIs at RITMO the other day. The aim was to collect information about conference presentations. It was a great set of questions, so I am posting my answers here, a little more elaborated than in the questionnaire. Being nervous Have you ever been nervous to present at a conference? How did you cope with this? Yes, I have been nervous many times.

For the last couple of days, I have participated in the NordicSMC conference. It was organized by a team of Ph.D. fellows from Aalborg University Copenhagen, supported by the Nordic Sound and Music Computing network. UiO is happy to be a partner in this network, together with colleagues in Copenhagen (AAU), Stockholm (KTH), Helsinki (Aalto), and Reykjavik (UoI). Choosing a conference format When we began discussing the conference earlier this year, it quickly became apparent that it was unrealistic to meet in person.

There are many ways to run conferences. Here is a summary of how we ran the Rhythm Production and Perception Workshop 2021 at RITMO this week. RPPW is called a workshop, but it is really a full-blown conference. Almost 200 participants enjoy 100 talks and posters, 2 keynote speeches, and 3 music performances spread across 4 days. A hybrid format We started planning RPPW as an on-site event back in 2019.

I have been involved in running some Zoom Webinars over the last year, culminating with the Rhythm Production and Perception Workshop 2021 this week. I have written a general blog post about the production. Here I will write a little more about some lessons learned on running large Zoom Webinars. In previous Webinars, such as the RITMO Seminars by Rebecca Fiebrink and Sean Gallagher, I ran everything from my office. These were completely online events, based on each person sitting with their own laptop.

During the NIME conference this year (which as run entirely online due to the coronavirus crisis), I led a workshop called NIME Publication Ecosystem Workshop. In this post, I will explain the background of the workshop, how it was run in an asynchronous+synchronous mode, and reflect on the results. If you don’t want to read everything below, here is a short introduction video I made to explain the background (shot at my “summer office” up in the Hardangervidda mountain range in Norway):

Yesterday I gave a keynote lecture at the Munin Conference on Scholarly Publishing in Tromsø. This is an annual conference that gathers librarians, research administrators and publishers, but also some researchers and students. It is my first time to the conference, and found it to be a very diverse, interesting and welcoming group of people. Abstract Is it possible to do experimental music research completely openly? And what can we gain by opening up the research process from beginning to end?

Today I will present the paper Non-Realtime Sonification of Motiongrams at the Sound and Music Computing Conference (SMC) in Stockholm. The paper is based on a new implementation of my sonomotiongram technique, optimised for non-realtime use. I presented a realtime version of the sonomotiongram technique at ACHI 2012 and a Kinect version, the Kinectofon, at NIME earlier this year. The new paper presents the ImageSonifyer application and a collection of videos showing how it works.

Back from a great NIME 2013 conference in Daejeon + Seoul! For Norwegian readers out there, I have written a blog post about the conference on my head of department blog. I would have loved to write some more about the conference in English, but I think these images from my Flickr account will have to do for now: {style=“padding: 0; overflow: hidden; margin: 0; width: 500px;”} At the last of the conference it was also announced that next year’s conference will be held in London and hosted by the Embodied AudioVisual Interaction Group at Goldsmiths.

{.alignright .size-full .wp-image-2180 width=“211” height=“160”} Here is a little plug for the submission deadline for this year’s NIME conference. I usually don’t write so much about deadlines here, but as the current chairof the international steering committee for the conference series, I feel that I should do my share in helping to spread the word. The NIME conference is a great place to meet academics, designers, technologists, and artists, all working on creating weird instruments and music.

At the last day of this year’s NIME conference in Oslo I was not only elected as a member of the international steering committee (SC) for the NIME conference series, but I was also elected as the new chair for the SC. This is exciting, particularly since I will be the first NIME SC chair ever. Since the start in 2001, the conference has seen a rapid growth, and we now see that it is time to formalise the structure of the organisation a bit.

I am chair for the 11th International Conference on New Interfaces for Musical Expression (NIME 2011)
, which will be organized 30 May - 1 June 2011 here in Oslo, Norway. The official “call for participation” has just been posted here, and sent to various mailing lists. Please forward this to anyone that you think may be interested in participating.